About Us

londonprintstudio is an artist-run, not-for-profit artists studio, workspace, publisher and gallery based in West London. With traditional printmaking equipment as well as a digital studio, there is a gallery, a wide range of courses, access to specialist technicians and large format printing. londonprintstudio works with artists, community organisations, galleries, educational institutions and the public. Creative collaboration is at the heart of the studio's practice.

Founded in 1974 by John Phillips and Pippa Smith, under the name Paddington Printshop, londonprintstudio works with established and emerging artists while developing varied community based art projects. Over the years clients have ranged from the Sex pistols to Lucian Freud: social campaigns have included stop and search, tenants rights and property speculation. Recent projects include the international exchange of artists portfolios between London and Tehran, celebrating the artistic spirit in both capitals and the development of creative work based training and experience for young graphic novelists and illustrators. Alongside the gallery dedicated to contemporary printmaking, the studio offers a wide range of courses, and access to printmaking facilities for artists and the public.

We welcome people from different backgrounds to join us; as well as open access facilities, there a lots of events and courses; there's a postgraduate printmaking programme; and there's a residency programme for artists.

On this website you will find details about our current, future and past activities.

  • ‘London Print Studio is an indispensable institution for the graphic arts nationally and locally. It is with uncontained delight that I have started working with LPS to ensure that their story of art and activism is known widely.’

    Mark Ringer, Executive Creative Director, Anthem July 2014
  • ‘I have been in contact and working regularly with John Phillips at londonprintstudio since the 1990’s and seen the incredible progress he and staff working with him have made over the years. Not only from basically shack conditions have they progressed to a modern well planned printmaking establishment with all the facilities for a professional to work in, but also they have made the premises available to beginners with excellent courses. There are opportunities to exhibit work, as well as being exposed to the work shown by other experts in the field. I myself had the chance to show a production of my own, which had been previously launched at the V&A Museum in the old workshop gallery, and more recently work produced at my Circle Press Studio in Notting Hill together with that of of three young associate book artists, ARC, who worked along side of me untilI I retired. This creative and educational facility has proved itself democratically successful. It needs the permanence of its own premises to carry on its good work. I support londonprintstudio and encourage others to do the same.’

    Ronald King, Circle Press, April 2014
  • ‘Brilliant show!‘ –  ‘Captive Light’, an exhibition of prints by John Phillips exploring captivity in Venice and Patarei prison in Estonia.

    Neil Libbert is a photojournalist, who has worked for the ObserverManchester GuardianThe Sunday Times, the New York Times,Granada TV and the Illustrated London News during his fifty five year career.



    Neil Libbert, January 2014
  • “Art in Action‘, which took a look at three community based print workshops. It was all about the potential of art to change things, to make our lives richer, better, healthier, freer. ‘Art is an activity that acts on and transforms our cultural habits…it enables us to play with, and reconfigure these everyday building blocks and in so doing learn to understand things differently’ (a quote from John Phillips). The londonprintstudio, with its culture of collaboration, education and generosity, is a rare place where this play can happen.”

    Murray Macaulay
  • Having known and worked with londonprintstudio for nearly 40 years in various capacities it is abundantly clear to me that the presence of the studio, a highly respected global art gallery and print shop has brought, and continues to bring, huge value to the people who live and work in Paddington. londonprintstudio’s prominent presence on the Harrow Road serves as a creative beacon to local children and adults as well as to local and aspiring artists.

    Apart from its national and international leadership in community arts londonprintstudio has provided a dimension to local life in Paddington that has demonstrated time and time again the power of art to change and develop inter-cultural values that unite communities, broaden horizons and establish a living heritage..’

    Neil Johnston, Director Paddington Development Trust
  • I have been using the Digital Studio for the past seven years to produce large-scale prints. It has this friendly atmosphere, and it is professional, with all the expertise you would need. Once or twice I have turned up with weird requests; they have been patient, and achieved what I needed. The results from the current printers are breathtaking – 25 years ago what was called ‘computer output’ was tiny, on thin paper, and looked like knitting. Old and new technologies work side-by-side, and I like the thread of radicalism and localism in the exhibition programme – something you don’t see much of elsewhere. It is a place for interesting conversations. I like the oddball books you find there, like David Rees’ ‘How to Sharpen Pencils’. And, of course, the prices are reasonable.

    Artist, James Faure Walker
  • ‘I returned this summer for the third time to londonprintstudio and found the same wonderfully inviting work environment, the same courteous and helpful staff, and even some old friends and other printmakers from 2010 and 2011. It felt like a homecoming. There is an energy here that makes you want to create art.

