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A Life in Comic ArtWritten by John Coates with Dan Spiegle

DANSPIEGLE

CONTENTS

4 Acknowledgements

5 Introduction

6 Foreword- Mark Evanier

10 Chapter One: The Early Years

16 Chapter Two: Hopalong Cassidy1949-1955

24 Chapter Three: Western Publishing (a.k.a. Dell, Gold Key,and Whitman)1956 - 1983

44 Chapter Four: DC, Eclipse, & IndyPublishers 1980s - 1990s

58 Chapter Five: 2000s to Present

64 Chapter Six:Watercolors

68 Chapter Seven: Process of Drawing

72 Chapter Eight: Growing up with acomic artist father

76 Chapter Nine: Partners in Art & Life - Dan and Marie’swrite-ups of one another

80 Chapter Ten: Dan Gheno’s 1972 interviewwith Dan Spiegle

86 Comic Index

102 Afterword- Sergio Aragonés

DAN SPIEGLE: A Life in Comic Art6

This is my Foreword for thissplendid book about Dan Spiegle.So naturally, I’m going to start itout by writing about Jerry Lewis.In July of 1959 when I was nine,

my parents took me to the ParadiseTheater, which was located onSepulveda Boulevard not far fromwhere L.A. International Airport isnow situated. There I saw the firstmovie that I remember seeing. Itwasn’t the first movie my parentsever took me to. It was just the firstone where I was cognizant of whata movie was and that I was seeingit. The film was Don’t Give Up TheShip starring Jerry Lewis. It wasn’tbad if you were nine and had noth-ing to compare it to.A day or three later, I had an

appointment with my pediatricianand I wound up sitting in his wait-ing room, waiting for my parents tocome pick me up. As I waited, Iread comic books from a pile I’d acquired on the way to Dr. Gross-man’s. One was the Dell comicbook adaptation of Don’t Give UpThe Ship.Also waiting was a kid around

my age. He saw the comic I was

reading and informed me—like itwas the most natural thing in theworld—“That’s one of my dad’smovies. My dad starred in that.”I pointed to the photo of Jerry

Lewis on the cover and said, “Yourdad is Jerry Lewis?” The kid saidyes.

And I was just about to call hima liar when Jerry Lewis walked intothe office.Thinking it would please him, I

quickly told Mr. Lewis that I had

just seen his new movie. His replywas along the lines of, “Who thehell cares?” and “Leave me alone.”For some reason, this did notbother me or cause me to stopgoing to Jerry Lewis movies. I guessI just figured I had said the wrongthing and that Mr. Lewis wasgrumpy because his kid was sick.Or something.So what does this story have to

do with Dan Spiegle?Simple: Dan Spiegle drew the

Dell version of Don’t Give Up TheShip. That’s how long I’ve been aDan Spiegle fan.Of course, I didn’t know it at

the time. No credits. But as I avidlycollected Dell—and later, GoldKey—comics, I came to recognizeThat Guy’s style. It was on Maver-ick comics. It was on other westernsand later on Space Family Robin-son...and I don’t remember when Igot a name to go with the style. Butsomewhere, somehow I learnedthat artist I liked was named DanSpiegle. There was just somethingso organic about his work. Thepeople had emotions and expres-sions and they posed like real

FOREWORDBY MARK EVANIER

FOREWORD: MARK EVANIER 7

human beings. He also had an astounding eye for detail and awonderful way of setting the scene.Wherever the characters were, youknew what it was like there.In late ’71, I began writing

comic books for Western Publish-ing Company, the firm that hadonce produced the contents of DellComics and had printed them.They were now putting comics outunder the Gold Key label and DanSpiegle was drawing many of them,though not the kind I wrote. I wasdoing SuperGoof and BugsBunny andWoody Wood-pecker. Dan didstuff like Korak,Son of Tarzan...and adaptationsof Disney moviesthat all seemed tohave Dean Jonesin them.Our editor

(Dan’s and mine)was a cheery gentnamed ChaseCraig and when Idelivered work tohis office on Holly-wood Boulevard, I’drun over to the tableof incoming artwork and look forthe drawn versions of my scripts.Invariably though, there’d beSpiegle pages there and I’d pawthrough them, getting up close andpersonal with that fine linework. Igushed more than a few times toChase about how much I likedSpiegle art and I wasn’t hinting atanything. At least, I don’t think Iwas. But my gushing gave Chase anidea.One day, he asked me if I’d like

to do some scripts for Scooby-Doo, acomic based on the long-running

(though nowhere near as long as itwould run) Hanna-Barbera TVshow. I said yes to just about every-thing in those days, but I didn’tparticularly like the program, and Isaid to Chase, “If you want, but I’drather do more for the WarnerBrothers comics.”He said, “Well, okay. But I

thought you’d enjoy a chance towrite for Dan Spiegle.”Dan Spiegle?What in the name

of Hopalong Cassidy was Dan

Spiegle, one of the beststraight adventure artists workingin the business, doing drawingScooby-Doo?Chase explained. Western had

cut back on this and that, and theNew York office (which producedhalf the line) was claiming all thenew titles that Spiegle might havedrawn. “I had nothing else to givehim and I needed a new artist onScooby-Doo so I thought we’d tryit.” I asked how it was working out.He said, “So far, not bad. It’s notDan’s kind of comic but he’s figur-ing it out.”

