No sinopia has been detected. Thin incisions were made into the fresh plaster, defining the outlines of the figures, the bordures between the scenes, and perhaps also the halos. On the lower band of the mural on the southern wall and on the fragment from the Faculty of Arts (fig. 2), a yellow underdrawing can be detected that is not visible elsewhere. In most parts of the painting, a dark red contour predominates, but it is not possible to determine whether this was an underdrawing or the finishing contour. Perhaps the painter first sketched slight outlines, which he then reemphasised in the end. This way, the underdrawing would also serve as a finishing line. However, perhaps he did not need an underdrawing, at least not for the main outlines of the figures, as he had already carved them into the fresh plaster. The painter applied all of the larger colour surfaces very precisely with a broad brush, as they never extend beyond the contours of the figures. Despite the thick paint layers, these are still well preserved. The painter later modelled on these basic local tones. The modelling has mostly fallen off, but we can still see that volume modelling was virtually non-existent.

The faces (fig. 2) are oval in shape, with slightly arched eyebrows and straight noses that continue from the inner eyebrow. The eyes are large, with a semicircular line above and a straight line below. The pupils have mostly fallen off. For the carnation, the painter used a very light, almost white colour, to which he added pink to liven up the cheeks and, in some places, to shade the forehead under the hair. He accentuated the upper eyelids with a soft ochre colour. The hands are large, featuring narrow palms and long fingers. Like the faces, the painter modelled them with pink paint on a very bright, almost white base, after which he outlined them in reddish-brown. Men tend to have shorter bobbed hairstyles, while women are either long-haired or are covered with headdresses. On an ochre-yellow base, the painter drew individual strands of hair with parallel straight or sinuous strokes; the lines often run perpendicular to the head. He used the same colour to outline the entire hairstyle, but any potential shades and highlights are no longer preserved. The modelling of the draperies is almost entirely unpreserved, and it is difficult to distinguish the original work from the subsequent restorations and hatchings. The master drew the lines of the folds with a broad brush on the basic colour surface. There are no soft transitions between colours. Finally, he apparently outlined everything with a dark red contour, which probably followed the presumed underdrawing and the thin contour incisions. The final works include the lines on the architectural conclusions and on the gift jars of the Magi. For the bordure, the painter might have used a stencil.