In this tutorial I’m going to explain how to create the colored pencil version of the Nativity scene. Just like the watercolor version, this is a super easy project to do. The pyrography is so basic that you can use a crafter burner. Plus, you can easily customize the colors to your preferences. This fun and easy project would make a great Christmas greeting card.
Because this project is very similar to the watercolor version, there are certain steps (like the pyrography) that I copied from that tutorial.
Click on the image to the left to watch a YouTube video version of the tutorial.
Now, let’s get to work.
SKILL LEVEL: 1
MATERIALS NEEDED:
- Writing tip
- Shading tip
- 6 x 8 inches (15.2 x 20.3 cm) piece of wood
- Attached pattern (can enlarge or shrink as needed) Nativity scene pattern
- Colored pencils *
- Blending stump **
* I’m using the Prismacolor brand of colored pencils. Keep in mind that you can use any brand you want. You could also use markers, crayons, etc. I used a lot of different colors. I list the colors I used in each step, and I included the color number that Prismacolor stamps onto the pencils.
** I used a blending stump to smooth and blend the colored pencils together. You can use a wadded-up piece of paper towel, or even Q-tips. In some places, Q-tips are called cotton buds.
About the design
I based the artwork for this project on a stencil.
I traced the stencil onto a piece of paper.
Then I made the changes I wanted. For example, I made Joseph’s face one solid area, added slats on the crib, and drew in the stained-glass lines. There were a few other changes, but that isn’t important. Instead, the purpose of this was to point out how easy it is to use stencils in pyrography.
Art Goals
I have 2 goals with this artwork.
- To mimic the look of stained-glass.
- To have the color get lighter the closer you get to the star. I wanted it to seem as though the star was illuminating the interior of the manger.
STEP 1 – PREP THE WOOD
Wood burning is much easier if you take the time to prepare the wood surface. Always smooth the wood surface by sanding it with at least 220 grit sandpaper.
Then thoroughly wet the board by misting it with water or running it quickly under the sink faucet.
The board should be damp to the touch, but not soaking wet.
Let the board dry and then sand again.
This piece of plywood board is broken up into three sections. The far left section is how the board looks without any prep work. The board has a rough texture. The middle section of the board shows how it looks after it was sanded, and the surface is a lot smoother. The right section of the board shows it after it was lightly misted with water and allowed to dry. Notice how rough the board looks, but a quick sanding will remove that and leave an ultra-smooth board.
Doing the 4-step process (sand, mist, dry, sand) produces a super smooth surface, and the smoother the surface is the better the burn results will be.
STEP 2 – PYROGRAPHY
The first thing we will do is the pyrography.
Use a writer pen tip and burn over all of the trace lines.
Burn the lines to a dark brown or black color.
How thick you make the lines between the pieces of ‘glass’ on the background is completely up to you.
I found it helpful to burn in little spots of dark color between the support beams on the manger.
This makes it easier to differentiate between the background and the support beans.
I burned a squiggly line between the support beams on the roof.
After all of the trace lines are burned over, then rub a pencil eraser over the area to remove any residual graphite.
Switch to a shader pen tip and burn the area between the support beams to a dark brown or black color.
I’m only burning along the edges that I can easily keep the pen tip in optimal position. This will ensure the edges stay crisp and clean.
Continued work.
If you are right-handed, the easy edges will most likely be the opposite of mine.
After the easy edges are burned along, then rotate the board and burn along the remaining edges.
You might be able to see a touch of smoke coming from the pen tip. I have the heat set pretty high, but not so high that I get overburn. Overburn is when the wood around the pen tip discolors instead of just the wood under the pen tip.
The very last thing I did was burn the border around the edge of the wood. I have a tutorial that goes into detail about creating border frames. Here’s a link to that tutorial: BORDER FRAMES
When I burned along the bottom of the board, I darkened up the entire area under the scene.
STEP 3 – USING COLORED PENCILS
Let’s go over some basic information about how I used the colored pencils in this artwork.
