by Edgar P. Jacobs in the previous decade. Reputed for his perfect imitation of the style of Hergé, he supervised the totality of the album production together with Hergé. He was also charged with the creation of all derived products featuring the heads of Tintin or Snowy. Jacques Martin (1947?–1972) Creator of Alix, close to Hergé, he joined the Studios mainly as an assistant to the stories, starting with The Calculus Affair. He worked with Hergé until 1972, notably on The Red Sea Sharks and Tintin in Tibet Roger Leloup (1953–1969) Assistant of Jacques Martin for the colours and backgrounds in Alix, he joined the Studios Hergé on 15 February 1953. His main work are the mechanical elements in the drawings, like automobiles. He was the creator of the futuristic jet of Laszlo Carreidas in Flight 714 to Sydney. He was also responsible for the public relations of Hergé. He left the Studios on 31 December 1969 to work exclusively on his own series, Yoko Tsuno. Michel Demarets (1953–1986) Jo-El Azara (1954–1961) Guy Dessicy (1950–1953), creator of the Publiart company Johan De Moor The son of Bob De Moor arrived at the Studios only a short time before the death of Hergé, and was mainly active afterwards, with the new version of Quick & Flupke. Pierre Gay (1984–1986) A young cartoonist hired 13 months after Hergé's death as an assistant to Bob De Moor. He was the last cartoonist to be hired by the Studios Hergé. Colorists Josette Baujot Main colorist. Her rather stormy character was caricatured in Tintin and Alph-Art with the character Josette Laijot. Monique Laurent France Ferrari Nicole Thenen Fanny Vlamynck Became the second wife of Hergé and inherited the rights to his works after his death. Presides over the Hergé Foundation since 1986. Remarried later to Nick Rodwell. Secretaries Marcel Dehaye Baudouin van den Branden Works of the Studios All works realised under the name of Hergé since 1950 can be considered as works of the Studios. This is a non-exhaustive list of those works where the Studios played a major role, either by colouring, drawing of backgrounds, or by completely replacing Hergé. However, it is difficult to correctly judge the role of the contributors, as Hergé and, later, his rights-holders minimized their work. There is debate over a number of albums, mainly Tintin and the Picaros and the third version of The Black Island, where