How to Build a Gallery Wall
Pairing Coastal and Urban Aerial Art

A gallery wall works when the prints clearly belong together. Here's how to mix coastal and urban aerial photography so the result looks curated rather than collected โ€” including three layouts you can copy directly.

Albert Park Lake aerial photography print โ€” gallery wall art Melbourne

Why Aerial Photography Makes Gallery Walls Easy

Every gallery wall needs a unifying logic โ€” subject, format, palette, or medium. Aerial photography hands you all four at once: the same elevated perspective in every frame, naturally geometric compositions, a consistent Melbourne palette of blue, grey and gold, and one archival print medium throughout.

That's the advantage of building from a single photographic collection instead of mixing artists: the coherence is free. The remaining work โ€” the interesting part โ€” is arranging the differences in subject, mood and time of day so the wall reads as a conversation, not a repeat.

Pairing Cool Coastal with Warm Urban

Melbourne's water and its city sit at opposite ends of the colour spectrum. Coastal frames โ€” the bay, Albert Park Lake, the foreshore โ€” run cool: blue-greens and the silver-grey of open water. Urban frames run warm to dark: first light on tower glass, the charcoal of the CBD grid.

Use that contrast; don't fight it. A cool coastal print hung next to a warm urban one makes the gold richer and the water deeper โ€” the same warm/cool balancing act a well-designed room does with its furniture and finishes.

If you want a bridge between the two, the Albert Park Sunset is the collection's natural connector: cool blue-grey lake, green-gold parkland, and a skyline carrying both warm reflections and cool glass. It sits comfortably next to either extreme.

Three Layouts That Work

The Horizontal Triptych

Three equal-sized prints in a line, 4โ€“6cm between frames. The most formal option โ€” built for corridors, the wall above a long sofa, or a dining room viewed from a seated position. Alignment is everything here: tops level, gaps identical. Small errors are loud in this format.

From the collection: Albert Park Sunset in the centre, flanked by the 333 Collins dome and Floating Over Melbourne. Cool water in the middle, architectural copper and warm balloons either side.

The Anchor and Flank

One large print (90 ร— 120cm or 120 ร— 160cm) as the anchor, two 60 ร— 80cm prints flanking it, their centres aligned with the big print's midpoint. Balanced without looking regimented. Best when you want one image clearly in charge โ€” hang the anchor first, position the rest off it.

The Asymmetric Cluster

Three to five prints in mixed sizes around a shared centre of gravity, largest print slightly above and off-centre. The most relaxed, contemporary option โ€” suits high ceilings and awkward walls. Lay it out on the floor first, photograph it, and hang from the photo. And resist symmetry; the asymmetry is what makes it look intentional.

Hanging Tips That Save You Re-Drilling

Paper templates are the cheapest insurance there is. Cut paper to each framed size, blu-tack the arrangement to the wall, and live with it for a day โ€” what looks right at 9am can look wrong under evening lamps. Only then drill.

For spacing, a 4cm square of cardboard held between frames beats a tape measure every time. And keep every frame the same finish โ€” matte black throughout, or oak throughout. Varied prints in matching frames almost always beats the reverse; mixing frame finishes well is harder than it looks.

For frame selection and mat sizing, the framing guide goes deeper. If you're planning a wall around two or three prints from the collection, get in touch โ€” I'm happy to advise on combinations for your space, and multi-print orders ship together.

All three prints in the collection work as a series. Multi-print orders โ€” just ask.

Browse the Collection