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A cut-out, an exhibition sheet and a travel poster are three different objects. What each one needs from the wall, and the sizes that hold the detail.

A crane, two line motifs and two fields of birds over water, all printed from carved blocks. How each type works on a wall and the sizes that hold the

He built colour sets for walls before he drew the prints. What those palettes were, why his posters need a quiet wall, and which size survives a normal room.

Circles, bands and type set on a hard grid. Bauhaus prints are built to be hung in groups, and this is how the arrangement keeps the geometry working.

Shapes cut from painted paper, placed flat on white. Matisse cut-outs need a plain wall and a calm frame, and then they carry a whole room on their own.

Line, proportion, one strong shape. Le Corbusier prints are closer to plans than to pictures, and they ask the same order of the wall and the same thin frame.

Dots that keep going, pumpkins that fill a wall. Kusama prints change a room by repetition, and that changes where they hang and how big they should be.

In a Kandinsky print the colour is the subject. That changes how much wall it needs, which room it suits, and what the frame is allowed to do.

Thin lines, muted colour, small gestures. Klee prints ask for a wall that is quiet enough to let them be looked at slowly, and for a size that does not

Yellows, blues and thick skies. Van Gogh prints need light and a wall that does not argue with them, and this is how to give them both without glare.

Picasso worked in blue, in rose, in broken planes. Each of those palettes asks for a different room, and this is how to pick the one that fits yours.

Three layouts that survive a real wall, the 5 to 8 cm gap that holds a group together, and the four mistakes that make a gallery wall look unfinished.