“Seth material” search engine (Jane Roberts)

[...] I quoted a poem (on animal consciousness) from a book of sketches and untitled poetry that Jane had created for my birthday last June. [...]

[...] While Jane spoke and as I made my notes, I found time to do a little sketch in the margin. The sketch merely recorded the idea of what I had seen, and noted the composition, for I thought it would make a good painting. [...]

[...] See the sketch of the negative on page 255 of this Volume 4.

[...] Again see my sketch of the photographic negative on page 255.

The collection will include our family trees; my father’s journals and photographs; Jane’s and my own grade-school, high-school, college, and family data; our youthful creative efforts in writing and painting; the comic books and other commercial artwork I produced; our early published and unpublished short stories; my original notes for the sessions; session transcripts, whether published or unpublished, “regular,” private, or from ESP class; tapes, including those made in class of Jane speaking for Seth and/or singing in Sumari; our notes, dream records, journals, and manuscripts; our sketches and paintings; Jane’s extensive poetry; our business correspondence; books, contracts, and files; newsletters about the Seth material, published in the United States and abroad (independently of Jane and me); the greater number of letters from readers—in short, a mass of material showing how our separate beginnings flowed together and resulted in the production of a joint lifework.

Try sketching sometime with your left hand also. [...]

(“Will it be possible for me to market that oil sketch I did of the cowboy head?”)

[...] Bill indicated the color of the teapot in his sketch, saying the object is anything but nondescript. [...]

[...] I wonder if I could work with small ink sketches at all now. [...]

[...] It was a joke on Don Wilbur; Don and his wife, Marilyn, visited us that Friday evening and I showed them the sketch. [...]

[...] As noted in the sketch at the top of page 209, some of the lines on the object would be perpendicular as Jane held the envelope to her forehead. [...]

[...] I drew a quick very rough little sketch of it, dated it, then told Jane about it. [...]

[...] See Note 4. Now as we discussed the event in a little more detail, I made a quick sketch of that possible self of mine.

The whole experience had a hard-to-define childlike or naïve quality, as several members of Jane’s ESP class remarked the next night when I read this account to them, and showed the sketch around.

Some of the reasons for such activities are sketched in our new book. [...]

[...] To the viewer’s left on page 321 is a copy of the drawing I made for him, to the right is a sketch of the actual ad as printed. On Friday night Bill told me my sketch was pretty close to the layout he finally decided upon at the office, and talked over with the stereotyper. [...]

Have him write a poem a day, and do an ink sketch. [...]

[...] Many spontaneous ideas for paintings and sketches you automatically reject because of several reasons. [...]

[...] But [this was] then carried over so that you wanted to keep your Roman (reincarnational) world and this [present] one separate and not merge them through association — as you did — so that it was difficult to know this when you did your sketches. [...]

[...] They measure exactly square, and the viewer is cube-shaped, the transparencies fitting into it as indicated by my sketch.

[...] This would be the viewer shown in the pencil sketch on page 72.

[...] I’ve started a small oil painting based on the “chute” portion of the dream for July 7. I’ve also done a pencil sketch of one of the heads in the photos of myself in the reincarnational dream of July 17, in case I don’t get to paint it. [...]

[...] My high point was receiving the little book of poems and sketches she’d made for me. [...]

[...] His ink sketches serve that capacity. [...]