Dan was one of Chase’s favoriteartists and, he said, one of the twomost dependable freelancers he’dever employed, the other beingMike Royer. And in neither casedid he just mean the work was al-ways in on time. That would havebeen impressive enough, but Chasemeant it was always on time andgood. Read the following slowly:I (this is me, Mark) worked with

Dan Spiegle for around twentyyears. We did hundreds of storiestogether. He was never even a day

late with asingle one ofthem. Hewas, in fact,usually early.And I neversaw one thingin any of thosejobs that causedme to thinkthat Dan didn’tunderstandwhat he wasdoing or that hehadn’t given ithis all. Editorsget down ontheir knees andpray for contribu-tors like that.When I wrote

my first Scooby-Doo story, the pageswere back from Dan in no time andChase really liked the way theycame out. He ran around the officeshowing the work to everyone andsaying, “Look! Spiegle’s learnedhow to do this kind of comic.” I got a fair amount of probably-Opposite Above:Dan Spiegle & Mark Evanier in 1972

Opposite Below:Dell Don’t Give Up The Ship, 1959

Above (left to right):Gold Key Scooby-Doo... MysteryComics #25 and #29, 1974

JOHN COATES: Let’s start at thebeginning: When and where wereyou born, Dan?DAN SPIEGLE: I was born in Cos-mopolis, Washington on December12, 1920; my sister was two yearsolder, and my brother was six yearsyounger.COATES: Were your parents insome artistic or in a creative field? SPIEGLE: Not really. My motherwas a nurse and my father was adruggist. COATES: Were your parents sup-portive of your interest in drawing?SPIEGLE: My mother encouragedmy art but my father wanted me tobe a druggist, like he was.COATES: Did your siblings shareyour interest in drawing?

Opposite:Dan, his sister, & his mother

Above:Dan & Father, 1937

THE EARLY YEARSSPIEGLE: Not really, no. COATES: I read that your familymoved to Hawaii for a stint, beforemoving to California. Was that anadventure for a young child?SPIEGLE: In Cosmopolis, Washington,where my father owned a drugstore, hedeveloped an ulcer and became very ill.The doctor suggested that my father retire and move to a warmer climate. Iwas four years old when my father soldthe drugstore and we moved to SanDiego, California; that’s where I startedgrammar school. In 1927, when I wasseven years old, Charles Lindberg flewacross the Atlantic Ocean and my fathertook me down to Ryan Airfield wherethe Spirit of Saint Louis was built andhe showed me around the old aircraft

Chapter One

DAN SPIEGLE: A Life in Comic Art12

hangers. That is probably why Ihave loved to draw all types of aircraft.About that time my aunt and

uncle, who owned a couple of smallhotels in Honolulu, suggested thatwe move to Hawaii. So my folksleased a beach house just south ofDiamond Head. My sister and I en-joyed swimming every day andgoing to school. That suddenly all

changed in 1929 when the stockmarket crashed and my parents lostmost of their savings. We had justenough money to buy a chickenranch in Northern California androde out the Depression “living offthe land.” In 1934 my fatherbought another small drug store inthe little town of Loleta, Californiaand I started school in Fortuna. COATES:Was this when you

knew you wanted to be an artist?SPIEGLE: No, that was earlier. Iwas about five years old. My fathersold newspapers and magazines.That is where the comic stripdream started, reading Doc Savage,G8 and the Battle Aces, and otheradventure stories. I really liked themagazine illustrators at the time.My influences were Alex Ray-mond, Roy Crane, Fawcett, and

CHAPTER ONE: THE EARLY YEARS 13

Milton Caniff from the newspapers.I used to make-up and draw contin-ued stories on these five-centtablets. COATES: Did you have any earlyformal art training?SPIEGLE: In high school I discov-ered watercolor and loved it. Bythis time I knew I wanted to be acartoonist. As I mentioned earlier,my father was a druggist and owned

a small store. I used to read all thepulp magazines he sold, plus I readthe San Francisco newspapers. Iwas so committed to being a car-toonist that I even created a coupleof weeks of an adventure strip andsent it to King Features Syndicate.I received a rejection, but a niceletter of encouragement and a sug-gestion that I not color my origi-nals; that they would actually do

the coloring. COATES:Where did you go afterhigh school?SPIEGLE: In 1940 I moved toSanta Monica, California and went

Opposite:Spiegle Chicken Ranch, 1930

Above:Spiegle Pharmacy

JCOATES: So in 1946 you’re State-side. Did you begin your professionalart career immediately?DC: No. Under the G.I. Bill I attendedthree years at Chouinard Art Institute(illustration course) from Fall 1946 toFall 1949. This was in Los Angeles,California. I had some great instructorsfrom the movie industry, quite a fewfrom Disney. Incidently, Bill Ziegler(who later drew the Dragnet and Mary

