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1
Combine the shiro-an and shiratamako in a heavy pan over low heat, then add water gradually, stirring continuously with a wooden spatula, so the starch is absorbed evenly into the bean paste rather than forming lumps that cannot be worked out later. Cook until the paste pulls cleanly from the sides of the pan and holds a shape when pressed — it must be smooth, pliable, and entirely non-sticky. Transfer to a damp cloth-covered tray and allow to cool to hand temperature.
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2
Divide the cooled nerikiri into portions according to the colours required by the seasonal design, then work each colour separately: press a small well into each portion and introduce the natural pigment — matcha for green, sakura or red colour for pink, kuchinashi for yellow. Fold and press the pigment in with the heel of the hand, working only until the colour is fully incorporated, so the paste retains its silken give rather than tightening into something elastic and unworkable. This is where the dish lives or dies: cease the moment the colour is uniform and the paste yields softly without resistance, because over-kneading at this stage destroys the texture irreversibly.
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3
To achieve petal-like colour gradation, flatten a portion of the outer coloured nerikiri into a thin disc, then place a smaller quantity of a second, lighter-tinted nerikiri at the centre, so that when the two layers are drawn together the colour deepens naturally from the outer edge toward the centre rather than reading as a flat, single-colour block. The transition must grade as a petal shifts from base to tip. Assess by sight before proceeding: the gradation should look considered and inevitable, not accidental.
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4
Place one portioned ball of an filling at the centre of the prepared nerikiri disc, then draw the edges up and around the filling, pressing gently so no air is trapped inside — a pocket of air will push through the surface when the piece is moulded or pressed. The exterior should be taut and smooth with no seam visible at the base.
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5
Shape each piece according to the seasonal form: press into a dampened wooden kata mould and release with a clean tap, or hand-sculpt using the fingertips (tejime). For moulded pieces, press firmly enough to capture all detail of the mould, so the impression emerges crisp and fully defined rather than soft-edged and indistinct; for hand-sculpted forms such as a maple leaf, use a bamboo skewer or fine tool to render vein lines. Assess by sight: the finished piece should read simultaneously as the seasonal subject and as wagashi.
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6
Arrange the completed namagashi on individual lacquerware or ceramic dishes appropriate to the season. The surface should carry a faint lustre from the natural moisture of the nerikiri — neither dull and cracked, which tells you the paste dried out, nor slumped, which tells you it was too wet when shaped. Serve on the day of making, or within one day at most.