Brian Bolland

Brian Bolland(/ˈbɒlənd/;born 26 March 1951)is a Britishcomics artist.Best known in the United Kingdom as one of theJudge Dreddartists for British comics anthology2000 AD,he spearheaded the 'British Invasion' of the American comics industry, and in 1982 produced the artwork alongside authorMike W. BarronCamelot 3000,which wasDC Comics' first 12-issue comicbookmaxiseriescreated for thedirect market.

Brian Bolland
Bolland at theNew York Comic Conin Manhattan, 9 October 2010
Born	(1951-03-26)26 March 1951 Butterwick,Lincolnshire,England
Area(s)	Writer,Penciller,Inker
Notable works	Judge Dreddvs.Judge Death Batman: The Killing Joke Camelot 3000

Bolland illustrated the critically acclaimed 1988 graphic novelBatman: The Killing Joke,anorigin storyforBatmansupervillain theJoker,with writerAlan Moore.He gradually shifted to working primarily as a cover artist, producing the majority of his work for DC Comics. Bolland created cover artwork for theAnimal Man,Wonder Woman,andBatman: Gotham Knightssuperhero comic book series. In 1996, he drew and self-penned aBatman: Black and Whitestory, "An Innocent Guy". For DC'sVertigoimprint, Bolland has done covers forThe Invisibles,Jack of Fables,and a number ofone-shotsandminiseries.

In addition to interior and cover art, Bolland has also produced severalcomic stripsand pin-ups as both writer and artist. His most notable are the semi-autobiographical humour stripMr. Mamoulianand the whimsical rhyming stripThe Actress and the Bishop.All strips of both projects were included in theBolland Strips!collection book, published in 2005. In 2006, he compiled the art bookThe Art of Brian Bolland,showcasing all of Bolland's work to date and also his work as a photographer.

Early life

Bolland grew up nearBoston, Lincolnshire.

Brian Bolland was born inButterwick, Lincolnshire,England,to Albert "A.J." John, a fenland farmer, and Lillie Bolland.He grew up in a small village nearBoston, Lincolnshireuntil he was 18 years old.When American comics began to be imported into England,c. 1959,Bolland hadn't read any comics before the age of ten, but by 1960 he was intrigued byDell Comics'Dinosaurus!,which developed into a childhood interest in dinosaurs of all shapes and sizes.Comics includingTurok,Son of Stoneand DC Comics'Tomahawksoon followed, and it was this burgeoning comics collection that would help inspire Bolland to draw his own comicsaround the age of ten with ideas such as "Insect League."He recalls that "[s]uperheroes crept into my life by stealth," as he actively sought out covers featuring "any big creature that looked vaguely dinosaur-like, trampling puny humans."These adolescent criteria led fromDinosaurus!andTurokviaHouse of Mysteryto "BatmanandRobin[who] were [often] being harassed by big weird things, as wereSuperman,Aquaman,Wonder Woman[etc], "Bolland recalled.Soon, family outings toSkegnessbecame an excuse for the future artist to "trawl... round some of the more remote backstreet newsagents" for comics to store on an overflowing wooden bookcase he'd built in school.

As early as 1962, aged 11, Bolland remembers thinking that "Carmine Infantino's work on theFlashandGil Kane's onGreen Lanternand theAtomhad a sophistication about it that I hadn't [previously] seen. "He would later cite Kane andAlex Tothas "pinnacle[s] of excellence,"alongsideCurt Swan,Murphy Anderson,Sid Greene,Joe Kubert,Ross Andru,Mike Esposito,Nick Cardy,andBruno Premiani,whose influences showed in his "early crude stabs at drawing comics."The young Bolland did not rateMarvel Comicsas highly as DC, feeling the covers cluttered and the paper quality crude.His appreciation of the artwork ofJack Kirby,he says, only materialised much later.He did however enjoy UK comics, including newspaper strips such asJeff HawkebySyd JordanandCarol DaybyDavid Wright,andValiantwhich featuredMytek the MightybyEric BradburyandSteel ClawbyJesus Blasco.Despite such a variety of inspirations, Bolland credits his eventual pursuance of art as a hobby and then vocation to a primary school art teacher.

