Editing André Franquin (section)

==Influence==
[[Image:Image-Marcinelle-Example.png|thumb|right|upright=1.3|Typical vivid movement of Spirou and Marsupilami from André Franquin's comic ''Spirou et Fantasio'']]

Franquin's style rests in opposite corners of the aesthetic spectrum from Hergé: If the pictures of Tintin's creator were characterized by the use of [[ligne claire]], flat colors, and certain statics, Franquin's graphic approach progressively evolved towards a multi-color aesthetics, [[chiaroscuro]] and a vigorous sense of movement. Hergé expressed on several occasions his admiration for Franquin's work: "Compared to him, I’m but a poor draftsman".

[[File:Studio Franquin.JPG|thumb|right|upright=0.70|Franquin's studio in avenue du Brésil at [[Ixelles]]]]

Franquin was a prominent member of the first generation of the “[[Marcinelle School]]” (École de Marcinelle), also formed by Morris and Will, who would be joined during the 50s by the second generation including, among others, Peyo, [[Maurice Tillieux|Tillieux]], and two subsequent generations joining during the 60s and 70-80s. Within this group, Franquin's influence was uncontested, especially among the authors that continued the series Spirou et Fantasio after he left. Jean-Claude Fournier, [[:fr:Nicolas Broca|Nic Broca]], and especially [[Jean-Richard Geurts|Janry]] (Jean-Richard Geurts) showed in this series graphic styles that tried to mimic with varying degrees of success the features of Franquin's style.

Other Franco-Belgian authors that show Franquin's influence were [[Dino Attanasio]] and [[Mittéï]] ([[Jean Mariette]]), both responsible for the series ''[[Modeste et Pompon]]'' after he left, [[Jidéhem]] (Jean De Mesmaeker), a usual collaborator of Franquin for Spirou et Fantasio and Gaston Lagaffe, [[Batem]] (Luc Collin), artist of the Marsupilami series, or [[Pierre Seron]], who cloned Franquin's style in his series ''Les Petits Hommes''.

A most remarkable case is Franquin's influence on [[Francisco Ibáñez Talavera|Francisco Ibáñez]], possibly the most widely published Spanish author since the 1950s. Starting in the 1970s, Ibáñez made extensive use of ideas and designs from Franquin's works, adapting them to his own universe, but also importing many graphic and narrative solutions. Even one of his characters, "El Botones Sacarino", can be easily identified as a hybrid of Spirou (he is a bellboy) and Gaston Lagaffe (he works in a publishing company and is the source of never-ending disasters), whom he resembles physically. Franquin's shadow is even more obvious in the work of [[:es:Ramón María Casanyes|Ramón María Casanyes]], a disciple and ghost collaborator of Ibáñez, especially in some of his solo works such as the short-lived "Tito, Homo Sapiens 2000", where the Franco-Belgian descent is unquestionable.