Above:Sculpting class

Left: Chouinard Art Insti-tute in Los Angeles, 1940s. Photo by Elizabeth A.Powell (courtesy of Lindy Narver) from www.chouinardfoundation.org

HOPALONG CASSIDY

Chapter Two 1949-1955

Opposite:Commissioned

Hopalong Cassidy, 2007

Worth newspaper comic strips) was astudent and a good friend of mine. Weremained friends. Chouinard wasstrictly a “fine art” school. I rememberthat I decided to create a western news-paper strip so I worked on it during my“life” class. I had to make sure Mrs.Chouinard didn’t catch me, so I wouldstart a quick sketch of the “life” figure,and then flip over the page where Iwould have one of my western strip

DAN SPIEGLE: A Life in Comic Art18

pages that I had been working on. I would continue working on thestrip unless Mrs. Chouinard wouldstop by. Then I would flip back tothe model drawing! (Laughter)All the instructors knew what I was doing but were sympathetic. Ialso had to work after school so Ididn’t have time to work on thestrip at home.

Hopalong CassidyWilliam Boyd played the westernhero “Hopalong Cassidy” from the1930s-1950s, beginning with apopular radio program, over sixtymovies, and finally a TV show. Hewas a show business marketing vi-sionary and not only licensed hischaracter to just about every prod-uct imaginable, but also bought thelicense to his movies, then repack-aged those movies into one of themost popular western TV shows ofthe 1950s; he was an iconic figurein his time.

COATES: Before we get to yourconnection with the HopalongCassidy [Ed: a.k.a. “Hoppy”] char-acter and William Boyd, can youclear up the “Bozo the Clown”story? Did you draw a Bozo strip atone point?SPIEGLE: The Bozo the Clownstory has been screwed up so manytimes. (Laughter) Around Septem-ber of 1949, I answered an adver-tisement for a “Comic strip writer”at an address in Hollywood, Cali-fornia. I took some samples of mywestern strip and found it was theoffices of Capital Records and theywanted someone to write and drawBozo. I said I did not think I wasthe right person as my work wasmore realistic. The man I talked to

said, “Well, let me see what youhave and I’ll decide.” When he sawmy strip he said his cousin or unclewas the office manager for WilliamBoyd and that Boyd’s office was just“down the block” and “Why don’tyou see if he might be interested indoing a Hoppy strip?” The timingwas just right as Boyd also hap-pened to be in the office at thistime and liked the way I drewhorses. He agreed a comic stripwould just about cover the marketas he already had Hoppy toys of allkinds, clothes, games, and had hispopular television show.COATES: Can you elaborate onthat first encounter with Boyd?SPIEGLE: I always say timing iseverything! (Laughter) When I entered the Hoppy offices I had no

Above:Hoppy Mirror billboard, early 1950s

Right:Russel Haydon, Hoppy (William

Boyd), & Gabby Hayes, late 1940s

COATES: Is this when you started towork for Western Publishing?SPIEGLE: Yes, during this time Boydhad also moved his offices from Hollywood to Beverly Hills. One day,while dropping off some Hoppy stripsat the new office to be edited, I remembered hearing that WesternPublishing had an office in BeverlyHills as well, so I stopped by and met

Above:Space Ghost

Left:Gold Key Dagar the Invincible #2, 1982

WESTERN PUBLISHING(a.k.a. Dell, Gold Key, and Whitman)

Chapter Three 1956 to 1983

Opposite (left to right):Dell Corky #707 (May 1956),

Dell Brave Eagle #705 (June 1956), Dell Spin and Marty #767 (1957),

Dell Maverick #945 (1958), Dell Old Yeller (1957),

Gold Key Hardy Boys (1970), Whitman Space Family Robinson #59 (1982),Gold Key Mickey Mouse #107 (June 1966),

Gold Key Scooby-Doo... Mystery Comics #21 (1973),

Whitman Buck Rogers #14 (1982),Whitman Mighty Samson #32 (1982)

Tom McKimson; he was a story editorthere. Tom offered me several westernbooks if I wanted to start right then. I agreed to start just as soon as I finished the last few weeks of the current Hoppy story. Then I wentback to Dan Grayson at Boyd’s officeand told him of my decision, and wehad an agreeable parting. Hoppy was awonderful experience.

Western Publishing produced and distributed comic books under three separate logo-imprints: “Dell Comics” imprintfrom 1938-1962, “Gold Key” imprint from 1962-1980, and “Whitman Comics” imprint from 1980-1984, when

Western Publishing ceased producing comic books. All three logo-imprint names are used interchangeably throughout theinterview to represent Western Publishing.

