Seron
Seron PIERRE SERON LES PETITS HOMMES Le Trou blanc (Vol. 17), Dupuis 1985 Original cover. Indian ink on paper 27.5 × 37 cm (10.83 × 14.57 in.) Pierre Seron belongs to the generation that had the daunting task of immediately following in the footsteps of the stars of the golden age of Belgian comics. He first worked for *Le Journal Tintin*, where he collaborated with Dino Attanasio, Mittéï, and Tibet, but it was primarily in *Le Journal de Spirou* that he made a name for himself, beginning in 1967, with the series *Les Petits Hommes*. At his publisher’s urging, he was then asked to follow in the stylistic footsteps of Franquin. This cover is from one of the series’ most unique albums, a conceptual story in which his heroes find themselves in a world devoid of color—a fertile and strange idea, typical of his talent as a “descénariste,” a neologism he coined to describe his role as a “complete author.”
[ translate ]Seron PIERRE SERON LES PETITS HOMMES Le Trou blanc (Vol. 17), Dupuis 1985 Original cover. Indian ink on paper 27.5 × 37 cm (10.83 × 14.57 in.) Pierre Seron belongs to the generation that had the daunting task of immediately following in the footsteps of the stars of the golden age of Belgian comics. He first worked for *Le Journal Tintin*, where he collaborated with Dino Attanasio, Mittéï, and Tibet, but it was primarily in *Le Journal de Spirou* that he made a name for himself, beginning in 1967, with the series *Les Petits Hommes*. At his publisher’s urging, he was then asked to follow in the stylistic footsteps of Franquin. This cover is from one of the series’ most unique albums, a conceptual story in which his heroes find themselves in a world devoid of color—a fertile and strange idea, typical of his talent as a “descénariste,” a neologism he coined to describe his role as a “complete author.”
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