Plan a gallery wall by making paper shapes the size of your actual frames, arranging them as a group and testing that group against the room. The paper lets you change the layout before committing to positions. It also makes the empty spaces between pictures easier to judge.
You do not need a complete set of matching frames or a universal spacing rule to begin. Start with the pieces you want to display and the wall you actually have. This guide covers visual planning; the correct fixings, wall checks and installation method depend on the frames, wall construction and hardware instructions.
Decide what the group should do in the room
Stand where you normally enter or sit and look at the wall. Is the gallery meant to gather small family photographs into one readable group, give a sofa a visual backdrop or make one special piece easier to notice? Choose one main purpose before moving everything around.
Look at the furniture and nearby objects too. A tall lamp, a door opening or a large plant can influence how much wall feels available, even if the plaster extends farther. You are arranging pictures within a room, not filling a blank rectangle in isolation.
Write a short intention, such as “a compact group above the sideboard with the landscape print as the main piece.” This is not a design rule. It gives you something to return to when you are comparing two layouts and both seem possible.
If the room already feels crowded, use the guide to creating a cosy living room without clutter to decide whether adding more objects is the right next step. A smaller group can be a complete arrangement rather than an unfinished version of a larger one.
Measure the outside of each frame
Use the frame’s full outside width and height, not just the dimensions of the print or mount opening. The outer edge is what determines the space occupied on the wall. Include any unusually projecting decorative edge in your measurement.
Make a simple list with an identifier for each piece. For example, A might be the landscape print, B the square photograph and C the small sketch. Record whether each piece is intended to hang horizontally or vertically so you do not accidentally test an orientation you cannot use.
Trace or measure each outline onto plain paper. Join sheets if needed, keeping the finished shape close to the measured size. Label the front with the identifier, dimensions and a short description of the image. You can also mark which way is up.
IKEA’s picture-wall planning guide suggests using paper templates to test frame placement. The comparison exercises here extend that basic idea into an original room-planning routine; they do not require buying the products shown in the retailer’s examples.
Build one arrangement on the floor first
Use a clear area to try the group before putting anything against the wall. Start with the piece you want people to notice first, then place the other shapes around it. Keep the actual artwork nearby so you can compare image weight as well as size.
Choose one organising idea for the first attempt. You might align the bottoms of a row, keep a small group roughly rectangular or balance several smaller frames beside one larger frame. These are options to test, not compulsory layouts.
Do not try to optimise every gap immediately. First decide whether the overall shape belongs in the available space. A group that is obviously too wide will not become suitable because its internal gaps are perfectly measured.
Take a photograph of the arrangement and label it A. Then try one meaningful change, such as moving the largest piece off-centre or removing the smallest frame. Photograph that as B. Comparing two recorded options is easier than repeatedly rearranging the floor and forgetting what you liked about the earlier version.
Check the total width with a simple calculation
For a straight row, add the frame widths and the gaps between them. Here is a fictional planning example with three frames, each 30 cm wide, and two proposed gaps of 6 cm:
30 + 30 + 30 + 6 + 6 = 102 cm total width.
If the space you have chosen for the group is 120 cm wide and you centre the row within it, the remaining 18 cm gives 9 cm on each side. That calculation describes this arrangement only. It does not establish an ideal gap or a required margin for other rooms.
| Measurement | Example |
|---|---|
| Three outer frame widths | 90 cm |
| Two proposed gaps | 12 cm |
| Complete row | 102 cm |
| Chosen planning area | 120 cm |
| Remaining space | 18 cm |
For an irregular group, measure the furthest left and right edges and the highest and lowest points. Record that overall outline as well as the individual gaps. You can then test whether the group’s footprint relates comfortably to the furniture beneath it.
Keep the calculation separate from hardware placement. The frame outline is not the fixing point. A hook, wire or bracket can put the hanging point somewhere inside that outline, and its position must be worked out using the actual frame and appropriate instructions later.
Test the paper group against the wall
Where the wall finish permits a suitable temporary attachment, use the paper shapes to test the layout at full size. Follow the attachment product’s instructions and test an inconspicuous area if appropriate; do not assume any tape is harmless to every finish.
If attaching paper is unsuitable, hold the templates with help or use a measured drawing and photographs instead. The purpose is to compare placement, not to create wall damage while trying to avoid misplaced fixings.
Look from your normal viewing positions. Sit on the sofa, stand at the doorway and move to the adjacent part of the room. Notice whether the group seems disconnected from the furniture or whether one frame appears crowded by a lamp or curtain.
Make one change at a time. Shift the whole group before changing individual gaps if the main problem is its position. Adjust the internal arrangement only when the overall location feels plausible. This keeps the test understandable and avoids changing several variables at once.
Compare the images, not only the rectangles
Paper outlines show scale, but they cannot fully represent the colour and contrast of the artwork. A small dark photograph may draw more attention than a larger pale print. Return to the actual pieces before deciding that equal dimensions mean equal visual weight.
You can write a simple note on each template, such as “dark portrait” or “pale landscape,” or place a small reference photo in the centre. Treat this as a reminder, not an accurate colour preview. The final appearance will also depend on the frame and glazing.
Check the group in the lighting you normally use. If the evening view matters most, revisit the layout then rather than deciding entirely in bright daytime light. The guide to warm evening lighting covers the room’s broader lighting choices.
Do not buy extra pictures simply to fill every empty corner of the layout. First ask whether the gap gives an important piece room to stand out. If the group feels unsettled, removing one item can be a useful test alongside adding another.
Keep a record before removing the templates
Once you prefer an arrangement, photograph it straight on and note the key measurements. Record the distance between selected frame edges and the overall position relative to a stable reference, such as the sideboard’s centre line.
Label the image with the frame identifiers so that two similar paper rectangles do not become interchangeable later. If the arrangement is deliberately uneven, note which edges you are using as references rather than trying to remember the look from a phone photograph alone.
Keep your paper templates until the actual hanging plan has been checked. They are a visual record, not a guarantee that the selected positions are suitable for drilling or adhesive hardware. Installation needs its own checks for the wall, frame weight, fixing method and any concealed services.
If a preferred position cannot be used safely or is not allowed in a rental, return to the paper layout and adjust it. A composition that works only at one exact unworkable point is not finished planning.
Judge the result by the room’s purpose
Before committing, return to your original sentence. Does the landscape remain the main piece? Does the group feel connected to the sideboard? Can you still use the room without the display competing with every other object?
The guide to why a decorated room may still feel unwelcoming can help if the issue seems larger than the picture layout. Sometimes the better change is to simplify the furniture surface beneath the group or reconsider the room’s competing focal points.
You can also choose to display fewer pieces now and store the rest for a future change. Keep the measured layout as a reference, but allow the group to reflect the art you actually want to see. The paper exercise has done its job when it helps you make a deliberate arrangement before the installation begins.