Saturday, February 10, 2018


Charcoal on Paper, 11"x14"
(c) 2018 Bernard Echanow

Saturday, October 24, 2015

On the easel

1. Violet glaze to unify and push back the block out. (Alizarin Crimson, Ultramarine Blue with Liquin Fine Detail)
2. Reset important lines.
3. A little color experimentation.

Thursday, October 1, 2015

TLG, Another rough study

Back to exploring composition. The working title for this piece is "The Long Goodbye" or TLG.

Monday, September 28, 2015

On the easel . . .

Underpainting from a photo I took at the OC Fair. I'm allowing several months to work on this piece.

Tuesday, March 31, 2015

A Tribute to Spring Break

Charcoal on Ink-Stained Crescent Board, 16"x22"
(c) 2015 Bernard Echanow

Saturday, March 28, 2015

"Cambria, Recut"

"Cambria, Recut"
Print on Muslin, 26"x38"
© 2014 Bernard Echanow

Sunday, February 22, 2015

"Journey's Song"

"Journey's Song"
Oil on Canvas,16"x20"
©2014 Bernard Echanow

I received word this past week that my oil painting, "Journey's Song," was selected for the City of Brea Art Gallery’s 30th Annual Made in California Juried Exhibition. The exhibition will be on view from March 28th – May 8th, 2015.

"Journey's Song" is, simply, my autobiography. My absolutely all-time favorite painting is Jules Adolphe Breton's "The Song of the Lark" from 1884. "Journey's Song" is my humble tribute to M. Breton.

I did use my artist's "license" to trim off 15 pounds of unnecessary plumpness.

Thursday, October 30, 2014

"Happy Halloween"

"Here kitty, kitty, kitty."
3-Color Monotype Printmaking

See my facebook page for more information.

Saturday, July 26, 2014

"Best of Show"

"The Invisible Chairman" won it all Thursday night, 7/24/14 at the Orange County Fair.
Editing To be continued. 
It’s going to take me a while to get off of this cloud.

Monday, May 5, 2014

"Uzbekistan Elder"

"Uzbekistan Elder"
16"x20", Oil on Canvas
I completed this work as a project for my Saddleback College Painting III class. My instructor, Veronica Obermeyer, introduced me to Ann Gale's “open form” style of lost edges and broken color. I used a very limited palette of white, three blues, a red and a yellow.

I found the wonderful photograph on which I based the work at "The Travel Word" website. It was posted on April 4, 2010. The article was titled "Photo of the Week: A Warm Smile from an Elder in Uzbekistan." I did an exhaustive internet search for both the photographer, Nabikhan Utarbekov, and the author, Lyudmila Vafaeva, without any results. In the United States the copyright belongs indefinitely to the photographer. I followed up with an email to the "The Travel Word's" Editor-in-Chief, Ethan Gelber. Mr. Gelber warmly replied and attempted to communicate with Ms. Vafaeva. As yet, I have not had contact with Nabikhan Utarbekov or Lyudmila Vafaeva.

Thursday, May 1, 2014

Saddleback Steamroller WoodBlock Party - Spring 2014

"Carl Linnaeus"
30"x40", Ink on Tea Dyed Muslin
© 2014

The Group, Morning, April 25, 2014

Our instructor, Vinita Voogd, is in front (right of center) with her arms folded. I can be found second from the right, holding my straw hat. We are posed in front of the "steamroller," a small, gas-powered, asphalt paver.

By the end of the day I was covered from head to toe with printmaking ink, hat included. It took a full week to completely remove the ink.

Wednesday, February 26, 2014

The Invisible Chairman

"The Invisible Chairman"
16"x22", Charcoal on Paper
© 2014

Saturday, November 23, 2013

An Article of Clothing

Since 2012 I've been taking spring, summer and fall semester art classes at Saddleback College. The quality of both the instructors and the instruction is top notch and I've been inspired to pursue an art degree at the college.

