After two years of interior stories for DC, (Berni’s only professional cover art had been a painting for Major Magazines’ WEB OF HORROR #3) he went to Marvel where he was permitted to not only write and draw his own stories-“Gargoyle Every Night” and a Robert E. work that editor Joe Orlando had come across. It was in ’69 that he switched to the rounded letters in brushwork that came to be his trademark moniker.īerni’s path as an artist is quite interesting, too: in ’68 he began at DC with a somewhat brittle, grotesque pen-and-ink approach that was the closest to Graham Ingels’ E.C. Wrightson’s signature from 1965-69 appears Frazetta-influenced as well. It’s just my misfortune (?) that our work appears similar.” Trouble is, Wrightson, who was only about 20 years old at the time, says right in his statement that he “became interested in art at about age twelve and when I was fifteen, ‘discovered Frazetta.'” Now, I don’t know what kind of prodigy Wrightson was, but if he was drawing like Frazetta long before he ever laid eyes on Frazetta’s work, then clearly he would have had to have been doing so between the ages of 12 and 15… which, to my mind, definitely does not pass the… uhm… uh… anyway, from Squa Tront #2 (September 1968), here’s “Profile: Bernie Wrightson,” along with an illustration by Frazetta, originally published in the Canaveral Press edition of E.R.B.’s Tarzan and the Castaways (1965), that did NOT appear in Squa Tront but, in light of Wrightson’s statement, holds a certain interest, I think. This is just my natural way of drawing, as I was drawing like this long before I ever laid eyes on his work. Well, I have never had a piece of Frazettart on the board while working. In the statement, the man formerly known as “Bernard Albert Wrightson” explains why he has decided to go by the name “Berni” instead of “Bernie” (a decision he later reversed) he forthrightly acknowledges his longstanding fascination with and admiration for the work of Frank Frazetta and he vigorously defends himself from the charge that his own work is overly indebted to that same artist: “He’s probably inspired me more than anyone else and to this day, I hear so much about my copying or ‘swiping’ from him.

Published in September 1968 - the same year that, according to his official Web site, Wrightson “turned pro” - the profile includes a short biographical and artistic statement as well as three full-page reproductions of Wrightson’s work. fanzine, Squa Tront, I came across a profile of Bernie Wrightson that made me chuckle. Flipping through the second issue of the E.C.

Berni wrightson a look back