How to apply our anatomical understanding to an aux trois crayons drawing? In this article, I explain the meaning of the term aux trois crayons drawing. Then, I examine how it combines with human anatomy study and how to give a drawing its volume with three pencils.
Further, I explore how to vary the drawing line quality with changes in speed, pressure and the grip. Next, I extend the dynamic range and use shading parsimoniously to retain the line work of the aux trois crayons drawing. Finally, I will refine contour and shading without loss of volume.
Here is a table of contents for easy navigation.
Table of contents
What is aux trois crayons drawing?
- How to use an aux trois crayons drawing to study human anatomy?
- Quickly carve out the entire shape to give the aux trois crayons drawing its volume
- The way we are holding the sanguine pencil will vary the line quality
- Follow your understanding of human anatomy in bolder aux trois crayons lines
- Constantly work around the entire aux trois crayons drawing
- Know when to modify the angle, grip, drawing speed and pressure of touch
- Extend the dynamic range of the aux trois crayons drawing
- Constantly refine the outline and allocate tonal values in the aux trois crayons drawing
- Use shading techniques sparingly to retain the lines of the aux trois crayons drawing
- Finalise the highlights while keeping human anatomy in mind
- Constantly refine the contour definition, regardless of tonal values
- Finalise the shading of the aux trois crayons drawing without losing the volume
Let us examine how to see more human anatomy in a simple aux trois crayons drawing.
What is aux trois crayons drawing?
Aux trois crayons is a French term that translates as “with three pencils”. The phrase aux trois crayons designates a drawing technique that combines sanguine with white and black pencils on coloured paper. Trois is French for “three”. That is easy. But crayon in French signifies “pencil” only. For example, crayon rouge translates as sanguine pencil and crayon gris as graphite pencil.
In contradistinction, the English word crayon refers to both a crayon pencil and the chalky material itself. And this means it also includes crayon pastel sticks. This inclusive designation has technical implications, as a crayon pastel drawing will emphasise the mass of an object of study. On the contrary, a crayon pencil drawing will rely on lines to do the representation work. In this article, I will use the descriptor aux trois crayons in its narrow sense.
There also exists a derivative, a variation of the aux trois crayons technique, namely drawing “with four pencils”. In French, this artistic method is called aux quatre crayons. And it typically describes a drawing executed in white, sanguine, sepia and black pencil. Since white and black mark the limits of the tonal range, the artist would use both a reddish and brownish hue, thus, adding an extra gradation in the mid-tones.
1. How to use an aux trois crayons drawing to study human anatomy?
Whether left- or right-handed, you have one hand or a foot free to serve you as a model for an aux trois crayons drawing. Your second hand is the most readily available subject. Now, a mere life drawing of a human hand does not strictly qualify as an anatomical drawing. That is because we cannot see the workings of the muscles and tendons from the inside. Nor can we accurately delineate the bone structure. Hence, this exercise will yield only some limited insights.
Study human anatomy aux trois crayons as seen from the outside
However, we can make a conscious effort to observe the skin wrapped around the bone structure beneath. Surprise yourself! We can learn much about the inner workings of the human hand by studying its outer appearance.
Approach the human hand like any other object drawn with three pencils
In principle, sketching a human hand from life is not much different from depicting a red onion. But, using a sanguine pencil on toned paper, we do not have to worry about the colour information. The latter scenario I covered in my article on how to create a more vibrant colour pencil drawing. The tricky part is constantly watching out for the hand’s subtle movements. Whereas constructing the anatomy of a human hand from scratch would be a different story. But we will get to that.
Refine the outlines of the aux trois crayons drawing for visual clarity
So, as always, first, I do establish the silhouette of the object of study in its entirety. This time, it is my clenched left fist. Once the subtle outlines have enclosed the entire shape, I immediately proceed to refine the contours, where necessary. There is no need to erase the search and stray lines of the aux trois crayons drawing. Remember, it is a process of honing in on the observed object. Next, we increasingly add more detail and edge definition for visual clarity. It is important to relate all elements to each other until they match the reference.
2. Quickly carve out the entire shape to give the aux trois crayons drawing its volume
In the step above, I have outlined the fundamental silhouette of the human fist. Now, I specifically accentuate those outlines that most contribute to lending the aux trois crayons drawing of the hand its volume. In this example, the fist needs more emphasis on the curvatures of the ball of the hand. Here, that is mainly the thumb. Then I work on the wrist, the clenched fingers and the back of the hand.
At this stage in the aux trois crayons drawing, I already use more pronounced lines to carve out the shape. Search marks and stray lines of the initial silhouette get corrected by the second round of even bolder outlines. There is no need to use an eraser. Hence, I override the informational value of the previous lines with any subsequent sanguine pencil mark. Always take a fresh look at your object of study! And take bold corrective decisions without remorse.
