White is an overabundance of light-stare at it for too long, you may be blind. Too much light brings too much colour. When all colours blend together in perfect harmony, they crave to whiteness. This inevitable form is inherent in excess. The task of finding form involves filtering out such superfluous things until it happens to the final outcome of a person. Pure ingenuity can be stupid, sometimes it’s best to just let a form come out. Tofu emerged from the chaotic process, took on a rectangular shape, and turned back to white again. This is the shape and color of tofu. Nothing else is tenable-only those can bring out its deliciousness.
The first four colours in Japan are red, blue, black, and white, or so. These colours can be expressed as pure attributes. Red refers to something that burns brightly like fire. Blue is an endless scene. The black is gloomy, losing all the light. White is a kind of light that stands out in an extremely clear way against a chaotic background. Most importantly, “whiteness” has a quality that transcends colour. The designer’s job is to get something to the surface, creating a cognitive horizon that rises from a noisy background. In other words, it focuses on the conflict between the characters and the background that occurs during the image creation process. This “whiteness” or itoshiroshi naturally attracts our eyes to the conspicuous image.
The author uses words to approach our impression of “whiteness”. He proposed to take out a hundred “whites” from his memory and write them down one by one, trying to revisit each one one by one, until the description of “white” merged with the air and wrote that there was no such thing as white, only let us experience the sensibility of white. If white is not a colour, but a sensibility or mentality, it is natural to approach white by collecting and arranging various white phenomena.