In «White», Kenya Hara — Muji's art director — treats 白 (shiro) not as a colour but as emptiness and 間 (ma). His white is neither a lazy pure white nor cream: it is the physical white of washi paper, faintly warmed by a kraft/newsprint tint, carrying a deckled feathered edge and the matter-of-fact honesty of Muji's materials. This system translates that reading into interface language. A warm paper-white ground fills almost the whole plane; a single quiet mark, printed in pale sumi-ink gray, sits weightlessly in the emptiness around it. Nothing hurries, nothing decorates — the negative space is the content, and one element per plane is the rule.