    When my wife found that she would be teaching in London for five weeks with our university’s summer program, “Baylor in Great Britain”, I wished that I could find a place to work and make prints. londonprintstudio was exactly what I had hoped for—a place where serious artists focus on their own work and openly exchange ideas and technical knowledge about the art of the print. It has been such a pleasure to work around mature printmakers without having to prepare lessons and organise the shop as I do in the U.S., allowing me the chance to focus on my own work. Thanks to John Phillips, the lovely staff and techs, and my fellow printmakers, londonprintstudio has become my second home. I love this place!’

    Professor Berry Klingman
  • “London Print Studio’s latest exhibition, Unfold, is a beautiful collection of hand made, pop-up and laser cut books and prints…worth a visit for anyone interested in bookmaking techniques and crafts, and a great reminder of just how lovely it is to pick up a handmade publication.”

    Rachael Steven – Writer for Creative Review
  • ‘Thank you for the support towards ‘The Albert Studio 2013’, project, by allowing me to use your scanning facilities which greatly aided its production.

    It has been a great pleasure and honour to have worked with your organisation and to have received the personal care and support, in using the facilities at LPS. I hope that you will consider working with me again in the near future.  

    Through doing this community project, your organisation has allowed me to appreciate the scope of a well established arts organisation, which is literally on my doorstep and realising the benefits which have greatly progressed my practice on a personal and practical level‘.

    Eileen Perrier
  • I often ask myself if printmakers make multiples because they believe in community engagement, or do they believe in community engagement because they make multiples? Either way, what distinguishes prints, and the people who make them, is this commitment to connecting creative practice, and collaborative values to a broader public. As an artist-run organisation, the londonprintstudio is committed to these ideals. Prints are alive and well as an art form as a result of the high quality and international reach of its studio, workshop, educational and exhibition programming‘.

    Beauvais Lyons
  • To see photography of this standard by young Londoners in The Other Side of Gold exhibition is hugely inspiring – and provides a fitting legacy for a project which began in the Johannesburg townships, teaching talented teenage photojournalists who have subsequently gone on to make a living as respected professionals‘.

    Dame Janet Suzman, August 2012
  • London Calling: Tehran Portfolio
    The “London Calling: Tehran” was a significant event in Tehran. It was something that we have waited for for many years. After the ending of the golden age of Iranian relations with the West, very few examples of this type of exchange have happened here in one of the most important cities in the Middle East and Asia, the cultural, political and economical capital of Iran.’



    Hengameh Mofid, July 2012
  • londonprintstudio is featuring some beautiful artists’ books as part of the Carte Blanche exhibition. The books occupy a central part of the display, unusual in shows of larger works, and are accessible for handling by visitors. Delicate manipulation by the artists has transformed plain sheets of paper into a study in white within these covers. From the sky above us, to elements of the urban cityscape, to the workings of plants growing underground, this selection of paper-worked artists’ books offers a small glimpse into the beauty and mystery of our surroundings through an eloquent use of materials.

    Kaho Kojima’s A Drop of Cloud of embossed pop-ups (which was the well-deserved winner of the Exhibition Prize in the Sheffield Book Arts Prize competition 2011), and Alison Bernal’s Skies, delight in a transient glimpse of the sky above; whether noting the idiosyncrasies of a particular cloud formation or a wondrous fantasy of a tiny universe hidden within a ‘drop of cloud’. Coo Geller’s intricate, laser engraved book How Do Your Parsnips Grow? offers a curious and affectionate micro-study of tender paper strands of the thinnest parsnips, delicately laid out side-by-side in their protective incubator. Clare Bryan’s Canopy, again raises our eyes to the sky above and onto the ground below as it unfolds its complex, knife-drawn sections of pages to reveal a canopy of dappled shadows, observed by the artist as sunlight falls through the leaves of individual trees.

    These beautiful book works reveal the tiniest detail of our immediate surroundings, presented for our individual attention, things that we often overlook, laid out for us in these magical surroundings of worlds made of white paper.

    Sarah Bodman
  • londonprintstudio’s upcoming show ‘Reincarnation’ (September 2012) is essentially an exhibition that describes the creative virtues inherent in re-creation and reawakening. Essentially the tampering with something! Tampering is good as it reminds us of fiddling or tinkering, and in the mindset of an artist a feeling of jubilant liberation derived from the corruption of published truths so that refreshingly new stories and inventions can be made’.

    David Ferry
  • ‘The londonprintstudio is not just a friendly and useful place for an artist…it’s also a truly special place. It has helped me find inspiration for my art’.

    Andrzej Krauze
  • Thanks for your prodigious newsletter, lps. Its spine-tingling cocktail of black humor and good news is very stimulating. The bottom line seems to be: For printmakers just to survive is a big success.Keep up the good work!

