To ensure that your pages are kept in good condition, we recommend that you never expose them to direct light, as UV rays can damage the media used to produce them. Although Indian ink is a perennial material, the paper support may change when exposed to UV light. Note that watercolor plates require special attention, as this medium is particularly sensitive to light. Pieces containing pastel or charcoal require special care to avoid rubbing.
We advise you to display them away from windows, and to use frames made of pH-neutral conservation materials and “Museum” glass with anti-UV and anti-reflective treatment. If you prefer to keep your works unframed, we recommend storing them flat, in drawing cartons, with sheets of pH-neutral permanent paper in between. Keep them away from light and humidity
Born on June 27, 1931, in Herentals, in the province of Antwerp, Mazel spent his childhood immersed in the adventure novels of Jules Verne and Alexandre Dumas. In the late 1950s, he illustrated a Belle Histoire de l'oncle Paul for Spirou, then joined Tintin in 1960, where he produced numerous series drafts while searching for his style: L'Affaire Tarentule, the gag strips featuring the tramps Bôjolet andRiesling, those of Cromagnon, as well as full-length stories created simultaneously for Pilote (The Secret Agent, O.K. 27.43, under the pseudonym Zem). His flair for panache led him to launch the musketeers Fleurdelys and Patacrac in 1966, based on a script by Vicq. Complete biography.