Teacake

With compliments. A collaboration with my boy Charlie Walmsley aged 2. Art Charlie Walmsley Letterpress @eechrispletterpress Paper Luxurious 100% cotton Cranes Lettra #graphicdesign #art

Did you know TEACAKE is 14 years old? We put the first TEACAKE website online on the 1st August 2006. The site was inspired by mine and Graham’s hard working families from Lancashire and Derbyshire. It was built to look like a factory. The homepage even had a clock to remind us to clock in and clock out each day. Work life balance has always been one of the most important things to us. We are designers not business men. Our ambition has always been to collaborate with like-minded inspiring and innovative colleagues and whistle while we work every day of the week which we have done ever since. We have worked with a range of commercial and cultural organisations from sole traders, small and large businesses, charities and creative entrepreneurs including musicians and a supermodel. One of the things I love most about TEACAKE is our amazing and diverse client base, of which so many have worked with us since the very beginning. I would like to take a moment to thank all those clients who continue to recommend TEACAKE to their friends and family. TEACAKE has been built by word of mouth referral and recommendation. We do not cold call, we do not pitch, we do not enter design awards. “No sales pitch, no media hype I speak in communications in bold type” Our aim is to offer a personalised graphic design service, working in partnership with you to identify your objectives and create a range of solutions across all media platforms to support the effective communication of your philosophy and core values. We remain small by choice to be able to provide a very personal, dedicated and hands on service. Our goal is to make the creative journey enjoyable for everyone involved, to ensure that every client is happy with the end result and that they reap the benefits of their investment in our service. Like so many others at the moment we are certainly ‘surviving not thriving’. Our doors have been kept open and the phone is on. Thank you for the continued support over these very difficult months of lock down. It has been an absolute pleasure to continue to create amazing work and collaborate with other creatives. I cannot wait to share lots of new work. Rob

#tbt A very special place myself and @wwywork had the joy to work from. Artist studio, gallery and community hub - Ewald’s Typo Gallery, Amsterdam. Sadly no longer alive with the sights and sounds of a truly creative and playful workshop. Not a Mac in sight. #typography

The Woodchopper. A new brand emblem drawn for @thomascollier_studio Heritage craftsmanship, made in England. #illustration #graphicdesign

Modern Heritage. A new visual identity crafted for Thomas Collier Studio. A specialist joinery company. @thomascollier_studio #visualidentity #graphicdesign #typography #illustration

We are delighted to share that the digital version of Radical Pairings is now available to download for free via the link in our bio. ⁠ ⁠ A work of people, place, art and industry, this publication seeks to highlight the limitless potential when artists are invited onto the factory floor.⁠ ⁠ With thanks to art critic and writer Elizabeth Fullerton, publication contributors, participating artists and our Art in Manufacturing partners.⁠ ___⁠ ⁠ The Radical Pairings publication was created and edited as a partnership between the National Festival of Making and theCOLAB. It was designed by Robert Walmsley at Teacake Design. ⁠ ⁠ #LetsCreate #FestivalofMaking #ArtinManufacturing #AceSupported #UKSPF @hlboyce @_liz_wilson_ @_nicola_ellis_ @jacqueline.donachie @raisa_kabir_textiles_ @creativelancs @darwenterracotta @britishtextilebiennial @superslowway @discoverblackburn @aceagrams

Elizabeth Fullerton is a critic, writer, podcaster and researcher at Birkbeck College, University of London. She writes for international publications including The New York Times, The Guardian, Art Monthly, Art in America, ARTnews and Art Quarterly and is the author of Artrage! The Story of the BritArt Revolution (Thames & Hudson, 2016, 2021). She is fascinated by how artists use materials and technologies to respond to their lived experience, exploring issues of identity, body politics, labour and environment through social engagement. ⁠ ⁠ In her central essay within Radical Pairings, critic and writer @fullerton_eliz reflects on work made in response to and in collaboration with workforce communities, discussing the artists’ practices and the distinctive nature of creating within an industrial setting. Her essay went on to inspire the title of both the publication and the exhibition.⁠ ⁠ “I was struck by the sheer scope of visual and sonic possibilities offered by these environments... Such spaces are a gift to an artist; they can harness complex machinery to unleash their ambitions, drawing on the expertise of the workforce, without which their creations could not materialise.” - Elizabeth Fullerton⁠ ⁠ On 19th December, the Radical Pairings publication will be available to download from our website - watch this space.⁠ ___⁠ ⁠ The Radical Pairings publication was created and edited as a partnership between the National Festival of Making and theCOLAB. It was designed by Robert Walmsley at Teacake Design. ⁠ #LetsCreate #FestivalofMaking #ArtinManufacturing #AceSupported #UKSPF @hlboyce @_liz_wilson_ @_nicola_ellis_ @jacqueline.donachie @raisa_kabir_textiles_ @creativelancs @darwenterracotta @britishtextilebiennial @superslowway @discoverblackburn @aceagrams

