printed on newspaper end rolls that were unfit for the printing press. All of this took place in a fun and chaotic atmosphere, but not with-out efficiency. The projects were voted in the evening at the General Assemblies, then printed at night and pasted on the walls of Paris during the early morning hours. We were highly responsive to the events of the moment. A lot of people, including several artists, visited the Atelier populaire, and by the end of May, the screenprinting tech-nique, which until then hadn’t been widely used, had made a name for itself. For many people, I was also making a name for myself.

At that time, Guy de Rougemont had a beautiful studio in the Marais district and offered to lend me two rooms. This became my first work-shop, and with my friend Jacques Pesant whom I’d met at Paris-Arts, we were already specializing in printing works by artists. Our work-shop was modest, but we were refining our technique and our net-work. In 1974, we declared our activity to the Chambre des Métiers (Chamber of Trades) and opened our business under the generic name of “L’Atelier” on the rue Pernety in the 14th arrondissement. The space that we had quickly became too small, but we were still able to produce beautiful portfolios, such as L’Emploi de la peinture published by Présence Panchounette, with prints by Fromanger, Casadesus, Le Boulch’ and Cueco. We also made a portfolio of prints by Ivan Messac, and had several commissions from the Éditions Lahumière, which were very active at this time. I should also mention Nicole Fauche who published prints by Vasarely. We were well established in the art world and had the reputation for producing quality work, but we had to develop as a business and in 1979 we found another space at 6, rue de l’Abbé-Carton, also in the 14th arrondissement. In 1982, Jacques Pesant left the workshop to go live in the countryside. He had been a dependable and faithful companion. Afterwards, I would have sala-ried staff, which would be a very different adventure.

Our move to the rue de l’Abbé-Carton would allow us to acquire semi-automatic machines, which had previously been unthinkable. At the end of the 1980’s, I equipped the workshop with a three-quar-ters automatic machine, in other words a semi-automatic machine, to which were added a paper removal system and a tunnel dryer. Today, this equipment is still very good. We then acquired a paper-cutter with a 106 cm opening. In the 1990’s, the arc lamps that we had been using for exposing the screens were replaced by lamps with integra-tors. This equipment also remains modern to this day. Recently, in addition to the purchase of a diamond wheel sharpener, a UV bridge was installed on the tunnel, and a ventilation system with activated carbon filters, which limits the release of odors from solvents and inks into the air outside, have completed the set-up of the workshop. Such