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As there is an irony of fate, there would be an irony of the object or even an irony of the stroke, a real graphic irony. Things turn upside down, twist, roll up, form knots or turn around and you can see it because the stroke shows it. Franquin is one of its masters: his pencil stroke (but also his brush or pen stroke) is not neutral. Nor is it with Marion Montaigne or Christophe Blain. I would like to show here, on the somewhat arbitrary corpus of these three authors, that drawing also carries an ability to produce humor, in particular through a logic of irony that is specific to it and that generates a real “trait d’humour” (stroke of humor). Each of these three authors will allow us to develop a different perspective of a semiotics of materiality, that is attentive to the very act of the drawing.