If I hadn't been a designer, I'd have been a painter. I began as a painter and learned the craft of pottery in order to support myself.
From Eva Zeisel
My time in Weimar Berlin was the most elegant in my life. I would have parties for a hundred people - writers, scientists, artists.
Art has more ego to it than what I do.
I don't like to design single objects. I like my pieces to have a relationship to each other. They can be mother and child, like the Schmoo salt and pepper shakers, or brother and sister like the Birdie salt and peppers, or cousins, like most of my dinnerware sets.
Modernism, rebelling against the ornament of the 19th century, limited the vocabulary of the designer. Modernism emphasized straight lines, eliminating the expressive S curve. This made it harder to communicate emotions through design.
My designs are meant to attract the hand as well as the eye.
I never wanted to do something grotesque. I never wanted to shock. I wanted my audience to be happy, to be kind.
Beautiful things make people happy.
I don't know the difference between working and not working.
The designer must understand that form does not follow function nor does form follow a production process. For every use and for every production process there are innumerable equally attractive solutions.
3 perspectives
2 perspectives
1 perspectives