COLOR SCHEME
To come up with a color scheme, I printed out a photo of the artwork after the pyrography was done. Then I colored in the print out with colored pencils.
As you can see from this composite photo, I colored in several printouts.
On the bottom of the page, I wrote down notes about the colors I used.
Once I had a color scheme I liked, I made very detailed notes that listed the colors used in each area. The colors were listed in the order that I used them, so I could easily replicate the results.
You may, or may not, like the color scheme I chose to go with. I wanted Mary and Joseph to have colors that really stood out from the background. Another consideration was that I wanted the different elements to all have their own color scheme. This meant the background was different from the manger, and both of them were different from the people.
ALTERING A COLOR
This test board shows how you can take one color and alter how it looks by adding white.
For this test board I used a dark blue color to create three little swatches of color. I created three swatches so that you can compare how the color changes.
Then I colored over the right two swatches with white. The far left swatch is left alone so that we can see how the blue looked before it was altered.
Lastly, I added more blue to the swatch on the far right. Once all of this is done, each swatch on this test board is a different hue of blue.
A variation of this is to start with white and create three color swatches; just like I did with the blue.
Ignore the middle sky row. That will be useful later on.
Then I colored over the left two swatches with the blue color I have been using on the test board.
Yes, I accidently started to color over the first color swatch. Oops.
Lastly, I applied another layer of white to the swatch on the far right.
This method of color application creates two more hues of blue that are different in value from the first three created.
I put yellow numbers by each of the different hues of blue that were created just using two pencils; blue and white. Ok, technically the first color swatch only used one pencil.
BLENDING COLORS
I’m using birch plywood for this color test.
If you look at this test board you can see little white lines running through the color swatches.
Yellow arrows are pointing at two such lines. These lines show up if even if you’re burning over them, and it’s a characteristic that I’ve only seen in plywood. I often refer to this as slivering because it looks like the wood has missing slivers of wood.
If you compare the two color swatches in the circle, you’ll see that the right one is smoother looking.
The reason is that the color has been pushed down into the missing slivers of wood. With this example, I used Prismacolor’s white colored pencil to blend and smooth out the color.
You can also use something like a blending stump to smooth out the color. As I said before, you can use paper towels, Q-tips, etc.
Here’s a comparison photo showing the color swatches before and after I rubbed over them using a blending stump. The color is a bit lighter, but there are fewer white lines in the patches showing.
I almost always apply at least two layers of color to give it a richer tone. With the test board I applied the color just to the right patch.
Here’s how it looked after I was done. The right patch is darker, and some of the white lines are more noticeable.
I rubbed the stump over the right patch to smooth out the newly applied layer of color.
This before and after composite photo shows how the patched looked right after I created them (top). The bottom shows the patches after I was done working on them.
FIXING MISTAKES
As you can see, I accidently applied some blue to the first color swatch. A yellow arrow is pointing to the problem spot.
I didn’t want the blue there as the white was part of my comparison panel.
To fix it, I used an eraser for ink pens and rubbed over the problem area.
Here’s how it looked after I was done. It’s not perfect, but it’s a lot better than it was before.
Applying white over the erased area will improve how it looks.
Here’s how the test area looked once I was done. You can still see a trace of the blue color, but it’s much better than it was.
You can also use an electric erase to remove color. Mine is equipped with an eraser for ink.
Here’s how it looks once I was done. This blue color is pretty dark, so there is going to be some residual color left behind.
The more layers of color you have, the longer it will take to remove them.
Plus, the more layers of color, the harder it is to remove all traces of the color. Especially if you’re using a dark color like I was.
CLEANING PENCILS
After I use the white colored pencils to smooth and blend the color, the tip of the pencil gets coated with that color.
I always clean the pencil before I use it with a different color. To clean it you can color on a clean sheet of paper until the color is removed, but this uses up more of the colored pencil.
What I prefer to do is rub the tip over a pencil eraser. I like to use a kneadable eraser because conforms to the shape of the pencil tip. I shove the tip into the eraser and twist the eraser around to clean it up.
