Richard Lawrence
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I have been printing letterpress for more than thirty years. Former workplaces include my home in Oxford and Bath Artists' Studios (formerly Widcombe Studios); I am now based in Hurst Street, Oxford. I specialise in handset type and in printing from blocks and lino on a wide range of papers and boards. My equipment can also deboss, crease, die-cut and crash-number (printing serial numbers onto blank or pre-printed stock).

My workshop is equipped with a Heidelberg automatic platen (also known as a 'windmill') and 15 * 20.5 inch (380 * 520 mm) cylinder presses. There are also a Vandercook SP20 (20 inch wide by 30 inch long) proofing press, a royal (20 * 25 inch) Albion hand press and other small hand-operated presses. I can produce single or multi-colour work. The workshop's output ranges from posters through books and packaging down to record labels and business cards.

I have worked with the artist Stanley Donwood on a range of projects including the large linocut London views.
Services
The best way to specify a job for letterpress printing is to work from a sketch or specification on paper.
Clients frequently contact me by email with a request for a job that they can see in their mind's eye, but until I can get a clear idea of the dimensions of the thing they want to print I don't even know whether it will fit onto one of my presses.
Designers who send me PDFs may not be aware that if the job's going to be set in metal type then there are only a limited selection of typefaces available.
Many jobs are printed either partly or wholly from line blocks, which are usually produced by photo-etching in polymer or metal.
I can arrange for the blocks to be made and in this case I can accept original artwork (via email) in PDF format.
Multi-colour work often requires 'trapping' to ensure that there are no unprinted gaps between colours that are intended to butt together.
It is worth spending time getting this right - the results will almost always justify the effort.
Other considerations might include providing suitable bleed on the artwork and allowing space for gripping and trimming the sheet.
The best way to ensure a satisfactory job is for us to discuss your requirements in person and draw up a specification together.
I am always happy to meet at the Workshop, but it's best if you telephone me first.
Email is a perfectly acceptable way to make contact with me - if only to arrange a time to meet.
Please provide a telephone number if you can.
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