DAN SPIEGLE: A Life in Comic Art26

COATES: It’s1955 and youstart your long as-sociation withWestern Publish-ing. Did you focuson working forWestern Publish-ing exclusively ordid you also do any advertising, oradditional newspaper strip work?SPIEGLE: Not really. WesternPublishing kept me pretty busywith westerns genre stories, andother adventure books. I enjoyedthe variety and the money wasmuch better! (Laughter) I didwork-up a newspaper comic stripabout old sailing ships and thecharacters that sailedthem, but I have yet tofind a taker. The titleis Penn and Chris.They are two cabinboys and their adven-tures are aboard shipwith good and bad captains. COATES: Did youwork in a studiobullpen environmentor freelance?SPIEGLE:WithWestern Publishingand thereafter I alwaysfreelanced from myhome studio.COATES: Any spe-cific editors that standout as favorites?SPIEGLE: The West-ern Publishing editorswere always friendlyand very professional. Iespecially enjoyedworking with TomMcKimson and DelConnell. I think my fa-vorite was Del, though.We met once when I

came in to deliver some artwork,and have been friends for over fiftyyears. He is a talented editor andwriter. He had been at Disney andcame to Western Publishing as awriter/artist. He was an excellenteditor that everyone liked. In fact,he just received the “LifetimeAchievement Award” at the 2011Comic-Con International held inSan Diego, California.

COATES: I’m cu-rious, and thisquestion is unre-lated to any spe-cific editor, but isthere a differencein the creative ap-proach or treat-ment of artists

from, say, an editor for WesternPublishing, a company based in LosAngeles, versus an editor for acompany based in New York City?I guess I’m asking, is there a WestCoast/East Coast difference basedon the cultures of the two cities?SPIEGLE: No difference in theeditors that I could tell, but a dif-ference in clients. DC, Marvel

Comics, and otherscould put in more sexand violence, whileWestern Publishing,with producing Disney,Hanna/Barbara, kids-oriented movie and TVadaptations, and otheranimation studios, weremore conservative backwhen I worked forthem.COATES: And anywriters you can recall?SPIEGLE: Don Chris-tensen was a very hu-morous writer. I thinkhe may have writtensome Scooby-Doo lateron. COATES:Were thereany artists at WesternPublishing that you ad-mired?SPIEGLE: I likedSparky Moore. Wewould meet at theWestern offices whenwe would both bebringing in a finishedstory. We still keep in

CHAPTER THREE: WESTERN PUBLISHING 27

contact. Alex Toth was my favoriteartist. Alex and I would have lunchsometimes. He was quiet and veryserious about his work but a real ge-nius. He was always experimentingwith the new Japanese pensand markers.I was greatly influenced

by his work and startedusing “Rapidograph” pensand markers, but found that

the early markers were not perma-nent so I gave up the markers, butam still using “Micron” and “Mi-croperm” pens.COATES: Any other artists come

to mind?SPIEGLE: Russ Manning was alsoa terrific artist. I enjoyed looking athis Tarzan pages when we wouldmeet at Western Publishing. Nick

Opposite Above:Penn and Chris daily strip, mid-1950s

Opposite Below:Dell Annie Oakley & Tagg #7,Spring 1956

Right:Dell Corky #707, May 1956

Per the Grand Comics Database (www.comics.org) Dan’searliest published comic book work listed is Dell’s Four ColorComics #707, May 1956—featuring the modern day western

adventures of Corky and White Shadow; “Corky” was acharacterplayed by Darlene Gille-spie on WaltDisney’s thenpopular MickeyMouse Club.However, FourColor Comics#705, June 1956,featured the popular westernTV character“Brave Eagle,”and was cover-dated a monthlater; there is noway of knowingwhich story wasdrawn first. Bothpublishing datessync with Dan’saccount of movingto Western Publishing inlate 1955.

Above left:Dell Corky #707, May 1956 Above right:Dell Brave Eagle #705, June 1956

CHAPTER THREE: WESTERN PUBLISHING 35

Opposite Above:Gold Key Korak #24, 1968. Dan’s first work on Korak.

Opposite Below:Gold Key Magnus Robot Fighter #23, 1968

Above:Whitman Space Ghost: The Sorceress of Cyba-3

Big Little Book pages, 1968

DAN SPIEGLE: A Life in Comic Art38

needs a professional job completed on a tight deadline. Any you can recall?SPIEGLE: Not specifically. It happened so often. Seems like most of theprojects were rush jobs! (Laughter)COATES: You began drawing humorous titles for the first time, such asScooby-Doo. Was your approach different than drawing an adventurestrip?SPIEGLE: Yes, humorous is drawn with less detail. COATES: It was during this time on Scooby-Doo… Mystery Comics #22(December 1973) we find the first listing of collaboration with yourlongtime friend and collaborator, Mark Evanier. How did you meet andbecome acquainted with Mark?SPIEGLE: I met Mark at Western Publishing with Scooby. We werefriends right way. You’ve got to like the guy! He is so funny but also avery caring person. I was not sure I could do the humorous drawingneeded for Scooby-Doo, but Mark said, “Just make it line drawing withno shading and simple backgrounds and you will do all right.”

[The following is reprinted fromComics Buyer’s Guide #1442, July 6,2001, with permission from MarkEvanier. Evanier provided this anecdotefrom the 1970s when he was a writerand editor for Western Publishing.]

