In 1911 Loupot was enrolled in the École des Beaux-arts de Lyon, where he took classes in painting and life drawing, and experimented with lithography.

His studio became a popular meeting place for a range of creatives based in Lausanne, including the photographer Émile Gos, and the writer Charles Ramuz.

His innovative posters for the automobile company Voisin  quickly established Loupot as a pioneering figure on the design scene.

In the same year, A. M. Cassandre - with whom Loupot would later collaborate  - produced 'Le Bûcheron', also representing a radical departure from the established Art Nouveau style.

Loupot and Cassandre, along with Paul Colin and Jean Carlu, were nicknamed the 'Musketeers' by critics, and seen to be ushering in a new era of poster design.

Emphasising the importance of design, the group aimed to create beautiful, affordable pieces that could improve the quality of people's lives.

The collaboration ended in 1934, Loupot continued to work for a range of clients, and in 1936 met Max Augier, head of advertising for the drinks company St-Raphaël [fr].

[5] For the Exposition Internationale des Arts et Techniques dans la Vie, an important opportunity to showcase Loupot's new designs, Max Augier organised not only an entire pavilion, but also the exclusive right to advertise on the surrounding walls of the exhibition.

[8] As Loupot would not work in service of the regime, for the remainder of the war he did not produce any more posters, and instead dedicated himself to painting, largely in oils.

Following the war Loupot produced series of meticulous designs, that increasingly pushed the boundaries between abstract and figurative works.

His first poster in Paris for the company Voisin clearly demonstrated a knowledge of the French artist Paul Cézanne, whilst he also frequently adapted elements from Fauvism and Cubism.