It doesn’t take long to clean the blue color off of the white pencil.
PENCIL EXTENDER
In some photos you will see the white pencil encased in a metal sleeve. The metal sleeve is a pencil extender. I use them when the pencil gets too short to comfortably hold.
Here’s a picture of a pencil extender. The right side has a small piece of compressed graphite in it.
STEP 4 – BACKGROUND
The first thing we will do is paint in the background.
I used the following colors on the background (yes, there are a lot of them). They are listed in alphabetical order. The number in the parenthesis is the order that I applied the colors to the artwork.
Note that the white colored pencil doesn’t have a number in parenthesis assigned to it. That’s because I used it to blend and smooth the colors.
Aquamarine #905 (7)
China blue #1100 (2)
Cobalt turquoise #105 (6)
Crimson lake #925 (11)
Dahlia purple #1009 (12)
Grass green #909 (9)
Indanthrone blue #208 (1)
Mediterranean blue #1022 (3)
True blue #903 (4)
Parma Violet #1008 (13)
Peacock blue #1027 (5)
Sunburst yellow #917 (8)
Violet #932 (10)
White #938 – used to blend, smooth, and lighten the above colors
I broke the background up into three sections. The first section is the outer background. This is the area outside of the manger.
With the outer background, the colors were applied as I created them on the top row of the test panel.
1) The color is applied to pieces on the background.
2) Then white was applied over the color.
3) Lastly, another layer of the color is applied to the piece
The middle background is the area inside the manager between the support beams and the back edges of Joseph and Mary.
For the color in the middle background:
1) the color is applied to some background pieces.
2) White is applied over the color.
This will produce a color that is lighter in hue the outer background. That will help create the illusion that the star is illuminating the interior of the manger.
The inner background is the center area that is framed by the star, Joseph, Mary, and Jesus.
The color on the middle background applied just like I did with the bottom row of the test panel.
1) White is applied to pieces on the background.
2) Then the color is applied over the white.
3) Lastly, another layer of white is applied to the background pieces.
We’ll start with indanthrone blue.
Begin by applying the color to a number of background pieces, starting with the outer background.
I colored in somewhere around every 4-5 piece on the background.
Next, color over the pieces with a white colored pencils to smooth and blend the color. Or, if you prefer, use a blending stump.
After the pieces are coated with white, then apply another layer of indanthrone blue.
Continue to work your way around the outer background coloring in as many or as few pieces as you want.
Then re-color over the pieces with white to smooth, blend, and lighten.
Since this is the outer background, apply one more layer of indanthrone blue over the pieces.
Next, use the indanthrone blue and color over some of the middle background pieces.
Then switch to white and color over the pieces.
Don’t apply blue over them as we want the middle background to be lighter in color than the outer background.
Now use the white colored pencil, and apply a layer of color over all of the inner background pieces.
Color each piece individually, and avoid coloring over that the dark burn lines.
Afterwards, use the indanthrone blue and color in as many of the inner background pieces as you want. I colored in quite a few.
Lastly, color over the inner background pieces with white. This make the inner background lighter in color, and help create the illusion that the star is illuminating the interior of the manger.
Now switch to China blue and repeat the same steps.
Start with the outer background and color in a number of the pieces.
Cover the pieces with a layer of white.
Then go over the pieces one more time with the China blue.
Work your way around the outer background. Once that is done start on the middle background.
Apply a layer of white over all of the pieces you colored with China blue.
Don’t forget to color several of the inner background pieces.
Lastly, apply one last layer of white to the inner background pieces.
Repeat the coloring process with Mediterranean blue.
I’m not going to show individual steps because the process is the same for all of the remaining colors.
Here is how the board looks after true blue was applied to the background.
Peacock blue has been added to the background.
I do like how all of the different shades of blue look on the background.
Next up is cobalt turquoise. This color has a touch of green in it, so makes a nice addition to the background.
This is how the board looked after I colored in a few pieces with aquamarine.