“Dan drew a Scooby-Doo story forFrance and, because of some screw-up(maybe his, maybe mine), it was drawn inthe wrong page format. I had to ask him toredraw the same script with slightly differ-ent margins. He was being paid anew, but what he

could have done—what almost any otherartist would have done—was to just traceor swipe the earlier version. He could evenhave cut a lot of the old drawings out andpasted them into the new layout. He didn’t. He drew the entire story

over and changed every single panel. Everyshot was at least a little different from theway he’d staged things the first time. I knew the answer but I had to call and

ask, anyway; why did you change everysingle panel?Answer: “Just to keep my interest up.

It would have been too boring to draw itthe same way twice.”

COATES: Speaking of DC Comics, in1980 your work began to appear in theircomics again. Do you recall how youcame to work for DC Comics?SPIEGLE: Not really. I think I starteddoing back-up stories for Karen Berger,who at the time was an editor at thetime. She was nice and very easy towork with.COATES: Now, in 1982 you and yourlongtime collaborator and friend MarkEvanier re-launched the Blackhawk

Above & Left:Commissioned Blackhawkillustrations

DC, ECLIPSE, & INDY PUBLISHERS

Chapter Four 1980s—1990s

Opposite (left to right):DC Comics Blackhawk #268,

(1984), DC Comics Teen TitansSpotlight #21 (1988), DC ComicsBlackhawk #271 (1984), Eclipse

Comics Crossfire #6 (1984),Eclipse WhoDunnit? #3 (1987), Comico Jonny Quest #21 (1988)

comic for DC. [Ed: The “Blackhawks”were created back in 1941 by Will Eisner,and Chuck Cuidera. They were a team ofstunt-aviators, with each team-memberbeing from a different Nazi-occupied European country, banding together as acollective-resistance to the Nazis.] In myopinion, this is some of your finestcomic artwork, and it read like a laborof love. How did this project comeabout, and why Blackhawk?

DAN SPIEGLE: A Life in Comic Art46

SPIEGLE: Thank you. As the artist I was never involved in the editorial deci-sions. I think it was Mark and Len Wein’s idea to bring the series back. Markwrote the series.COATES: Had you and Mark kept in touch through the years, or did you re-connect for this project?SPIEGLE: Yes, Mark and I had worked on other stories up to this point andenjoyed the experience, so we knew this book was going to be fun.COATES: Had you known about the Blackhawk character prior to this time,either through the popular comics, 1940s movie serial, or radio show?

SPIEGLE: You know, Ihadn’t ever heard of the char-acter before taking on thebook. (Laughter) I did likedrawing that era, the cos-tumes, architecture, uniforms,and of course the aircraft; oneof my favorite series. Also,Mark always made the storiesinteresting with unusual char-acters. COATES: Over the firsteleven issues you had fourseparate editors; Len Wein,Marv Wolfman, Ernie Colon,and then Mark Evanier alsotook over as editor for the re-mainder of the series. Do yourecall any specifics about thenumerous editorial changes?SPIEGLE: Like I said, I’venever been involved in theeditorial decisions, so I’m notsure why the editors keptchanging. I kept gettingMark’s scripts and producingthe book.COATES: Do you recall ifthese changes impacted yourworking experience?SPIEGLE: No, as a rule, edi-tors made the dialogue andart changes before I ever re-ceived the script, so I usuallyhad very little interactionwith the editors until Marktook over. I used to mail thefinished art directly to DCComics, but when Mark tookover as editor, I would send

Above:DC Comics Blackhawk # 272,1984

Opposite Above:Marvel Tarzan #1, 1984

Opposite Below:DC Comics House Ad, Nov.1982

DAN SPIEGLE: A Life in Comic Art52

SPIEGLE: Bad experience! (Laughter) Atthe time I don’t think Marvel was interestedin the series. If it’s not “superhero” it didn’thave a chance. Also, they gave us cheappaper and it had terrible coloring.COATES: In 1994 DC Comics released agraphic novel on Modesty Blaise. Dick Gior-dano is sole-credited as the artist in the bookbut I found where Mark Evanier had indi-cated on the creative-index website site,Grand Comics Database, that you did thepencils.SPIEGLE: Yes, and it was a pleasant experi-ence! I had met Dick years before at DC andwe worked well together on Modesty Blaise.As I have said before, my pencils were alwaysvery rough but in Dick’s case I had to tightenthem and found it was kind of fun!COATES: Had you been a Modesty Blaisefan?SPIEGLE: No. I never followed the strip.

COATES: In 1995 you drew the Walt Disney’sPocahontas #1 movie adaptation. Your artworkseemed more attuned to the movie’s animation-art style than your traditional style. SPIEGLE: Yes, Disney said they wanted the artto look the same as the movie and “Did I want totry?” It was easier than I thought and I found itwas kind of fun! (Laughter)COATES: You were also working with DarkHorse Comics on the Indiana Jones franchise.How did you become associated with the franchise?SPIEGLE: I guess they called and I said “yes”.(Laughter) I think Dan Barry was drawing someof the series as well, but I never met or workedwith him.

