After moving to Paris in 1912, she found much success both as a painter and as illustrator for Vogue, La Vie Parisienne, Fantasio, and many other magazines.
The sequence where Spirou and Fantasio melt a whole army's gear is an early, still quite gentle, expression of Franquin's anti-militarism, which he would let loose much more ferociously in Gaston Lagaffe and Idées noires.
Although always painting, he supported his family in the post war years by working as a humoristic illustrator for French magazines – usually with a sexual theme – such as Fantasio, Sourire, Le Journal Amusant, Eros, and especially La Vie Parisienne.
It had by then for a while been clear that Dupuis had plans to replace Morvan and Munuera, the duo that had then for some years had the main responsibility for Spirou et Fantasio.