NEGATIVE SPACE IN POSTER DESIGN: APPLICATION FEATURES

Abstract

The study focuses on the methods of using negative space in poster design and aims to identify key principles of using negative space to create illusions, balance and focus, as well as to develop recommendations for practicing designers. The article reveals how negative space affects the psychological perception of posters, contributing to better memorization of information and emotional engagement of the audience. In addition, a comparative analysis of traditional and modern poster design was carried out, in order to determine the evolution of the use of negative space in historical and cultural aspects. Purpose. The purpose of the study is a comprehensive analysis of the features of the use of negative space in poster design, with an emphasis on its role in the formation of visual harmony, strengthening the message and adaptation to different contexts. Methodology. The study is based on a combination of theoretical and empirical methods. An analysis of scientific literature was conducted, including classic works on graphic design and modern journals on visual communication. Qualitative methods, such as semiotic analysis, were used to uncover the symbolic meaning of negative space, as well as quantitative methods, such as statistical analysis of data on design effectiveness (readability, gaze fixation time). Tools included visual modeling software such as Adobe Illustrator to create experimental poster prototypes. Results. The study found that negative space in poster design is not a passive element, but an active tool for creating visual illusions, such as forming hidden shapes or emphasizing key elements. In particular, in marketing posters, its use increases attention by promoting a better balance between text and image. In social advertising, negative space enhances emotional impact, allowing the audience to «draw» the message in their imagination. Four main features were identified: 1) micro- and macro-levels (small space between elements vs. large background); 2) color variations (not only white, but also colored negative space); 3) integration with typography to improve readability; 4) adaptation to digital formats, where limited space requires minimalism. Experiments have shown that posters with optimal negative space (30–50% of the area) have higher efficiency compared to crowded designs. Practical recommendations have been developed, including a space balancing algorithm for beginners. Scientific novelty. The novelty lies in the development of a classification of negative space types specifically for poster design, taking into account cultural characteristics (for example, integration with ornaments). For the first time, a model of the psychological impact of negative space based on Gestalt principles, adapted to modern media, is proposed. The study expands the theoretical base by introducing the concept of «dynamic negative space» for interactive posters, which was not sufficiently covered in previous works. This contributes to the development of graphic design as a scientific discipline in Ukraine and China. Practical relevance. The results of the study have direct application in the professional activities of graphic designers, allowing to optimize the process of creating posters to increase their effectiveness in real campaigns. The use of negative space in poster design contributes to the creation of more attractive materials that increase conversion and audience engagement. The practical significance lies in providing tools to increase the competitiveness of graphic designers in the international market, where minimalism and efficiency are key trends.