Trois and Zorn

11/30/22 Neocolor II in S&B Nova sketchbook (trois crayons)

A reader had recently commented on the post about my Zorn palette experiments with a suggestion to try the trois crayons technique. Years ago in a drawing class, I recall doing a few exercises with a sanguine Conte crayon, charcoal and white chalk – the traditional trois – but that was the last time I had thought about it.

I still have the traditional materials, but anticipating the dusty mess, I decided to use much neater Caran d’Ache Neocolor II wax pastels instead, picking out the same trois hues (white and black with English Red for sanguine). In keeping with tradition, I also pulled out my tan-colored Stillman & Birn Nova. Since the Neocolor IIs are water-soluble, I could have seen what kind of mess I could make with the addition of water, but sticking with dry materials would be more like the traditional method, too. The slightly elevated view of this man (at right) was an interesting challenge in foreshortening.

11/25/22 Prismacolors in S&B Alpha sketchbook (Zorn palette)

My most recent Zorn palette experiments are shown here, too. For the bald man, I used Prismacolor colored pencils, and for the woman – wait for it! – Bic ballpoints (poor Zorn is rolling over in his grave)! I can see why the reader had made the suggestion – the results and techniques are quite similar. The Zorn portraits on white paper depend on Yellow Ochre to keep the skin tones from getting too ruddy. But the tan paper does the same work for the trois crayon palette. Using white for highlights is easier and faster than saving out highlights, too.

The young woman, by the way, is the same reference photo I used with graphite the other day (shown in my post about vintage Dixon Typhonites). That time, I saw right away that my proportions were off, but instead of correcting, I decided to finish the sketch as a value study. This time my intention was to improve the proportions, but I think I did worse – her forehead should not be that tall (her critical scowl, however, is accurate). I know I mentioned Bics mockingly, but I’m pleased with the skin tones I achieved. Frankly, it was easier to blend with crosshatched Bics than with the wax pastels.

11/30/22 Bic ballpoints in Moleskine sketchbook (Zorn palette)

Whether Zorn, trois, primary or secondary, these limited palettes are truly satisfying to use. Having fewer color choices keeps me focused on values and form. I’m less confused about using principles of color temperature to support values. I also work much faster simply picking a limited palette and staying with it instead of spending time trying to match the many individual hues I see. Finally, what I’ve always heard, over and over, is true: Using a limited palette is much more likely to have a cohesive, unified result.

Given my penchant for wanting all the colors, the irony here does not escape me. But I can still enjoy all the colors without using them all at once.

(All reference photos by Earthsworld.) 

Oooh, look -- three generations of Prismacolors used!