3. The way we are holding the sanguine pencil will vary the line quality
I work around the entire drawing adding more and more lines to build up the form of the human fist. Note the variations in the line work and handling of the sanguine pencil as a drawing tool. Below, in the images to the left and right, I am holding the pencil tight. More precisely, I am gripping it within one inch equal to 2,54 centimetres away from its sharpened tip. This grasp allows for a more intense yet pointed line with drawing pressure mainly exerted by the finger joints. As a result, the aux trois crayons drawing receives lines in red-brown colour hue of mid-tone value.
In contrast, in the middle image, the line following the thumb muscle is predominantly drawn out of the wrist. And the anatomical element in question is called Abductor pollicis brevis, a muscle functioning as an abductor of the thumb. My drawing hand holds the sanguine pencil about two inches from its tip. This grip results in a broader, yet more subtle, pencil stroke. The line is more appropriate for defining an edge that is not part of the sheer silhouette of the hand.
4. Follow your understanding of human anatomy in bolder aux trois crayons lines
Now we have a clearer idea of what the final aux trois crayons drawing result of this clenched fist will be. Thus, we can chisel into the paper even bolder and darker sanguine pencil lines to delineate the anatomical features of the human hand. Always strive to closely follow the form shaped by the bones and muscles beneath!
Accordingly, the ball of the thumb, defined by the muscle Opponens pollicis, receives its finite definition. We use Opponens pollicis when we touch the tip of the little finger with our thumb. Next, another bold sanguine pencil stroke does mark the wrist. We register a line where three of the Carpal bones, Triquetral, Pisiform and Lunate, meet to form an edge.
5. Constantly work around the entire aux trois crayons drawing
Encouraged by the anatomical fit of the thumb, I extend the bolder outline definition to the other limbs of the human hand. Always closely observing the life drawing reference, I refine the outline work of the whole aux trois crayons drawing. In other words, I jump from side to side, depicting the lines I behold in nature.
Note the finger grip close to the sanguine pencil’s tip. This hold exerts maximum contact pressure while simultaneously maintaining optimal precision. That is to say, by working out of the finger joints, we reach a balanced ratio between impact and control. Similarly, in the image to the right, the hand posture bridges across the drawing without any smudging. And yet, this pose delivers a 45° to 60° angle between pencil and paper plane beneficial to the drawing activity. Avoidance of smearing is crucial in a drawing with three pencils, as the pigments are soft and easy to blur.
6. Know when to modify the angle, grip, drawing speed and pressure of touch
While working around the whole depiction, we must know when to vary the angle, the grasp and the speed of the drawing tool. Look at the photo on the left: Will the hand reaching across the drawn surface still be able to exert enough contact pressure? We must avoid any accidental smudging of the foundation lines for the aux trois crayons drawing. Indeed, a good amount of force is required to imprint the sanguine pencil pigments into the paper sheet. And will the touch register a sufficiently sharp silhouette line for the back of the depicted hand? Yes, it will, but at the cost of drawing speed.
Consider the wrist in the central image: Can an increase in drawing speed still guarantee a clear definition of the flexor tendon lines? Yes, as long as we grip the drawing implement closer to its tip. The resulting sanguine pencil marks convey a sense of the tendons of the muscles Palmaris longus and Flexor digitorum superficialis.
Regarding the picture to the right: I hold the sanguine pencil at about 40% of its length. How can it still carve a thin precision line into the drawing sheet while extending across the drawn Thenar eminence? We achieve this by gently directing the drawing tool out of the wrist with a smooth touch. The softness of the chalky aux trois crayons drawing materials facilitate this practice.
7. Extend the dynamic range of the aux trois crayons drawing
We reached a decisive moment in the aux trois crayons drawing workflow. As the outline drawing progresses, we must establish the highlights and the darkest tones. Therefore, we extend the tonal values in the direction of the brightest white spots and pitch-black areas, respectively. This step comes equal to expanding the dynamic range of an image in digital photography. And I already showed how to extend the tonal range while drawing on a white sheet of paper. See section 6 of my article, seven easy steps to a better colour pencil drawing.
Consequently, a few well-aimed white pencil marks add some highlight sparks in the image to the left. Here, we begin to leave the pure line drawing behind while not entering crosshatching for shading quite yet. And each pencil stroke as a micro line follows the convex curvature of the thumb’s tissue enclosing its Proximal phalange bone.
In the centre photo, the darkest points get added utilising a few contour reinforcements in black. The draughtsman’s hand is tightly gripping the black pencil one inch away from its pointed tip. Further, in the picture to the right, the drawing receives subtle mid-tone shading in sanguine pencil strokes. The drawing tool is operated out of the wrist by a hand exerting light pressure.
8. Constantly refine the outline and allocate tonal values in the aux trois crayons drawing
I keep elaborating on the contour lines of the entire fist and every individual clenched finger. Another round of ever more subtle additions of white highlights and darkest spots spread the spectrum of the tonal values. Thus, the aux trois crayons drawing obtains plasticity and volume definition. However, I am cautious to avoid overdoing the application of pencil pigments. Instead, I allow the tonal paper to carry the aux trois crayons drawing via its bright mid-tone.
