Peter's lack of formal training gave him an open mind and an imaginative approach to design as a tool for problem solving. An outlook that served as an inspiration to his many students over the years. He believed that one of the most important things a designer should master is how to ask questions and take nothing for granted. A need for visual communication existed in every sector of society, from small items of print to complex information systems. He felt that words were given priority because of a tradition in our scale of values and importantly an inadequate visual education which he sought to address.
By the early 1960s, Peter took on his first teaching position as Head of Complementary Studies at Kingston School of Art where he founded the department and multi-media workshop. His approach was one that saw complementary studies playing an active not passive role, involving interdisciplinary projects, identifying problems and defining solutions irrespective of narrow traditional disciplines. Although early in his teaching career, it crystalised his progressive approach in the relatively new field of art education. He became an outspoken critic of the status quo. What was the purpose of a diploma, what was the relationship between art and design, a liberal and professional education, and the connection between thinking and studio work? A viewpoint deemed too progressive, it led to his resignation and a move to the Central School of Art and Design where he joined as Senior Tutor of Post-Graduate Studies.
Following his move to Paris, he became Senior Tutor at the University of Paris 7. He was also appointed Tutor for Illustration at Parsons School of Design (Paris), and Head Co-ordinator of the École des Beaux-Arts (Metz) and the École Nationale des Beaux-Arts (Nancy). He remained an External Examiner for the London College of Printing.
Peter lectured and taught seminars widely in Europe, North America, Latin America, Asia and Africa, and served on many international design juries throughout his career.