    Mike Booth, World Printmakers
  • Working closely with londonprintstudio, Rich Mix is delighted to be hosting a retrospective of British-Bangladeshi artist Sanchita Islam in March and April 2013. The project will consist of film screenings, panel discussions, poetry readings, an exhibition of three thirty foot scrolls, a doodle room that will be open to the public, plus workshops for young people.

    However, the centrepiece of the retrospective will be the exhibition of bespoke prints of Sanchita’s work produced by londonprintstudio, which will fill Rich Mix’s mezzanine gallery and will likely be seen by over 20,000 people during the two month show.

    londonprintstudio have been more than producers of the actual prints. They have been deeply involved in curatorial discussions between the artist and Rich Mix. Their dedication, thoroughness and attention to detail have impressed throughout, and we’re all excited about seeing the final result displayed in our gallery.

    Jane Earl, Chief Executive of Rich Mix London
  • Tehran Calling London / London Calling Tehran exhibition is the kind of bold undertaking that could only have been initiated by londonprintstudio, an exhibition and print space that has always been in the forefront in generating ideas and interesting images, alongside practical solutions for artists and audiences.

    Lutz Becker
  • londonprintstudio is an extremely valuable resource for artists working with print. Employment at the studio helps some of our students, and the Graduate awards are enabling Matthew Paggett and Elizabeth Gossling access to technical resources, which are really helpful during their first years of graduation. The focus on print in the exhibition program is  also wonderful for our graduates  Echo Morgan, Justin Larkin and Christopher Mercier have all been exhibited in recent shows. The collaborative space of the londonprintstudio also allows for chance encounters, collaboration and the mutual support, which is often crucial to the continuation of a creative practice.

    Jo Stockham Professor of Printmaking Royal College of Art
  • My main company, Turnaround Publisher Services, is perhaps the leading independent sales and distribution business in the book trade and helps publishers market, sell and distribute their titles into mainstream outlets in the UK, Ireland, Europe and further afield.

    Over the last two years we’ve been diversifying; taking on a wider range of UK and overseas artist produced gift lines for distribution both in bookshops and stores such as Urban Outfitters, Top Shop, Conran, Saatchi Gallery, National Theatre, Tate etc.  In this venture we’ve had a very creative relationship with the londonprintstudio – sourcing several products from designers following advice from John and Nadia about interesting work being produced there.

    Although still in the process of development, this new venture is beginning to make headway and last year we also opened a retail outlet – ‘Volte Face’ in Great Ormond Street, just opposite the children’s hospital.

    LPS have also helped us in other areas of our work. Earlier this year we published 3 times Booker shortlisted author Timothy Mo’s new book ‘Pure’. The innovative and much praised cover of the book was designed by the londonprintstudio. Additionally, we have worked with LPS on several exhibitions featuring book illustrators and graphic novels.

    The studio is a wonderful resource, supporting young, talented artists. Their facilities and expertise enable designers and creative workers to try out ideas and shape them for the market.

    Turnaround clients include Nobrow, Garudio Studiage, Moleskine, Noodoll, TMOD and Palomar Crumpled City Maps.

    Bill Godber
  • londonprintstudio has established itself as a ‘must-see’ destination
    for anyone interested in printmaking and graphics, whether as a
    curator, a collector, or as an artist. Every event at londonprintstudio offers
    something different, fresh, thought-provoking and inspirational, and
    their programme encompasses the whole spectrum of print –
    everything from music graphics and comics to fine art prints and
    innovative digital technologies. The gallery is also an effective
    showcase for the printmaking skills taught in their workshops. For a
    long time now londonprintstudio has fostered innovation and
    excellence, offering professional training facilities and teaching.

    From my perspective, as Curator of Prints at the V&A, I see
    londonprintstudio fulfilling a vital and unique role in the sometimes
    insular world of printmaking – emphasizing accessibility and diversity,
    and reaching out to new audiences in the community, whilst
    continuing their exceptional contribution to the support and
    development of artists who want to work with print.

    Gill Saunders
  • londonprintstudio is an important conduit between academic research in the field of printing and the visual arts and the professional development of artists. The studio is an exemplar of Knowledge Exchange involving a two way process presenting research questions from the field of professional practice and assisting with the dissemination of research findings back to the printmaking community.

    The Centre for Fine Print Research, University of West of England, is delighted to work closely with the londonprintstudio and the relationship between the two organisations is symbiotic and important to reputational gain for both.

