In the early 1970’s, three young printers of Éric Seydoux’s genera-tion opened screenprint workshops at the same time as him. Bernard Frize, trained as a painter at the Fine Arts School of Paris, set up his shop in Paris in 1973. He developed processes for printing halftone values and shading, and in addition to printing on paper he also printed on Plexiglas or on canvas. He worked for fine art publishers such as Anne Lahumière, Baudoin-Lebon, Maeght, and for artists of the group Support Surface, namely Dezeuze, Viallat and Pincemin. He also printed for Cremonini, Soulages, Ben, Folon and Kermarrec. Bernard Frize closed his workshop in 1978 to devote himself to his own creative work. In Strasbourg, two commercial screenprint shops began producing work for artists: that of Antoine Graff, who had a passion for screenprinting and who specialized in printing bibliophile books; and the 2A workshop opened by Éric Linard, a graphic designer who graduated from the School of Decorative Arts. Both were working mostly with local artists. Éric Seydoux’s print shop also produced work for Anne Lahumière, the Pompidou Center, the Museum of Modern Art, and made prints with Vasarely, Dewasne, Dubuffet, Folon and many other artists.

The 1980’s saw the emergence of “a new kind of screenprint, that of illustrators and cartoonists.” In 1983, Françoise Woimant mentions the creation of three workshops specialized in this field: Décalage, estab-lished in 1981 in Nancy by Gilles Ziller, whose activity was extended by the publishing house managed by Christian Desbois in Paris; Seri Hors Serie opened that same year in Paris by Alain Valtat; and lastly Anagraphis, founded in 1982 in Saint-Georges d’Orques in the Hérault by the painter Christian Nave, the architect Denis Chanson and the screenprinters Philippe Viala and Pierre Dutheil. The direc-tory of workshops mentions the new orientation of Éric Seydoux’s L’Atelier, not only as a print shop but also as a publishing house, citing the portfolio Robots from 1982, which reproduces the packaging of vintage Japanese toys, as well as Benito’s Chic ou Voyou, which came out at the end of 1983 and was distributed by the newly created print-er-publisher Décalage mentioned above. All throughout the 1980’s, L’Atelier continued to carry out its commercial activity of producing fine art prints and posters while pursuing the new direction of illus-tration and comics, working with Loustal, Moebius, Druillet, Tardi, Floc’h and Sempé. Frédéric de Broutelles and his association Apaar (Association Pour Adultes Avec Réserve/For adults with caution), and Pakito Bolino, brought new artists to L’Atelier, producing prints by Pascal Doury, Crumb, Willem, Bruno Richard and Kiki Picasso. Pakito Bolino, who arrived as an apprentice in 1984, left L’Atelier in 1990 to create his own screenprinting workshop in Marseille in 1993, Le Dernier Cri (The Last Cry), “born from the ashes of the ‘undergraphic’