After all, it is not a study of dramatic lighting with deep shading. I am merely concerned with representing the surface covering the anatomical build of this left hand clenched into a fist. Hence, both black and white pencils get applied with great care and concentration. I work the drawing tool out of my fingertips in tiny circular movements. Whereas drawing out of the wrist would yield a motion in larger circles which diminishes precision.
9. Use shading techniques sparingly to retain the lines of the aux trois crayons drawing
Now is the time to give this clenched human fist a hint of shadowing, or more appropriately, tinting. I work in sanguine pencil, which by itself possesses a mid-tone value. And the latter allows the light ochre tint of the drawing sheet to emerge as an approximation of skin tone. Thus, the coloured paper functions as an essential determinant while working with three pencils. In other words, the selection of the toned sheet significantly contributes to the outcome of the aux trois crayons drawing.
Note the hold of the sanguine pencil in the left image: the central grip of the drawing tool does provide for smooth line sketching alongside the Metacarpal bone of the thumb. The movement of the pencil initiates in my right wrist. As a result, a subtle sanguine pencil stroke curves down the muscles Abductor pollicis brevis and Flexor pollicis brevis. I use shading parsimoniously to preserve the lines of the aux trois crayons drawing.
Equally, in the photo in the middle, I work out of the wrist. This posture enables me to take a step back from close-up work. Instead, I apply broad pencil strokes that amount to shading. Conversely, in the picture to the right, I exert a tighter grip near the point of the sanguine pencil. A hold close to the sanguine pencil’s tip bears more pressure on its point. This grasp facilitates clear reinforcement lines following the edge of the outline.
10. Finalise the highlights while keeping human anatomy in mind
So far, a minimal portion of shading has contributed to building up the volume and plasticity of the aux trois crayons drawing. Now, I follow up by finalising the distribution and intensity of the highlights. Accordingly, I do hold the white pencil relatively close to its tip. More precisely, at less than four centimetres distant from its pointed end. That is a little more than one and a half inches. As a result of the tight grasp, the white pigment gets driven into the paper with quite some pressure.
I aim to simultaneously work around all those areas of the aux trois crayons drawing that need a highlight upgrade. Therefore, the drawing receives a quick flicker of white pigments across the Thenar Eminence and a few loose sparks on each Intermediate phalange. In the picture to the left, the white pencil draws highlight marks onto the ball of the hand. Further, in the photo to the right, the pencil has already rushed onto the wrist in but one leap. There, the bulge caused by the tendon of the Palmaris longus muscle benefits from a hint of a highlight. This approach to drawing helps me stay focussed on conveying the directionality of the lighting in its entirety.
11. Constantly refine the contour definition, regardless of tonal values
As we are nearing the point where the aux trois crayons drawing can be left alone, I quickly reinforce the edges. I constantly have been refining the definition of the outlines, but now, they are receiving their final touches. See the image to the right: I tightly grip the black pencil close to its pointed tip for maximum impact and precision.
However, the workflow scenario in the photo to the left requires different handling of the drawing tool. I take the pencil on a longer lead to avoid smudging while bridging over a finely drawn area. Hence, I balance out the black pencil by holding it midway. As a result, I need to sketch out from the wrist. A painter is used to a long reach with the mark-making implement. We hold an oil painting brush close to the end of its handle, far away from the bristles and toe.
12. Finalise the shading of the aux trois crayons drawing without losing the volume
A few more touches in black pencil fine-tune the contours of the aux trois crayons drawing. Consequently, I firmly grip the black pencil close to its tip in the photos to the left and the middle. As a result, the marks register with a controlled dose of pressure.
Finally, we need to subtly lower the tonal value of the shaded back of the hand. Always consider that lines in a drawing are an abstraction, which means they do not exist in reality. Instead, they delineate where an object ends and where the background begins. Hence, conveying the convex curvature of the elliptical shape of the Thenar eminence in a sharp line is no option. It might break the elaborate illusion of volume of the ball of the hand.
For this reason, I hold the drawing tool closer to its centre of balance in the right picture. Working out of the wrist delivers a lighter touch. But more importantly, it allows me to follow the convex mound created by the thumb muscles. The wrist is functioning as a vertex point. A straight line running through the wrist and the pencil’s point would demarcate one arm of the angle. The corresponding second arm forms when the pencil tip completes its curved stroke across the Thenar eminence. And that broad stroke spanning the convex arch of the ball of the thumb concludes this aux trois crayons drawing.
Bonus video
I trust this article motivated you to see more human anatomy in a simple aux trois crayons drawing. If you want to see more stages of the creation of this drawing, you may also want to watch minutes 0:00 to 3:29 of my video “Study of a clenched left human fist and its bones”.
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