Colour sequence for Kura

Gordon Walters’ preparatory studies for the screen print Kura give us an insight into his working process.

I supply colour samples … as well as a half-size colour rough … to show how the colour should be registered. Then … I make a full-drawing in black ink for the camera copy. Because the koru is a complex image, I prefer to use a photo stencil so that my spacing is exactly as I want it. I always discuss the print and show my printer my rough design so that beforehand any technical problems can be dealt with.

In Walters’ handwritten notes, he tells printer Mervyn Williams how he has greyed the colours of Kura to stop the work ‘jumping around too much’.