It’s very easy to see which pieces were colored in with sunburst yellow.
I only colored a few because I didn’t want to shift the overall color out of the blue spectrum.
I had the same attitude with the grass green.
Granted, it doesn’t stand out as much as the yellow, but I still kept my use of it to a minimum.
Here’s how artwork after violet was applied to the background.
I do like the violet color. Looking at this now, I wish I had used the violet sooner so that more pieces could have been colored in with it. I think this would have looked great to have more of the purple along the outer edges of the outer background.
Here’s the artwork after crimson lake was used to color a few pieces. Again, this was a color I didn’t use a lot of. Granted, by this time there weren’t many pieces left to color.
The next color I used was dahlia purple. I had originally thought I was done, and had called it a day. After looking at the artwork the next morning, I discovered I had missed coloring in a couple of pieces.
To finish up the background, I used parma violet on the last couple of pieces.
STEP 5 – THE MANGER
Next up is the manger.
For the roof tiles I used: Terra cotta (944), white (938), and poppy red (922)
With the support beams I used dark brown (946), sienna brown (945), and white (938).
Begin by applying a layer of terra cotta to all of the roof tiles.
Then use white to smooth and blend the color.
Next, color over the tiles using poppy red.
After that apply another layer of terra cotta.
Lastly, use white to smooth and blend the color.
With the support beams, begin by applying a layer of dark brown. In this photo you can really see the slivered texture of the plywood.
I didn’t apply a very thick layer of dark brown.
Here’s how the manger looks so far.
Switch to sienna brown and apply a layer of that color over all of the support beams.
Next, use white to smooth and blend the color.
The white really lightens up the brown color, and I wanted that. I didn’t want the beams to get so dark that you couldn’t tell them apart from the dark burn marks.
Now use the dark brown and cover over the beams one more time.
Afterwards, reapply the color along the corners and outer edges of the beams. This is to darken and create subtle shadows.
Finishing up.
STEP 6 – THE STAR
Now’s let’s color in the star.
I kept it very basic using white (938) and lemon yellow (915).
Apply a layer of white to the entire surface of the star.
Then apply the lemon yellow to the outer edge of each point on the star.
Color in the bottom third of the lower star point with the lemon yellow.
Next, apply a layer of white to smooth and blend the color.
STEP 7 – JESUS & THE CRIB
In this step we’ll paint in Jesus and the crib.
For Jesus I used light peach (927), beige rose (1019), and nectar (1083).
With the straw I used seashell pink (1093), white (938), and beige sienna (1080).
On the crib slats I used yellow ochre (942), sienna brown (945), white (938), and dark umber (948).
The crib frame was colored with light umber (941), dark brown (946), and white (938).
Begin by coloring light peach over the skin.
Switch to beige rose and apply a layer of that over the skin.
Lastly, apply a thick layer of nectar. I didn’t use white on the skin because I didn’t want it any paler than it already was.
With the straw, start out by applying a layer of seashell pink over the surface.
Then use white to blend and smooth out the color.
Next, apply a layer of beige sienna, but only apply the color to the bottom half of the straw.
The beige sienna will create a touch of a shadow along the bottom of the straw.
Apply another layer of seashell pink over all of the straw.
Finish up the straw by coloring the lower half with beige sienna. I do think that my straw is too pale in color. It looked better on paper. What color or colors would be best for darkening up the straw? I’m not sure. My first inclination is to say a light layer of yellow ochre.
Speaking of yellow ochre, use that color and apply a layer to all of the slats on the crib.
Then go over the slats with sienna brown.
Now apply a layer of white to smooth and blend the color.
The last color we’ll use on the slats is dark umber. Apply a light layer of dark umber over all of the slats.
The reapply the dark umber along the lower portion of each slat.
Apply another layer of dark umber along the upper portion of each slat. This will give the slats a slightly rounded or bowed appearance.
Switch to light umber and apply that to the crib frames.
Then color over the frames using dark brown.
Afterwards apply a layer of white to smooth and blend the colors.
