Ron Hood may not be a household name, but his work may well be owned by every member of London’s gallery-going fraternity. His London-based print firm Trade Winds produces booklets, posters and postcards for the likes of the National Gallery, the Royal Academy and the Photographers’ Gallery.

Hood set up Trade Winds 19 years ago and his longevity and continued profitability in one of the country’s toughest industry sectors is an example in best practice for all printers. His achievements haven’t gone completely unrecognised – the firm has picked up numerous accolades – but Hood likes to keep things low-key, as befits his modest character.

Indeed, the company started from relatively modest roots in the middle of a recession producing print for charities on recycled paper. Then some of London’s larger marketing agencies began using Trade Winds and the firm’s workload really started to take off.

Through these contacts, Hood was introduced to buyers at some of London’s major galleries, his art background standing him in good stead.

“I spent five years at art college, starting out in fine art and then moving into a degree in print,” explains Hood. “So I could go into the galleries and speak their language.”

His experience of both art and print enabled him to bridge that troublesome gap between designer and printer, and his willingness to go that extra mile and apply the personal touch helped him to build up the business. “If I’ve got to get on a train at five or six o’clock in the evening to take somebody a proof then I will do it,” says Hood.

While it calls on a long list of art-related customers, the company doesn’t just serve galleries. It boasts a list of public sector clients that would be the envy of any printer.

“We’ve got clients all the way along the Thames, ranging from The British Film Institute, Coin Street Community Builders, Southwark Council and the Greater London Assembly,” he adds.

Another priority for the company – and a reason for its involvement with a lot of public sector groups – is Hood’s drive to bring corporate resp-onsibility to the fore and to play a key role within the markets in which Trade Winds is active. This thirst has driven him to assist charities, and finance or sponsor events within the artistic community. He feels having this “finger on the pulse” of what is happening in London is part of the reason why the firm wins work from the likes of the GLA and the London Development Agency.

Another reason why Trade Winds consistently wins work from old and new clients is Hood’s hands-on approach. He doesn’t employ any sales staff – he prefers to handle client discussions himself – and as a result of this personal touch the company is still going strong with exceptional client loyalty. “We’ve had some of the country’s most exacting clients stay with us for years and recommend us to others because we understand their needs better than anyone else,” explains Hood.

So what’s the secret of his success? “It’s nothing to do with luck – it’s about hard work,” explains Hood.

“We’ve got a formula that we stick with, and if an organisation comes along that fits tightly with who we already deal with, we will want to work with them. Margins are only determined by your ability to produce work competently and correctly.”

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Trade Winds at a glance

Sectors The arts, cultural institutions, public sector, campaigning organisations
USP We try to understand the needs of each organisation before we start work with them
Turnover £3m
Staff 28
Location Bermondsey, London
Clients Greater London Assembly, National Portrait Gallery, Royal Academy of Arts, Photographers’ Gallery, Barbican, London Symphony Orchestra, London Philharmonic Orchestra
Kit Extensive range of litho and digital equipment, as well as specialist finishing, cutting and creasing and hand assembly