That [silk-screen process experience] carried over when I returned from the Army and took more graphic classes at the Institute. And Alix [MacKenzie] and I actually began to produce a line of textiles, which had silk-screen patterns on them.

We could make our own pots on the weekends and in the evenings, and we used to do that, and these would be fired in the big kiln, along with all the standard ware that we were producing, but this wasn't quite what we had expected when we read The Potters Book.

Bernard's [Leach] drawings delineated every little accent on the pot, every subtle curve and change of angle and proportion and all.

We stayed on at the Institute [Chicago called the School of Design] because that was - I don't know, you start at one place and you stay there, I guess. Inertia takes over.

I find it really enriching to make pots which people are using and which they come in contact with, not only visually in their homes but tactilely - when they pick them up, when they wash them after dinner, and so on and so forth.

Hilda Reiss was the head of the Everyday Art Gallery. Hilda Reiss came from Germany, had trained at the original Bauhaus in Germany, and her training inspired her to think of anything that she liked as art.

We got a great benefit from our contact with those people [Lucie Rie, Hans Coper, Richard Batram] and met people that we wouldn't have probably met if we had simply worked at the pottery.