comic book industry. Working out of his Carpinteria home, Spiegle was on contract with Los angeles-based Gold key Comics. He diversified, mastered World War II set- tings, and drew Disney movies into comic books—Mary Poppins, for one. He met Julie andrews and Dick Van Dyke on the set. By the early 1960s, Spiegle also juggled


the role of stay-at-home dad, remembers his daughter Carrie Spiegle Lundquist, the third of four children. “He was a great dad.” Sometimes the kids would quarrel, and since Spiegle was working in his studio, the child to knock at the door first, told his or her version of what happened and was the innocent one.


Lundquist would eventually join the fam-


ily business in the late 1970s. Her dad always hated applying lettering to the dialogue balloons, so Lundquist took on that task. “He had one job, ‘korak Son of Tarzan,’ for some European company,” says Lundquist. “It was going to publish in just about every lan- guage but English, so he was getting frus- trated with the spacing. I started lettering that for him.” Lundquist, who since has left


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