Long ago, I took "Drawing 101". I re-took it this past summer for a pass/no-pass grade. It was a twice a week, 8 week long studio with Veronica Obermeyer. (Click on the link to read Ms. Obermeyer's impressive CV.) For the majority of my classmates, it was their first college-level drawing class. For me, it was an opportunity to refresh and refine and explore.

A July homework assignment was to draw an article of clothing and an accessory such as a jacket on a hanger. I went home and pulled from the closet a dress shirt, a tie, a belt and a rarely used suit. All the little still-life tidbits I'd picked up from classes, artist magazines and the web broke through the cobwebs and coalesced into a manageable vision. I cleared off my studio (a re-purposed bedroom) drafting table and placed a folding chair on top. On the chair, I arranged the clothes as if someone was inhabiting them.

After crinkling up some sheets of newsprint from a sketch pad, I stuffed it here and there in the suit and shirt. I stuffed newsprint into kitchen trash bags and taped the bags into sausage shapes to support the pant legs. Using a step ladder, I propped the coat above the chair back.

I pointed my photoflood up and at the right pant leg knee and taped it to it's stand. I taped the carpet at each of the tripod legs just in case it got bumped out of position, which happened on a daily basis. I lost count of the number of times I stubbed my toes on that tripod. Anticipating falling charcoal dust I laid out a drop cloth over the rug and under the chair mat and placed my easel on it. I was to live with that setup for the next four months while dust accumulated in inaccessible parts of the room and atop the suit, tie and shirt. I still have dust to find and carpet to wash.

I closed the window shutters and door to my studio to limit any ambient light and maximize light and shadow contrast on the still life, put my  drawing board and pad on the easel, pulled out my charcoal and began to draw. For the due date, I blocked in the overall composition and finished one pant leg. It took me another 4 months, until early November, detailing the entire drawing to my satisfaction. The pant leg was well received. Ms. Obermeyer made mention of the hierarchy of values. She noted the pant leg's crease and my use of "simultaneous contrast." I really like the phrase "simultaneous contrast;" it sounds so artistically arcane.

Pictured to the right is the drawing as pinned up for the July critique. The finished drawing will soon be posted.

Tuesday, November 5, 2013

My First Significant "First Place"

My academic art studies have been taking a great deal of effort, but I've made some time to put together a blog update.

In June I was awarded First Place in the Drawing and Pastels division of the Anaheim Art Association's 50th Annual
Open Juried Art Competition. The First Place ribbon was presented to my "Serenity" charcoal accompanied by a cash award.

If memory serves me there were over 160 entries. Winning the First Place ribbon was significant; receiving a cash award was just yummy.

In August "Serenity" was awarded an Honorable Mention at the Orange Art Association's 17th Annual Orange Open Juried Fine Art Show. The competition was a bit steeper.

Friday, August 9, 2013

Chicago Botanic Garden

"Carl Linnaeus"
Digital Photo
(c) 2013
We had an opportunity to return to Chicago for a visit in May. I took this picture of the statue of one of my heroes, Carl Linnaeus, in one of my favorite places, the Chicago Botanic Garden.

Saturday, April 6, 2013


Charcoal on Paper
Drawing an individual in profile was the third homework portrait assignment of my fall semester Life Drawing class.
Over a two day period, my model posed with stoic serenity.

In February the portrait won a second place ribbon from the Orange Art Association.

Monday, February 4, 2013


16"x22", Charcoal on Paper
© 2013
The second required Life Drawing portrait was to be a 3/4 view. Our instructor reminded us that we were to have some kind of "architecture" in the background by which to gage our proportions. On the blank wall behind me, using 1" wide blue tape, I taped several horizontal lines 6" apart.
I wanted to see what I would look like without wearing my glasses. Drawing oneself, for the first time ever, in a 3/4 view was challenging enough. Deciding that my image was not going to be wearing glasses was just plain hard.
I got as close to the mirror as possible. I proceeded to remove my glasses, take a quick look at my 3/4 view profile, put my glasses back on, twist around farther to my right, draw a little and then repeat the process several times. Somewhere in the process, in judging proportions against the horizontally taped lines, I elongated my features. I'm blaming that on my eyeglass-less astigmatic vision.