COATES: Around 2000 you had workpublished in Boys’ Life magazine: “BankStreet Classic Tales.”SPIEGLE: Yes, I guess this is the storyof my life! (Laughter) I get in on theending of a good thing…just like when I finished Sea Wolf for Classics Illustrated Comics, they went out ofbusiness. Boys’ Life decided to go to

Above:Dan in his studio, 2004

Left:American Bible Society

2000S TO PRESENT

Chapter Five 2000 to Present

Opposite:Boys’ LifeMay 2000,

interior page

photos…illustrated stories were too expensive. It was different and fun illus-trating the classics for Boys’ Life and Iwish I had had the opportunity earlier. COATES: Any current work you wantto share with the readers? SPIEGLE:Well, aside from my com-missions which we discussed, I did somework for the American Bible Society

CHAPTER FIVE: 2000s To Present 61

COATES: You seem very busy with fanscommissioning you for specialty pieces. Yourcommissions are beautiful. How do you keepup the discipline after all these years?SPIEGLE: Thank you, I think it’s justhabit! (Laughter) After breakfast I go outinto my avocado orchard, take a walk,maybe work in the yard, and just alwaysseem to eventually end up in my studio. Idraw most every day. I play golf once a weekand I think that’s the only day I usually takethe full day off from drawing. I also like toread, but none of those replace drawing forme. I think I feel somewhat empty withoutit. The commissions have become quite fulfilling. For those interested my agent isdavekarlen@aol.com or http://davekarlenoriginalart.com/COATES: Do you ever plan to fully retirefrom drawing?SPIEGLE: I guess I’m just a stubborn guy!(Laughter) I still do hand exercises to staylimber. You know, I was looking at some ofmy artwork that I drew back in high school.It’s awful! (Laughter) I had zero talent! Ilook at that art and wonder what ever couldhave made me think I could draw anything,or be an illustrator. But, I did. I kept drawing.I love it! I think it’s about drive. COATES: I see over the years you’ve attended a few Comic-Con Internationalcomic conventions in San Diego, California.Back in 1983 you received their InkpotAward, as well.SPIEGLE: Yes, I have been to quite a fewSan Diego Comic-cons, but not recently.

Above (left to right):Commission The Shadow, 2011 Blackhawk War Wheel, 2006

Below (top to bottom):Commission Disney’s Scarecrow of Romney Marsh, 2011 Commission Blackhawk & the Zeplin, 2006

CHAPTER FIVE: 2000s To Present 63

Opposite (Top to Bottom):Commission Indiana Jones, 2007

Commission Disney’s Scarecrow of RomneyMarsh, 2009

Above:Commission Blackhawk & Domino, 2007

Left (left to right):Dan Spiegle, Jerry Scott, and Stan Lee.Dan with Jerry Scott, creator of “Zits”, & StanLee…who you know already!

They are a lot of fun, but tiring; it’sfun meeting and talking with fansand to see the wild costumes. Someof the fans must spend all year think-ing up ideas for those outfits!COATES: Do you keep up with cur-rent comics and art trends? SPIEGLE: I do see the comic bookdisplays in the book stores (becausethey cost as much as a book), whichmeans only adults can afford them.Where’s the comic books for kids? COATES: Overall, how would youdescribe your 50+ years in comicbooks? SPIEGLE: I wouldn’t change aminute! I have met some terrificartists, writers, editors, and fans.Most of all I was able to work athome and be with my wife and towatch our four kids grow and be-come responsible citizens in thiscrazy world. I hope they can make adifference!COATES: Beautiful! Final question:Are there any additional insightsabout your career you wanted toshare that we hadn’t covered?SPIEGLE: Can’t think of anythingyou haven’t, John! (Laughter) I appreciate the fans’ interest in mycareer. Best Wishes! COATES: It’s been a pleasure!Thank you again from myself, andyour fans!

Above:Spiegle Christmas card

illustration - Hopalong Cassidy

Left:Green Hornet,

2008

Bottom:Maverick, 2000

Opposite(top to bottom):Hopalong Cassidy,

2003

Western Dave’s Saloon,2009

WATERCOLORSChapter Six

1.

2.

3.

I discussed my overall process earlier in our interview, but here is the way I do the10"x15" illustrations on cold press medium weight board:

1. I like to rough-in the illustration with a “Col-Erase” (blue) pencil, to get arough idea of composition, and then tighten up the picture with an HB lead pencil.2. Using Micron pens (.02 through .08), I draw all faces, figures and backgrounds

and brush in heavy blacks.3. Diluting black india ink, or acrylic paint, I paint in medium shadows in faces,

bodies and backgrounds.4. Finally, I finish the picture with watercolor using either bright colors for the im-portant areas, or leaving them white, which is sometimes more effective than color.

Now that Dad’s studio is in thehouse, I can always tell whenDad is working at the drawingboard, because I can hear DianaKrall, Artie Shaw, Harry Con-nick, Jr., Dave Brubeck, BennyGoodman (among the manymusicians that get Dad moti-vated) emanating down the hall.Dad loves his music.

