Once he had trained, he went to Spirou, where in 1967 he launched his own series, “Les Petits Hommes”, in a style strongly influenced by Franquin. His style gradually became more personal and he began writing the scripts for his stories alone in the 1980s, after benefiting from the collaboration of the journalist Albert Desprechins in this area, then the collaboration of Mittéï (under the pseudonym Hao).

A particularly productive artist, he sneaked over to Pif-Gadget, where, from 1973 to 1976, he produced “La Famille Foal” under the guise of Foal; a series of which two books were later published by Soleil-Productions in a version rechristened “La Famille Martin”.

Keen to diversify, he teamed up with the scriptwriter Stephen Desberg to present, in Spirou, the adventures of the “Centaures Aurore et Ulysse” from 1978 onwards. This would receive respectable critical acclaim in books, firstly at Dupuis, then at Soleil Productions, but the public’s demands were essentially concerned with his “Petits Hommes”, who continued their career unperturbed, exploiting all themes and genres where the world of the “big people” and that of the “little people” can be contrasted.

From one book to the next, Seron also devoted himself to creating an abundance of graphic effects and layouts, as well as ingenious innovations, such as “La Planète Ranxérox”, which had to be held in a particular way to read it, even “Le Trou blanc”, which cleverly mixed people with and without colours. He is also the only modern author at Dupuis to have the idea one day of suggesting a story in 49 strips for a format of standard books limited to 48 pages. His inclination towards sci-fi sometimes causes him to give expression to a joyously surreal feel for art, but current printing techniques are not always able to keep up with him!