Hergé-like Ligne claire style, he went on to create his own distinctive style, the so-called Atom style. This style mixed elements of the Ligne Claire with Art Déco elements, and became one of the defining styles of the Franco-Belgian comics. He also had a few young cartoonists living with him in his studio in Waterloo, thus creating the so-called "School of Marcinelle": this included André Franquin, Morris, and Will. Other famous artists working in the style and influence of the School of Marcinelle include Peyo, Jean Roba and Eddy Paape. Together with Franquin, Jijé is considered to be the father of the Atom style, which has had a revival since the 1980s with artists like Yves Chaland and Ever Meulen. But Jijé was also the first master of the Franco-Belgian realistic comic, with Jerry Spring. Both his drawing style and his writing was very influential and groundbreaking. Later students of Jijé, not really working in the Atom style or the School of Marcinelle, include Jean Giraud (aka Moebius), Jean-Claude Mézières and Guy Mouminoux. Artist Jean Giraud started working in the style of Jijé before developing his own style. He is held in high esteem by many of his peers, both those he tutored like Franquin and Moebius, and others. Tibet, author of Ric Hochet and Chick Bill, and for the major part of his career working for rival Tintin magazine, has said that "If Hergé is considered as God the Father, then Jijé undoubtedly is the Godfather". In his writing, he can be seen as a transitional figure between the classic hero-driven comics like Alix or Michel Vaillant, and the modern anti-heroes like Blueberry or the works of Hermann Huppen. Jerry Spring still was the perfect, flawless hero, but the rest of the cast was no longer strictly divided into heroes, victims and villains, and no longer was the Native American the bloodthirsty figure he often was in earlier comics. A similar early anti-racist message was also given by Blondin et Cirage, with a white and a black boy featured as equals. He also pursued sculpting and painting, mainly for his private use or for family and friends. His illustrations for stories like The Count of Monte Cristo (in the Belgian magazine Bonnes Soirées with René Follet) mix elements from his comic work and his paintings into one decorative style. In 2004, the Maison de la Bande Dessinée, a comics