As many of the French designers who belong to his generation, Patrick Couratin went to Poland to study arts & crafts, but unlike many, he was more influenced by the New-York style than by Henryk Tomaszewski. Probably because of his early illustration works for the U.S. press (1971), probably because he became an artistic director for Harlin Quist Books (1974), probably because Herb Lubalin came to work with Robert Delpire, already a major influence for him both in terms of design and career.
Like him, P.C. mixed the commercial activities of his own design consultancy named Crapule! (1984) with working first as an art director (Le Chant du monde 1980, Bayard Presse 1982) and as a publisher for companies specialised in children’s books (Le Seuil 2002, Panama 2005, Les Grandes Personnes 2010).
His fascination for black ink led him to design great posters, especially for the theater, immediately recognisable with a dark background and extra bold or extra thin sans-serif type. The same trend was applied to most of the books he worked on, offering generations of kids the pleasure of wonderfully typeset, dark and glossy picture books.