any difference between us. L’Atelier was being promoted and many of the Apaar editions were being attributed to it. Being a part of L’Atelier suited me well, and Louis Bothorel and I were delighted to be working behind the scenes. It’s true, however, that I found myself printing my projects during my free time or when I was on vacation.

For me, these ten years proved to be a great experience. We’d been sought after and had to run the gauntlet by taking risks. I’m sure that we’ve created many screenprint enthusiasts and opened up career paths, both of whom Pakito Bolino and Blexbolex are shining examples.

I’d like to thank Pirus, Y5P5 and the group Les Amis including Pakito Bolino and Alexois Tjoyas for their help with Corpsemeat 2. They helped me out for fif-teen days over the summer! I was proud to show this gem to Éric in September. He congratulated me and declared: you spoil them!

Many thanks to Pakito and Guilberteau for their help with the Charles Burns portfolio, Defective Stories, over the sum-mer of 1990. It was the last Apaar edition to be printed at L’Atelier.

I regret that we neglected the preparation of our salons. We only began applying ourselves at the last minute since we had to give priority to commissioned work. Despite the difficulty, I would have loved for Apaar to be a full-time publisher. I’m sorry that I had to leave following a dis-agreement with Éric. I would have really liked to keep the ball rolling, for exam-ple with another Croquemitaine “Mad Scientist Special”...

An incomplete list of people con-nected to L’Atelier in the 1980’s: Jacques Pyon, enlisted for Croquemitaine at the Illustrators’ Salon. Loustal, Chaland, Floc’h and Mattotti. Norman Witty, one of our American distribu-tors. Michel Quarez, Savage Pencil who entrusted me with the deluxe version of Corpsemeat 2. Dominic Cravic. Anne Hovanessian from Artcurial, Jacques Noël from the Les Yeux Fertiles bookshop and Emile Solo from La Hune book-shop for their support and involvement. Martine Jamaux, agent for illustrators and for L’Atelier. Gilbert Shelton, Robert Crumb, S. C. Wilson, for their simplic-ity and their kindness. Art Spiegelman who spoke to me about his work on the Garbage Pail Kids cards. Gary Panter, Jacques Bisceglia, Bob Zoell who contrib-uted to the brilliant renewal of L’Atelier’s logo. Henriette Valium who visited us in shorts and a safari jacket. Stan and Sophie Barets from the Les Temps Futurs book-shop. Éric Gilbert, co-publisher of Viper and future distributor at Last Gasp. Pascal Guichard and his humanoid gifts, a friend of L’Atelier. Marc and Dominique Mellinger who were so friendly. Willem for his work in screenprinting and his column in Libération, in which we were often quoted.

I thank them all, as well as the cohort of those forgotten.

Frédéric de Broutelles, March 2025