    Professor Stephen Hoskins
  • One photo can change a life. The ‘Wembley to Soweto’ kids are an example of that. When my grandfather, Nelson Mandela, saw the work of these students he remarked, “they are so young, and yet so deeply talented”.

    We are hugely grateful to londonprintstudio for the opportunity they are affording these young South Africans in presenting this exhibition and hosting the Wembley to Soweto and Back photographic workshops that will afford similar opportunities to young people in London.

    Kweku Mandela
  • From the moment I saw the cover John Phillips of LPS had designed for us I knew we had the perfect artwork for my novel. It was the coolest thing. The book was called Pure and John’s design matched the title in its elegance and simplicity. It was bold and understated at the same time, clean in its lines, without fuss or distraction but made the eye work just enough to make out the plain embossing of the title. For us it was the exact exterior the book should show the world.

    Timothy Mo

What We Do

londonprintstudio provides a wide-range of services to artists and the public including:

  • Gallery exhibitions and education programmes.
  • Open-access to printmaking and computer graphics facilities
  • Courses and training programmes
  • Innovative education projects
  • Volunteer traineeship programme
  • Digital services and large format digital printing
  • Editioning projects
  • MA and Postgraduate Diploma in Printmaking and Professional Practice (in partnership with the University of Buckinghamshire)

Core Mission and Values

  • Education, training and the provision of graphic arts resources
  • The development and delivery of innovative visual arts projects
  • Presenting exhibitions and related education programmes
  • Facilitating cultural exchange between individuals and groups from diverse communities
  • The provision and dissemination of information and research findings to artists, education institutions, communities and the public


Currently we have resources available for: Etching including photo-etching, Block Printing eg. wood cut & lino, Collagraph, Stone Lithography, Screenprinting (water based inks on paper, not suitable for textile printing)

Our professional resource for fine-art and creative printmaking has been specially designed to facilitate access by adults, children and people with access needs.

Digital Equipment

Our Digital Studio has the facilities for:

  • Fully archival, large format, inkjet printing.
  • Preparation and output of artwork for Screenprinting, Photo-Etching and Photopolymer (for Intaglio and Letterpress).
  • Professional, high resolution scanning up to 2440dpi.
  • Photography of artworks of any dimensions and mediums for websites, portfolios and print.


Our traditional print studio is fully-equipped, and purpose built. Printmaking techniques available are :


  • 2 x Potavac tables 30″ x 40″” printing area and 1 x Potavac table 20″x30″.
  • Facilties for water based screen printing on paper and canvas, including photo screenprint facilities.
  • Screens are available for hire on the premises.
  • Large screen 144 x 99 cm/ 57″ x 39″.
  • Medium screen 99 x 74 cm/ 39″” x 29″.
  • Small screen 76 x 56 cm/ 30″ x 22″.


  • Rochat 32″ press – suitable for printing etching and photopolymer plates.
  • Brand 32″ press – suitable for printing etching plates, lino, woodblocks, collagraphs and monoprints.
  • Platemaking and aquatint for zinc, copper and steel.
  • Exposure Unit for photopolymer plates.


  • Beever press 760 mm x 560 mm print area, with adjustable height feed table.
  • Suitable for printing lino, woodblocks, etchings and embossing.

Stone Lithography

  • 26″ direct Grieg press for Stone Lithography only.
  • Small, medium & large stones available for hire on the premises.


  • Vandercook SP20 Repro Press (polymer not type plate).

Artwork must fit comfortably within these measurements to ensure consistent printing.

Our professional resource for fine-art and creative printmaking has been specially designed to facilitate access by adults, children and people with access needs.

Studio History

londonprintstudio began in 1974 as Paddington Printshop; a visual art project helping community organizations to promote their ideas through graphic media. Funding came from the Arts Council, and the project helped set up many other organisations including Meanwhile Gardens and The Factory (now Yaa Asantewaa Arts Centre)

The project expanded and by 1991 it had become a regional resource and changed its name to the London Print Workshop. We moved to larger premises and established a gallery and digital resources to complement traditional printmaking facilities. The new workshop offered open access and training for artists and quickly established a user base of 400 artists. Alongside its services to the London wide arts community the Studio maintained its local commitments.

In 1995 we began working to create londonprintstudio: a graphic arts centre for the 21st Century- and in 2000 a new purpose built studio and gallery complex opened, which is fully accessible.

Over the last 10 years, londonprintstudio has increased its work with universities and professional printmakers. We established Globalprintstudios; placed a new emphasis on working digitally, exploring ways of working with artists and communities; there have been large scale community projects including World Hug,and The Print that Turned the World; we have been curating exhibitions with an emphasis on local histories, community issues, the wider context of contemporary print, including international connections.