Sébastien PASTOR

A look back at your ESMA years

WHAT DREW YOU TO THE WORLD OF GRAPHIC DESIGN?

After my A-levels I saw myself more in the world of architecture, a field that attracted me a lot at the time.

I didn’t get through the few architecture competitions I took, so I logically decided to do a year of preparatory courses in applied art (MANAA) at ESMA.

It was during this year that I really discovered graphic design. It was something I really wanted to do when I was younger, but I didn’t know much about it until I heard the name ‘graphic design’.

WHY DID YOU CHOOSE THE GRAPHIC DESIGN COURSE AND THE ESMA SCHOOL?

It was the best option for me at the time. I didn’t ask myself too many questions, I just went naturally. What’s more, a lot of people I knew were there and told me that the course was good.

WHAT DID THE COURSE BRING YOU?

A lot of things, like the history of graphic design and the work of certain artists, but I think one of the most important is openness and curiosity. Rigorous discipline and respect for graphic codes are also essential principles.

WAS THERE A SUBJECT YOU PARTICULARLY LIKED AND WHY?

The history of graphic arts and typography. I’ve always really liked history and I think it helps you understand the DNA and the original meaning of things. It’s also a very good way of discovering the many benchmark artists who have shaped the world of graphic design. In a profession like this, where every choice has to be justified and coherent, this knowledge is very important.

WHEN YOU LEFT SCHOOL, OR DURING YOUR STUDIES, DID YOU HAVE A CLEAR IDEA OF WHAT YOU WANTED TO DO NEXT?

No, not really. Joining a studio abroad perhaps…

Your career path

WHAT WAS YOUR CAREER PATH AFTER GRADUATING?

I did an 8-month work placement in a micro-studio in Lisbon. Then I went back to Montpellier to look for work in my field in France. However, due to a lack of success, I registered as a self-employed entrepreneur to try and set up my own business and continue to do what I love most: illustration.

TODAY, WITH SEVERAL ALUMNI OF ESMA / IPESAA, YOU HAVE SET UP STUDIO 109. CAN YOU TELL US ABOUT IT?

It’s a bit like the next logical step: we all know each other, we all studied the same subjects. We all did our own thing and now we all have our own niche: graphic design, motion design, illustration, typography and so on. But it’s a good way for everyone to push each other to do better and go further!

C’est un peu la suite logique, on se connaît tous on a fait les mêmes études. On a tous fait nos expériences dans notre coin et aujourd’hui chacun à son créneau : design graphique, motion design, illustration, typo etc. C’est assez récent donc pour l’instant il n’y a pas vraiment de choses très concrètes qui sont sorties mais c’est un bon moyen pour que tout le monde se pousse à faire mieux et aller plus loin !

HOW IS YOUR WORK GOING, WHAT DO YOU DO, YOUR ASSIGNMENTS, YOUR CLIENTS?

I’m starting to get into the swing of things and after 1? to 2 years as a freelancer I’m managing to earn a small salary. That’s the price you have to pay for doing what you love without any constraints.

WHAT KIND OF PROJECTS ARE YOU WORKING ON?

Mostly musical projects, illustrations for vinyls, labels and artists. And also everything to do with events, textiles, skateboarding and so on. For my part, I specialise in illustration.

Even though we’re grouped together as a studio, we all have freelance status. Studio 109 is an artists’ association.

WHAT DO YOU LIKE ABOUT YOUR JOB?

Creating something from A to Z and seeing it printed on a medium, seeing an idea become something very concrete.

IS THERE A PROJECT YOU’VE WORKED ON THAT YOU’RE PARTICULARLY PROUD OF AND THAT YOU’D LIKE TO SHARE WITH US?

I’m proud of all the projects I’ve worked on so far!

The artist part

HOW WOULD YOU DEFINE YOUR STYLE?

Colourful, minimalist and a little naive, ignorant.

WHAT ARE YOUR INSPIRATIONS?

Di Rosa, Combas, So Me, Jeff Jank, Simon Landrein, Jim Phillips, Levi Jacobs, Jean André, Lugosis, Fuzi, Smole and so on. To name but a few! Of course, there are lots of other artists who inspire me, but there’s a good base here!

HOW DO YOU APPROACH A JOB?

It all depends, it really varies from project to project. For example, for the ‘Enfourchons le tigre’ project for Paloma, there was very little time, a week at the most. So there was a lot of pressure, which meant we could get to the heart of the matter, come up with hard-hitting ideas and not spread ourselves too thin.

ON YOUR INSTAGRAM YOU REVISIT SINGERS’ POCKETS AND POSTERS IN YOUR OWN WAY… WITH A PREFERENCE FOR THE 80s AND 90s Can you tell us about that?

I have a great appetite for music. This enabled me to approach labels and artists who were receptive to what I could offer in terms of design.

Beyond that, it’s a very interesting exercise and a good way of getting yourself known on social networks. When I was studying, I’d seen this concept appear for film posters but not for record sleeves, so I went straight for it. I think it’s working quite well.

My aim is to one day make a living from my creations.

To conclude

ANY FUTURE PROJECTS?

Record sleeves and I’m sure there will be other surprises!

HOW DO YOU SEE YOURSELF IN A FEW YEARS’ TIME?

We’ll have to wait and see.

WHAT ADVICE WOULD YOU GIVE TO STUDENTS AND FUTURE STUDENTS

OF MOTION DESIGN?

Enjoy it!