Lastly, apply another layer of dark brown. Concentrate the color along the edges of the frames.
STEP 8 – JOSEPH
Now let’s take care of Joseph.
With the hair I used sepia (948), dark umber (947), and white (938).
On the flesh I used light peach (927), beige rose (1019), and nectar (1083).
With the robe is used yellowed orange (1002), pale vermillion (921), cadmium orange (118), and sienna brown (945).
Start by applying a layer of sepia to Joseph’s hair.
After that, apply a layer of dark umber to the hair.
Use white to blend and smooth out the color.
Then reapply the dark umber along the back of the hair.
With the skin, start by applying a layer of light peach.
Continued work.
Switch to beige rose and apply that to all of the skin.
Lastly, apply a thick layer of nectar to the skin.
Now let’s work on the robe. We’ll begin by applying yellowed orange to the robe.
Yes, this is a bright color, but it stands out from the background. 😊
Now apply a layer of pale vermillion over all of the robe. This will tone down the brightness of the yellowed orange.
Here’s how the robe looks so far.
Blend and smooth the color. I didn’t use white for this because I didn’t want the robe to get lighter in color.
Here’s how the robe looked after I was done rubbing a blending stump over it.
Use cadmium orange to create the shadows on the robe.
To create the shadows, apply the orange color to the right and lower edges of the robe.
Then switch to sienna brown and darken up the shadows even more.
Basically, you will be coloring over the cadmium orange.
Blend and smooth the colors.
Next, apply a layer of pale vermillion to the shadows.
Follow that with another layer of sienna brown.
Lastly, blend one more time and we’re done with Joseph.
STEP 9 – MARY
Mary will be the subject of this step.
With the hair I used sepia (948), dark umber (947), and white (938).
On the flesh I used light peach (927), beige rose (1019), and nectar (1083).
With the robe is used canary yellow (916), Spanish orange (1003), yellowed orange (1002), pale vermillion (921), and cadmium orange (118).
On the shoe I used pale vermillion (921), and sienna brown (945).
Start by applying a layer of sepia to the hair.
Then add some dark umber along the lower left side of the hair.
Lastly, apply a layer of white to smooth, blend, and lighten the color.
Next, add a layer of light peach to the skin.
On this piece of plywood, the peach color doesn’t look much different than the adjacent uncolored wood.
Go over the skin with beige rose.
After that, add a layer of nectar.
Now use canary yellow and start coloring over the robe.
The entire robe gets a layer of the yellow.
Switch to Spanish orange and apply that over all of the robe.
The Spanish orange creates a richer yellow hue that has a touch of orange to it.
Here’s how the robe looks so far.
Now use yellowed orange to create the foundation of the shadows.
Apply the yellowed orange along the left and lower edge of the robe.
Blend the colors.
Then use pale vermillion and darken up the shadows.
Some of the pieces on the robe are rather small. It helps to have a sharp point on the pencil to work in the small areas.
I colored over three-quarters of the robe with pale vermillion.
Next, switch to cadmium orange and darken up the shadows.
Continued work.
Blend the colors.
Lastly, add a little more Spanish orange to the highlights on the robe.
Finishing up.
Apply a layer of pale vermillion to the shoe.
The apply a layer of sienna brown, and we’re done with Mary.
STEP 10 – SIGNING
The last thing to do is sign the artwork.
I used a permanent fine tip mark to sign my name. I didn’t burn in my name because you should never ever burn over color.
Because color has been added to the artwork, always use a spray on wood finish or sealer for the first layer. After that you can use a brush on type if you prefer.
IN CONCLUSION
That’s it for this blog. I hope you enjoyed the blog and will try it for yourself. It really is a fun little project to do.
I’ll answer some final questions before I go. The artwork was burned on birch plywood. It measures 6 x 8 inches (15.2 x 20.3 cm), and it took me 2 hours to create it. Ironically, I spent more time trying to come up with a color scheme I liked that I did on the final artwork.
Until the next blog,
Brenda
Nov 30, 2021
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