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My latest major work now framed and hanging in the studio. I am particular about the frames I put on my paintings. I firmly believe that the frame becomes a part of the art—not just something to wrap it in. For the past couple of years I have designed my own frame mouldings individually for each piece. This frame is cut from red oak that was slab sawn in 6/4”. I cut it so that the edge of the piece that appears quarter-sawn is on the face. I wanted the long, straight grains to focus the eye inward. I supplemented that by putting a beaded edge around the outside. I patina’d this and then sanded the flats—leaving the curves and inner edge dark.
Two recent works of mine - Holy Family and Doctoring
Gary Thompson
1615680434
OTTC GENESIS 4:8: “Let us go out into the field”?
The bracketed clause “let us go over into the field” is not found in the Codex Leningrad B 19A and the Aleppo Codex, nor is it found in the QT Qumran Texts (Dead Sea Scrolls; Scroll 4Q2). However, the reading is included in older Septuagint manuscripts and in SP, SYR, and VG.
LEARN MORE ...
https://christianpublishinghou....se.co/2019/05/20/ott
My latest major work now framed and hanging in the studio. I am particular about the frames I put on my paintings. I firmly believe that the frame becomes a part of the art—not just something to wrap it in. For the past couple of years I have designed my own frame mouldings individually for each piece. This frame is cut from red oak that was slab sawn in 6/4”. I cut it so that the edge of the piece that appears quarter-sawn is on the face. I wanted the long, straight grains to focus the eye inward. I supplemented that by putting a beaded edge around the outside. I patina’d this and then sanded the flats—leaving the curves and inner edge dark.
My latest major work now framed and hanging in the studio. I am particular about the frames I put on my paintings. I firmly believe that the frame becomes a part of the art—not just something to wrap it in. For the past couple of years I have designed my own frame mouldings individually for each piece. This frame is cut from red oak that was slab sawn in 6/4”. I cut it so that the edge of the piece that appears quarter-sawn is on the face. I wanted the long, straight grains to focus the eye inward. I supplemented that by putting a beaded edge around the outside. I patina’d this and then sanded the flats—leaving the curves and inner edge dark.
My latest major work now framed and hanging in the studio. I am particular about the frames I put on my paintings. I firmly believe that the frame becomes a part of the art—not just something to wrap it in. For the past couple of years I have designed my own frame mouldings individually for each piece. This frame is cut from red oak that was slab sawn in 6/4”. I cut it so that the edge of the piece that appears quarter-sawn is on the face. I wanted the long, straight grains to focus the eye inward. I supplemented that by putting a beaded edge around the outside. I patina’d this and then sanded the flats—leaving the curves and inner edge dark.
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