techniques: thermoforming, printing on glass, flocking, cutting and embossing. I wanted to use a variety of materials, offer a wide array of production possibilities to young artists and take risks.

In an almost obsessive way, the project of bringing together several artists to cre-ate a book entirely printed in silkscreen began to materialize, but the production costs were going to be prohibitive for L’Atelier. I went to see Louis Bothorel about creating a non-profit association and asked for his financial support. We’d publish and put L’Atelier to work!

I talked to him about a book project on the theme of skeletons, Croquemitaine, conceived by an artists’ collective that would initially include Pascal Doury. After a day of thinking it over, Louis gave me the go-ahead. Caro and Placid were very helpful, giving me the addresses of other potential collaborators.

I then presented my project to Éric, arguing that the association would help L’Atelier by bringing in paid and pro-grammable work that would fill the gaps in the schedule. It would also help to promote the workshop! And if ever Éric liked one of my projects, it was agreed that L’Atelier would take charge of it and become the publisher. This would hap-pen only once, for a screenprint made by Mark Beyer.

The board of the association included Louis as treasurer and Brigitte, my part-ner, as president. We devoted all our free time to it. We had to come up with a good name for the association, one that would give it a brilliant acronym. Placid and Muzo had set the bar rather high by creat-ing “Anal”. We struggled with it cheerfully,

never satisfied! I finally came up with “Pour adultes avec réserve” (For adults with caution). The phrase, a blast from the past, had been used excessively by the Catholic Film Office to advise against watching any interesting TV program! It was in the Télé 7 jours. In the 1960’s, it made my father laugh. It was a good fit and gave rise as if by miracle to the Apaar.

Throughout the production of Croquemitaine I was ecstatic. We were all busy cutting out bones, coloring them and then printing them. When the book came out it was a success. A Dutch dis-tributor offered to buy the entire edi-tion, which we refused. We had good write-ups in the press, but that wasn’t all. I think that we inspired other publish-ers, including Michel Voisin who had us work with Images Images Éditions, and Manuel Joseph pushed the envelope fur-ther by commissioning us to make the Babylone Bobigny portfolio. I hope that I’ve contaminated other graphzine artists with the screenprinting virus.

Pakito Bolino joined us as an appren-tice through Claude Richard’s “art-traf-ficking” network. Claude was a friend of Éric’s and a professor in Angoulême. He sent other apprentices to L’Atelier after I’d left, including Jean-François Guilberteau and Blexbolex.

Impressed by Pakito’s performance on his masterpiece of a final project for his apprenticeship, and by his personal qualities, we hired him as a part-time employee around 1988, once Anne-Marie and Pierre Ouchacoff had left.

All in all, everything came together. The Apaar enriched L’Atelier’s productions, and the mix-up was such that few saw