So what is the best way to divide space?
It’s natural that we have a preference to objects that are asymmetrical in nature; we see them as being more attractive therefore we always want to spend more time with those things. The moment you put something into space it changes the way space experienced, no matter how big or small an object appears to be. So to keep visual interest within the reader you must make sure you change the way the elements interact in this space to make it interesting and dynamic as possible. Static becomes boring and you risk the chance of completely losing the interests of the reader, this is why changing the expectancy or rhythm of your design will spark a higher degree of interactivity.
There are many designers that have a wide reputation for using all kinds of chaotic elements and massive use of active space in their designs. Designers like Paula Scher and David Carson are excellent examples of designers who use space to the fullest and are easily recognizable from almost anything else out there. Aside from typographical effects artist like Michelangelo’s Sistine Chapel make great visual use of space to the point where looking at the painting itself you can’t tell what the architecture ends in the painting begins. And their many ways to separate space within design designs that hold elements are called black space and everything else that doesn’t hold an element is considered whitespace.




Most common techniques used today to separate space are line elements and shapes color and intended whitespace many designers make the mistake of thinking every thing on the page has to be filled with some form of contents, when in fact the white space draws more attention to your elements which otherwise could not have been done without it.
The difference of relationships that you model with objects is really determined by the strategy you use. Their proximity to one another spaces between the shapes and where on the plane or page they are located all relate to the overall message of the design. You may also decide to determine the form arrangements based on a prospective element and near how far the objects are to one another, or to the viewer, based on its size. Contrasting color can also determine how you see objects in space where the color is cool or warm causes it to withdraw or advance.
