(Buck Danny), Maurice Tillieux (Gil Jourdan), Eddy Paape, Will, and most importantly André Franquin, Morris, and Peyo. Their respective series Gaston Lagaffe, Lucky Luke and The Smurfs became international bestsellers. While the first generation learned much of the art while working with Jijé, many younger artists started their professional career in the Studio Peyo before creating their own series, assuring the continuation of the School of Marcinelle. The humour aspect of the magazine was assured by the editor-in-chief Yvan Delporte, writer for Franquin, Will and Peyo. Together with the main artists of Tintin, they defined the Franco-Belgian comics for decades to come. Tintin had a similar story, with rapid success and expansion. New artists like Jean Graton (Michel Vaillant) and Raymond Macherot reached new audiences. Hergé started his Studio to help him with the work on the Tintin comics, and it defined the style of many artists like Bob de Moor and Roger Leloup. The styles of the two magazines were distinctly different, with the ligne claire and the more serious, didactic tone of Tintin contrasting with the humorous, more caricatural Marcinelle school of Spirou. In Flanders, no local magazine could equal the success of the two translated Walloon magazines, and to survive this period, they disappeared as independent magazines and became weekly newspaper supplements. The most important was 't Kapoentje, which published the work of Buth and Rik Clément, but which had no influence outside Flanders. The only new artist to become truly successful in this period was Jef Nys with Jommeke, which debuted in 1955 and became the third major daily newspaper comic in Flanders. Artists like Pom, Bob Mau or Renaat Demoen were less successful and had only a limited audience, while other Flemish artists started working for the French language magazines, following in the footsteps of Morris in Spirou and Bob de Moor in Tintin. The most successful of those in this period was Berck, who first appeared in this period in Tintin before moving to Spirou. 1959–1977 From 1959 on, the dominance of Spirou and Tintin slowly disappeared. The first generation of artists could not continue the publication rhythm of the previous decades, and French magazines reached new audiences, helped by the protectionistic censoring by the French authorities. French artists like René Goscinny and Albert Uderzo, who previously worked for Belgian magazines and newspapers, started their own magazine Pilote, and the less restrictive atmosphere there