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"White" is not a book about colors. It is rather Kenya Haras attempt to explore the essence of "White", which he sees as being closely related to the origin of Japanese aesthetics - symbolizing simplicity and subtlety. The central concepts discussed by Kenya Hara in this publication are emptiness and the absolute void. Kenya Hara also sees his work as a designer as a form of communication. Good communication has the distinction of being able to listen to each other, rather than to press one's opinion onto the opponent. Kenya Hara compares this form of communication with an "empty container". In visual communication, there are equally signals whose signification is limited, as well as signals or symbols such as the cross or the red circle on the Japanese flag, which - like an "empty container" - permit every signification and do not limit imagination. Not alone the fact that the Japanese character for white forms a radical of the character for emptiness has prompted him the closely associate the color white with emptiness.
List of contents
The Discovery of White: White as Sensory Experience, What is Color?- Paper: White as a Sheet of Paper, Paper as Creative catalyst, Ruminating on White, White Square Paper, Folding Language, On Letters, Typeface and Typography.- Emptiness: The Meaning of Emptiness, Emptiness as Limitless Potential, The Receptivness of a Red Circle on a White Background, Emptiness and White, The Tea Ceremony, The Origins of the Japanese-style Room, Through Dwells in Emptiness.- Back to White: Suiko and the Irreversible Text, A Leap toward White, Cleaning, Defamiliarization, White Sand and Moonlight.
About the author
Kenya Hara (1958) is a graphic designer, Professor at the Art University Musashino and communication advisor for Muji.
Summary
"White" is not a book about colors. It is rather Kenya Haras attempt to explore the essence of "White", which he sees as being closely related to the origin of Japanese aesthetics – symbolizing simplicity and subtlety. The central concepts discussed by Kenya Hara in this publication are emptiness and the absolute void.
Kenya Hara also sees his work as a designer as a form of communication. Good communication has the distinction of being able to listen to each other, rather than to press one’s opinion onto the opponent. Kenya Hara compares this form of communication with an "empty container". In visual communication, there are equally signals whose signification is limited, as well as signals or symbols such as the cross or the red circle on the Japanese flag, which – like an "empty container" – permit every signification and do not limit imagination. Not alone the fact that the Japanese character for white forms a radical of the character for emptiness has prompted him the closely associate the color white with emptiness.
