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Appendix: An Artist's Materials

To gain freedom I saw I must use broad surfaces, not stint material nor space. Material in the West was expensive, space cheap enough. I brought cheap paper by the quire. Carrying a light, folding cedar-wood drawing board, a bottle of gasoline, large bristle brushes and oil paints, I spent all the time I could in the woods.

Emily Carr, Growing Pains: The Autobiography of Emily Carr. Vancouver: Douglas & McIntyre, 2005, pp. 306–7.

January 27, 1933:
In working out canvas from sketches, the sketches should convey the essence of the idea though they lack the detail. The thing that decided you to attempt that particular subject should be shown, more or less. Take that small sketch home and play with it on paper with cheap material so that you may not feel hampered but dabble away gaily. Extravagantly play with your idea, keep it fluid, toss it hither and thither, but always let the idea be there at the core. When certainty has been arrived at in your mind, leave the sketch alone. Forget it and put your whole thought to developing the idea.

Emily Carr, Hundreds and Thousands: The Journals of An Artist. Toronto: Irwin Publishing, 1966, p. 33.