- Gayle Spiegle

Chapter Seven

PROCESS OF DRAWING

Left:Commissioned art,Herculoids, Space FamilyRobinson, 2012

Opposite Above:Dan, early 1950s

Above:Gold Key Space Family

Robinson, Lost in Space onSpace Station One #52,

1977

GROWING UP WITH A COMIC ARTIST FATHER(REFLECTIONS FROM DAN’S KIDS)

Chapter Eight 1956 to 1983

BY CARRIE SPIEGLE LUNDQUIST

Few people in the “comic world” know that alongwith being a comic book illustrator, my father is also anaccomplished watercolorist. He has numerous paintingsin all of our homes and homes of friends. Not feelingconfident in his abilities as a watercolorist, Dad has soldsome and given away hundreds of paintings through theyears—some of which have been reproduced, matted,framed and given to those extended family members(and their children). I am forever running into an oldfriend of the family with them saying, “I have a paintingof your father’s. It’s the one of the ___, and I absolutelylove it!”The watercolor medium is challenging and difficult

at best. However, his paintings were all similar to col-ored illustrations, and with the fine tip of a brush, nota pen, he is able to create “Norman Rockwell-ish” pic-tures of current and past events—his favorites being oldboats, buildings, houses with pastoral or ominous skies,and his depictions of people being simply drawn, butwith character and action.

Growing up with my dad, he had a way of makingevery one of his four kids feel like we were his favorite.I don’t really know how he did it, but he did. He wasalways a kind, gentle man, and self-effacing. Alwayswanting to “talk it through”, we learned “moderationin everything” and a good work ethic by seeing himspend days and sometimes nights working in his “studio”(a.k.a. converted trailer). Which could not have been all that easy with four

growing children. Whenever there was a disagreementbetween us siblings, we would run to his studio to settlethe matter. He said we would hit his door at 90 milesan hour, startling him, and pens would fly. I’m sure some

white-out was needed after that.My dad’s world as an illustrator was somewhat ob-

scure. He worked long hours in his studio on books wesometimes knew little about. I remember him sayingthat each morning when he woke, he could not wait toget to his drawing board. He loved to draw and lovedhis job. How many of us can say that? When I was about10, my dad was working on the Mary Poppins comicbook for Disney. He was commissioned to draw the“real” characters and someone else would draw the “car-toon” characters. In the scene with the penguins, heasked me to trace the little figures (drawn by someoneelse) onto the pages so that he would know how muchroom to leave for the other artist to complete the morecartoonish drawings. I pen this as my “beginning” incomics. I also remember him taking us at times to theDisney studios. We were able to see the movies beforethe sound effects and music were installed. I even remember seeing Julie Andrews and Dick Van Dykehaving lunch together in the commissary.During this time, my dad would drive his finished

work to Los Angeles and meet with publishers andother artists, usually staying through dinner. My mom,making it a special time for us, would serve breakfast fordinner. Dad would return in the evening with his large,black leather portfolio bursting at the seams with comicbooks. He wouldn’t make it past the foyer before we would pounce on him wanting to see what hebrought home. He would unzip the portfolio, and whatseemed like hundreds of thousands of comic bookswould spew out onto the carpet. The four of us kidswould scramble to get as many copies of our favorites,before the others got them....I’m sure there was a bit of

Opposite:Happy Hour in the gardenLeft:Looking back I don’t knowif I was leaning against thecar or the car was leaningagainst me! [Laughter]. Itwas a real junker! - DanBelow: Dan and Marie atthe CAPS convention.

PARTNERS FOR LIFE

Chapter Nine

By Marie Spiegle By Dan SpiegleDan and I met on a blind date in 1947. I was

going to Chounards art school in Los Angeles. Afterworking at Edison during the day, I would take the trainto Los Angeles twice a week. I had aspirations of be-coming a fashion designer. Johnny McManus was oneof the students and we became friends. He musthave told Dan about me because he set upa double-date with his girlfriend andDan and I. Dan was attending the artschool in the daytime. Dan lived in Santa Monica, California andthe three of them drove toCompton to pick me up. I waspretty nervous, not knowingwhat he looked like or if hewould like me. When I saw himat the door, I was very pleased. Iintroduced him to my mom anddad and I could tell they liked himright away. He was a gentleman, very po-lite and easy to talk to. Johnny had a 1935Ford coup and I had to sit on Dan’s lap all the way tothe Palladium in Los Angeles. After the dance Johnnydrove us a few blocks to Dan’s car. That was quite ashock! He had a little 1936 Ford coup. The lining inside was in shreds and it had no bumper on the front.He told me his plans to fix it up. I wish we had that

All of this could not have happened, had it notbeen for Marie. She has been my devoted and lovingpartner, a wonderful mother, a caring grandmother andan excited great-grandmother, who never forgets abirthday or anniversary.

I never cared for “blind dates”… it’s like RussianRoulette, but my friend Johnny McManus

said “trust me,” this girl has it all, beautyand a personality to match. I was notdisappointed!

