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Q: You’ve been one of the leading artists in comics for more than twenty years—how did it all begin? DAN SPIEGLE: In my last year at the Chouinard Art Institute in Los Angeles—this was 1949—I realized that my G.I. Bill was running out, and I thought it best if I looked for a job. A friend of mine seeing my plight handed me a clipping from the classified ads of the newspaper: Capitol Records needed an artist to draw a comic strip of theirs. At that time I’d been working on a western comic strip and I thought that I’d pay a visit to Capitol, show them my idea, and perhaps get the job. Well, when I arrived they informed me that the comic strip was Bozo the Clown, and of course I was let down because I couldn’t do that kind of strip. But when they saw my western strip, the man I was talking to told me he was the brother-in-law of one of “Hopalong Cassidy’s”—Bill Boyd’s—managers, and that they were looking for an artist to draw the famous cowboy in syndicated strip form. He told me to walk a couple of blocks down the street to where “Hoppy’s” main office was and see if I could get the job. As the old saying goes, when you’re lucky, you’re lucky, because I was very fortunate to find Bill Boyd in an agreeable mood. He liked the way I drew horses and commented that it wouldn’t matter how I drew him—I’d learn how through practice—as he considered horses the most important in a Western strip.

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He had another artistLINK who could artist. THIS BOOK! BELOW comic TO ORDER draw good horses in consideration While I was in my second year and told me he’d contact me if I in high school, I drew up a comic got the job. Sure enough, a week strip, colored it, and sent it to King later I got the job. A LIFE IN Features—whom I’d always wanted Q: Were you always interested in to work for. They sent it back and COMIC ART comics? SomeDocuments artists start out planadvised me that the next strip I his 60-year career on ning to be illustrators, or toKEY’S go into DELL and GOLD licensedsent in should not be in color beTV and Movie adaptations (LOST advertising... cause the colors would print black. IN SPACE, KORAK, MAGNUS SPIEGLE: I’ve always liked to I thought it was very nice of them ROBOT FIGHTER, MIGHTY draw. From the time I could hold a to point out this fact that I was unSAMPSON), at DC COMICS pencil, I’d scribble away. I used toSOLDIER, aware of. (BATMAN, UNKNOWN go down to theTOMAHAWK, dime storeJONAH and buy After my school years, along HEX, TEEN TITANS, BLACKHAWK), his these little five cent tablets and came World War II, and I found for ECLIPSE, myself in the Navy. There, I did draw on them,CROSSFIRE creatingseries a continDARK HORSE’S INDIANA JONES things for the base series and more, with rare newspaper and inartwork, personal photos, and signias for planes. private commission drawings. Written by JOHN COATES. Upon release from ISBN: 978-1-60549-049-6 the service in ’46 I (104-page trade paperback) $14.95 • (Digital Edition) $4.95 took advantage of http://twomorrows.com/index.php?main_page=product_info&products_id=1091 the G.I. Bill and entered into Chouinard the same year. I’d checked out many colleges, but found that none of them were to my liking—you had to take too many minor courses on top of the ones you really wanted to enroll in. I’d say this is true ued story throughout the tablets. It today, also. If you want to do anywas just a natural thing for me to thing and do it well, you must put do, to tell a story. your whole back into it, and you Q: Were you influenced by the can’t be bothered by what you comic strips appearing at that time? could care less about—like in my SPIEGLE: I don’t really think I own practicing years, I drew six even looked at the comic pages hours a day, and I enjoyed it. I when I was young. know many a friend who enrolled The first comic strip to really in a university and finally got so make an impression on me was Alex Raymond’s Flash Gordon. Opposite (top to bottom): Then there were Tim Tyler and Dan Gheno & Dan, 1972 Terry and the Pirates while Caniff Dan at his art table, 1972 was still doing it. I would say that Above: Raymond influenced me the most Hopalong Cassidy, 1951 and gave me the drive to become a

DAN SPIEGLE

CHAPTER TEN: INTERVIEW WITH DAN SPIEGLE

81

Profile for TwoMorrows Publishing

Dan Spiegle: A Life in Comic Art  

Documents Dan Spiegle’s 60-year career on Dell and Gold Key’s licensed TV and Movie adaptations (Lost in Space, Korak, Magnus Robot Fighter,...

Dan Spiegle: A Life in Comic Art  

Documents Dan Spiegle’s 60-year career on Dell and Gold Key’s licensed TV and Movie adaptations (Lost in Space, Korak, Magnus Robot Fighter,...

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