To start with, it is a good idea to have a look at some photos of logs and draw a few sketches. Choosing colours to match wood which is available locally will make the finished wall look even more authentic.
A base colour, somewhere between cream and mid brown, depending on how dark the logs are going to be, is then applied to the wall with a roller.
Once this is dry, the logs' outlines are marked out with chalk marks eight inches apart, measuring from the floor, on either end of the wall. The marks are connected into lines by stretching a chalk line between them and snapping it against the wall.
These lines are then traced using a half-inch paintbrush dipped into a dark shadow colour, created by mixing brown, purple and black paint. Inexpensive sample or remnant paints are ideal for this purpose.
Before the lines dry, their top and bottom edges are blended out by dragging a two inch brush dipped in plain water along them.
Odd cracks in the logs are drawn next, using a small paint brush and the shadow colour.
Following this, a light glaze consisting of equal parts of thinner, glazing liquid and paint of the desired colour, between honey and raw sienna, is applied in horizontal strokes with a three to four inch brush.
Keeping the bristles as dry as possible achieves a streaky appearance. This process is then repeated with a darker glaze, using chocolate, burgundy or burnt umber paint.
A touch of base colour and a lot of the lighter glaze should be allowed to show through. Making the logs darker near the lines and lighter in the middle creates an illusion of shape.
Corks pressed into some of the darker areas will then create an appearance of knots.
A base colour, somewhere between cream and mid brown, depending on how dark the logs are going to be, is then applied to the wall with a roller.
Once this is dry, the logs' outlines are marked out with chalk marks eight inches apart, measuring from the floor, on either end of the wall. The marks are connected into lines by stretching a chalk line between them and snapping it against the wall.
These lines are then traced using a half-inch paintbrush dipped into a dark shadow colour, created by mixing brown, purple and black paint. Inexpensive sample or remnant paints are ideal for this purpose.
Before the lines dry, their top and bottom edges are blended out by dragging a two inch brush dipped in plain water along them.
Odd cracks in the logs are drawn next, using a small paint brush and the shadow colour.
Following this, a light glaze consisting of equal parts of thinner, glazing liquid and paint of the desired colour, between honey and raw sienna, is applied in horizontal strokes with a three to four inch brush.
Keeping the bristles as dry as possible achieves a streaky appearance. This process is then repeated with a darker glaze, using chocolate, burgundy or burnt umber paint.
A touch of base colour and a lot of the lighter glaze should be allowed to show through. Making the logs darker near the lines and lighter in the middle creates an illusion of shape.
Corks pressed into some of the darker areas will then create an appearance of knots.
