William Frend De Morgan (16 November 1839 - 15 January 1917) was an English potter, tile designer and novelist.[1] A lifelong friend of William Morris, he designed tiles, stained glass and furniture for Morris & Co. from 1863 to 1872. His tiles are often based on medieval designs or Persian patterns, and he experimented with innovative glazes and firing techniques. Galleons and fish were popular motifs, as were "fantastical" birds and other animals. Many of De Morgan's tile designs were planned to create intricate patterns when several tiles were laid together Born in Gower Street, London, the son of the distinguished mathematician Augustus De Morgan and his highly educated wife, De Morgan was always supported in his desire to become an artist. At the age of twenty he entered the Royal Academy schools, but he was swiftly disillusioned with the establishment; then he met Morris, and through him the Pre-Raphaelite circle. Soon De Morgan began experimenting with stained glass, ventured into pottery in 1863, and by 1872 had shifted his interest wholly to ceramics. In 1872, De Morgan set up a pottery works in Chelsea where he stayed until 1881-his most fruitful decade as an art potter. The arts and crafts ideology he was exposed to through his friendship with Morris and his own insistent curiosity, led De Morgan to begin to explore every technical aspect of his craft. His early efforts at making his own tiles during his Chelsea Period were of variable technical quality - often amateurish with firing defects and irregularities. In his early years, De Morgan made extensive use of blank commercial tiles. Hard and durable biscuit tiles of red clay were obtained from the Patent Architectural Pottery Co. in Poole. Dust pressed tiles of white earthenware were bought from Wedgwood, Mintons and other manufacturers but De Morgan believed these would not stand frost. He continued to use blank commercial dust-pressed tiles which were decorated in red lustre into his Fulham Period (1888-1907). However he developed a high quality biscuit tile of his own, which he admired for its irregularities and better resistance to moisture. His inventive streak led him to spend hours designing a new duplex bicycle gear and also lured him into complex studies of the chemistry of glazes, methods of firing, and pattern transfer.