Begin with the opening
It is easy to begin a composition by placing objects. A circle goes here, a title sits there, an image occupies the remaining area. The empty parts become a consequence of those decisions.
Try the reverse. Draw the gap first. Decide how much air a title needs around it, or how two forms should hold a space between them. The objects begin to answer to a relationship rather than simply occupying a page.
Scale changes the role
At a small size, a counter may be read as a detail inside a letter. Enlarged, the same opening can become the dominant shape. Nothing has been added, but the hierarchy has changed.
This is useful when a composition needs more intensity without more ingredients. A crop or a shift in scale can make an existing relationship visible.
A useful way to test it
Remove the colour and look at the composition as a set of openings. Does the eye have a route through it? Is every gap equally loud, or is there a rhythm of compression and release?
The aim is not to fill every area with meaning. It is to recognise that an unprinted part of the page can be a deliberate decision.