👀 People Watching – 100 years of British portraiture. From quiet moments to bold encounters, People Watching traces over a century of British portraiture, bringing together sculpture, painting, drawing, and photography from 1915 to today. With works by Dame Elisabeth Frink, Dame Barbara Hepworth, Anita Klein, Bridget Riley, Kofi Perry and more, the show explores how the portrait has evolved: self-reflection, scenes of work and leisure, intimate family studies, and fantastical reimaginings. Some of these works from The Ingram Collection and Dorset Museum & Art Gallery’s own archives have never been displayed before. It has been a pleasure to design the graphic interpretation for the show as the graphic design collaborator, shaping an exhibition voice that feels distinctly British – clear, warm, and inclusive, speaking in the everyday rhythms of life yet grounded with a quiet authority that echoes centuries of storytelling and print culture. Together, the type creates an experience that is introspective, witty, layered, and alive with human presence, just like the portraits themselves. Opening 31 January 2026 at Dorset Museum & Art Gallery In partnership with The Ingram Collection of Modern British Art @dorsetmuseum @ingramcollectionuk @jobaringart #PeopleWatchingExhibition #BritishPortraiture #TypographyLovers #TheIngramCollection #DorsetMuseum #ArtExhibition #DesignForCulture #Portraiture #ModernBritishArt

‘When I am Among the Trees’ Mary Oliver Typographic Exploration for Nancy Cadogan. G.F Smith Colorplan Mandarin Artwork: In the Heat of the Day, 2024, 100 x 150cm, Oil on Canvas @nancy_cadogan_studio #typography #poem #graphicdesign #britishartist

TEACAKE had the pleasure of designing invitations and exhibition interpretation for a weekend of art in Morecambe, marking the start of the Morecambe Bay Coastal Commissioning programme, a collaboration between Deco Publique and theCOLAB. Type is set in a typographic system designed by TEACAKE for the Morecambe Bay Triennial. The event is part of a year-long research project with Lancaster Institute for Contemporary Arts, supported by the Arts & Humanities Research Council, which will lead to three major commissions in 2025. The first exhibition commission ‘Harbinger’ by Elizabeth Clough’s, combined sculpture, sound and drawing, a beautiful, layered installation, overlooking the Bay. Also showing was ‘Walking With Clive’ by Daisy Collingridge, whose playful, soft sculptures explore the human form using hand-dyed jersey and quilted fabric. Her genderless characters blur the line between fabric and flesh, full of warmth, humour and heart. The weekend also saw BODY and PLACE go on tour for the first time. Set up by theCOLAB in 2019, the workshop reimagines the life room by placing the body within the landscape. Led by Martin Morris, and featuring Daisy’s sculptural figure Clive as the model, 12 invited artists explored drawing as a process, open-ended and expressive. TEACAKE loved being part of something so thoughtful, collaborative and full of energy set within the truly beautiful backdrop of the Lancashire coast. @decopublique @thecolab.art @elizabethcloughwork @daisy_collingridge Exhibition photography @robin.zahler Illustration Daisy Collingridge #GraphicDesign #ExhibitionDesign #MorecambeBay #CoastalCommissions #ElizabethClough #DaisyCollingridge #ContemporaryArt #DesignForArt #InterpretationDesign

Teacake Typography Nancy Cadogan The Lost Trees 10 Jun - 20 Jul 2025 Garden Museum For this new book, I explored how my typography can quietly echo the emotional space of Nancy Cadogan’s paintings, works that speak of stillness, solitude, and reflection. My type and layout aims to create a typographic ‘pause’ to the page. A space in which the viewer can breathe, just as the paintings ask us to. In this book and the Garden Museums graphic interpretation Caslon Doric provides the typographic anchor quietly structured, geometric yet human, it sets a measured tone aligned with the stillness of Cadogan’s work. Paired with Nimbus and Nimbus Sans, the palette balances classic and utilitarian voices: Nimbus brings a serifed clarity that complements Caslon Doric’s weight, while Nimbus Sans introduces a neutral, modern rhythm. Together, they form a restrained, harmonious system designed to support the art rather than compete with it Fitting alongside Cadogan’s meditative scenes. @nancy_cadogan_studio @gardenmuseum #nancycadogan #thelosttrees #bookdesign #graphicdesign #printdesign #artpublication

Thrilled to share visuals created for the 10th edition of Ingram Prize, the leading annual prize for contemporary artists in the UK! The prize was created by The Ingram Collection in 2016 to celebrate and support artists at the beginning of their professional careers. It’s completely free to enter, in any size or media. This year’s prize continues to celebrate diverse and innovative voices, supporting emerging talent through meaningful acquisitions and visibility. It’s a privilege to shape the visual identity of something that champions new art and fresh perspectives. The 10th edition selection panel brings together an incredible group of curators, collectors, and artists who are deeply committed to championing new perspectives. @jobaringart @katesiandavies Permindar Kaur @david_remfry_ra The panel will select three artists as recipients of the Ingram Prize, to be announced at the exhibition opening event on Wednesday 26 November 2025. Their shortlisted work will be acquired for The Ingram Collection, and one Ingram Prize recipient will be offered a solo exhibition in 2026 at Lightbox Gallery & Museum. Explore more at @ingramcollectionuk Now open for entries. Exhibition 26 Nov @unit1galleryworkshop #ingramprize2025 #contemporaryart