We've got a nation of people who have one eye looking out for the next speed camera, another looking for a speed limit sign and another looking at the speedometer - which is a bit of a shame, when you only have two eyes.

Going back to the elementary school days, I was always drawing. I entered a Victory poster competition and won the top award that recognized my artistic instincts.

In thinking back, not having any experience in any other elementary school, there may have been an advantage of being with different age groups to benefit from what they were learning in a more advanced capacity. With a small group like that, there was a lot of one-to-one teaching.

He [my father] didn't have a basement workshop as such, but I know that he did build things, construct things, repair things. My mother, likewise, was sewing and doing activities that often take place in a household.

Being born in '31 was during the Depression and in my earlier youth World War II took place - so it was not the best of times, and yet I don't recall ever having experiences that were a burden.

One association with the arts that I vividly remember was a magazine called Normal Instructor, a teachers' magazine, that Miss George would hold up with illustrations of great artworks like [Vincent] van Gogh and Rembrandt [van Rijn].

I graduated in June 1948 and then went in the fall to the art school. I stayed with my cousins on Seventeenth Street in the beginning, and later had my own apartment very near there and was able to walk to the Art Institute on Elmwood Avenue. The school had a faculty of local artists - Jeanette and Robert Blair, James Vullo who were well known in the area. It was a school that I think thrived on returning GIs, as many schools did at that time. It was a very informal program - but it was professional.