We were married November 26,1947 and rented a small apart-ment in Compton near theSouthern California Edison of-fice, were Marie worked. I droveto Los Angeles each day to theChouinard Art Institute.Marie stayed with Edison for a

couple more years, while I was at-tending art school. She encouraged me

to create a western comic strip, after wesaw the movie Red River. We thought a real

western with lots of authentic backgrounds to make itmore interesting might sell. On weekends we wouldtravel to a western museum near Pasadena, were I wouldsketch old lamps, furniture, wagons, trains etc. Mariewould patiently wait or scout around for interestingthings that could be included in some of the stories.

SWEET MARIE

(continued on page 79)(continued on page 78)

DAN SPIEGLE: A Life in Comic Art80

This interview originally appeared inGraphic Story World, 1972

(with thanks to Richard Kyle, editor)

“I was born in Cosmopolis, Washington in 1920. Then I moved over to Honolulu. When the stockmarket crash came, I left its warm climate for Northern California, where I went through my standardschool years—and got the itch for drawing as a living...”

DAN SPIEGLE

Chapter TenINTERVIEW WITH DAN SPIEGLE

CONDUCTED BY DAN GHENO

CHAPTER TEN: INTERVIEW WITH DAN SPIEGLE 81

Q: You’ve been one of the leadingartists in comics for more thantwenty years—how did it all begin?DAN SPIEGLE: In my last year atthe Chouinard Art Institute in LosAngeles—this was 1949—I realizedthat my G.I. Bill was running out,and I thought it best if I looked fora job. A friend of mine seeing myplight handed me a clipping fromthe classified ads of the newspaper:Capitol Records needed an artist todraw a comic strip of theirs. Atthat time I’d been working on awestern comic strip and I thoughtthat I’d pay a visit toCapitol, show themmy idea, and perhapsget the job.Well, when I ar-

rived they informedme that the comicstrip was Bozo theClown, and of courseI was let down be-cause I couldn’t dothat kind of strip.But when they sawmy western strip, theman I was talking totold me he was thebrother-in-law of oneof “Hopalong Cas-sidy’s”—BillBoyd’s—managers, and that theywere looking for an artist to drawthe famous cowboy in syndicatedstrip form. He told me to walk acouple of blocks down the street towhere “Hoppy’s” main office wasand see if I could get the job.As the old saying goes, when

you’re lucky, you’re lucky, because Iwas very fortunate to find Bill Boydin an agreeable mood. He liked theway I drew horses and commentedthat it wouldn’t matter how I drewhim—I’d learn how through prac-tice—as he considered horses themost important in a Western strip.

He had another artist who coulddraw good horses in considerationand told me he’d contact me if Igot the job. Sure enough, a weeklater I got the job.Q:Were you always interested incomics? Some artists start out plan-ning to be illustrators, or to go intoadvertising...SPIEGLE: I’ve always liked todraw. From the time I could hold apencil, I’d scribble away. I used togo down to the dime store and buythese little five cent tablets anddraw on them, creating a contin-

ued story throughout the tablets. Itwas just a natural thing for me todo, to tell a story.Q:Were you influenced by thecomic strips appearing at that time?SPIEGLE: I don’t really think Ieven looked at the comic pageswhen I was young.The first comic strip to really

make an impression on me wasAlex Raymond’s Flash Gordon.Then there were Tim Tyler andTerry and the Pirates while Caniffwas still doing it. I would say thatRaymond influenced me the mostand gave me the drive to become a

comic artist.While I was in my second year

in high school, I drew up a comicstrip, colored it, and sent it to KingFeatures—whom I’d always wantedto work for. They sent it back andadvised me that the next strip Isent in should not be in color be-cause the colors would print black.I thought it was very nice of themto point out this fact that I was un-aware of.After my school years, along

came World War II, and I foundmyself in the Navy. There, I did

things for the basenewspaper and in-signias for planes.Upon release fromthe service in ’46 Itook advantage ofthe G.I. Bill and en-tered into Chouinardthe same year.I’d checked out

many colleges, butfound that none ofthem were to my lik-ing—you had to taketoo many minorcourses on top of theones you reallywanted to enroll in.I’d say this is true

today, also. If you want to do any-thing and do it well, you must putyour whole back into it, and youcan’t be bothered by what youcould care less about—like in myown practicing years, I drew sixhours a day, and I enjoyed it. Iknow many a friend who enrolledin a university and finally got so

Opposite (top to bottom):Dan Gheno & Dan, 1972

Dan at his art table, 1972

Above:Hopalong Cassidy, 1951

DAN SPIEGLEA LIFE IN

COMIC ARTDocuments his 60-year career onDELL and GOLD KEY’S licensedTV and Movie adaptations (LOSTIN SPACE, KORAK, MAGNUSROBOT FIGHTER, MIGHTYSAMPSON), at DC COMICS(BATMAN, UNKNOWN SOLDIER,TOMAHAWK, JONAH HEX,TEEN TITANS, BLACKHAWK), hisCROSSFIRE series for ECLIPSE,DARK HORSE’S INDIANA JONESseries and more, with rare artwork, personal photos, and private commission drawings. Written by JOHN COATES.

ISBN: 978-1-60549-049-6 (104-page trade paperback) $14.95 • (Digital Edition) $4.95

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