Growing up as an only child with parents that had no interest in art, literature, or music, he embraced the late 1960spop cultureexplosion ofpirate radiostations,experimental music,recreational drugs,psychedelia,Oz Magazine,"dropping out"and other aspects of hippy culture epitomised byunderground comixsuch asRobert Crumb'sZap Comix.Having taken bothO-LevelandA-Levelexaminations in art, Bolland spent five years at art school beginning in 1969,learninggraphic designandart history.Learning to draw comics, however, was an art he self-taught, with Bolland eventually writing a 15,000-word dissertation in 1973 onNeal Adams– an "artist [his teachers] had never heard of."He would later recall:

It was during this time that I discovered the sheer range of comics and their history. All the British stuff I'd missed was there to be discovered. I found the American greats,Foster,Herriman,Alex RaymondandWinsor McCay...Noel Sickles,Milt Caniff,Roy Crane,had all, I discovered, put down the basic building blocks of our "Art form". And there were the Europeans...Moebius,Manara,Breccia.Later the Filipinos—Alex Niño,Nestor Redondo,Alfredo Alcala,all were inspirational. None of this stuff was to be found in the art schools. During my five years in three art schools I never learnt a single thing about comics from any of my tutors.

UK career

Fanzines and early work

Bolland studied graphic design atNorwich University of the Arts.While at art school, Bolland drew and self-published a couple offanzinesand his work was published in British underground magazinesFrendz,International TimesandOZ.In 1971, his friend Dave Harwood entered printed mass production with hisRDH Comix,for which Bolland provided a cover (featuringNorwich Cathedral).Also in 1971,Time Out– an underground magazinerapidly reinventing itself into "the biggest weekly listings magazine in London" – gave Bolland his first compensated workproducing an illustration ofbluesguitaristBuddy Guy.While inNorwich,Bolland produced the first episodes of an adultLittle Nemo in SlumberlandparodyentitledLittleNymphoin Slumberland,and when he moved to theCentral School of Art and Designin London in 1973, he continued to produce (mostly full-page)Little Nymphostrips for a 50-copy fanzine entitledSuddenly at 2-o-clock in the Morning.He also contributed a smaller,stripentitled "The Mixed-Up Kid" to the Central School of Art'sGalloping Maggot,the college newspaper.

2000 AD,Judge DeathandWalter the Wobot

In 1972, Bolland attended theBritish Comic Art Conventionat the Waverley Hotel in London, and met several influential figures in the current British comics scene, includingDez Skinn,Nick Landau,Richard Burton,Angus McKieand – crucially –Dave Gibbons.Bolland and Gibbons became firm friends. After finishing his college course, Bolland was hit with "the stark reality of unemployment"and on the advice of Gibbonsjoined art agency Bardon Press Features. He soon found work doing a number of two-page strips forD.C. Thomsonresulted, but Bolland would refer to this period as his "lowest time."Bardon did however produce a client called Pikin which was "planning a bi-weekly comic about an African superhero,"Powerman,which was to be sold inNigeria.Gibbons and Bolland were to draw alternate issues, with Bolland first drawingPowermanNo. 2.Bolland recalls that "soon Dave had drawn his entire story and I had produced just a few pages."This knowledge – "that Dave could produce a page a day... and that I was going to have to do the same" – was a shock, but proved to be "the very best kind of training ground."With comics purportedly being new to Nigeria,Bolland recalls this work being created specifically to be "really simple; six panels on a page and [all] the panels had to be numbered."Not only was this work "[t]he best way to learn the simple rules of comic book storytelling," but "better still, it was going someplace where nobody I knew could see it."He "drew around 300 pages of that very straightforward, simple-to-follow work, and I guess the storytelling flowed naturally from that."Even so, he "was always struggling to get the last eight or ten pages finished," and was occasionally helped by friends, both from his "Norwich School of Art days," Gibbons and future-2000 ADandLeague of Extraordinary GentlemenartistKevin O'Neill.

Bolland writes that starting withPowermanhe "found regular employment drawing comics, one of which,Judge Dredd,in 1977–80, turned out to be quite a hit... "

In early 1977, Bardon agentBarry Cokercalled Gibbons and Bolland to the office and showed them "mock-ups from a new science fiction comicIPCwas planning to publish. "Gibbons joinedCarlos Ezquerrain "jumping into2000ADfeet first with issue 1 (or Programme, later Prog 1)... but meanwhile [Bolland] would have to keep drawingPowermanon [his] own. "Powermandropped to a monthly schedule, and Coker soon got Bolland "a cover on2000 ADin May '77 with Prog 11 "(7 May 1977; signed" Bollo ").Bolland recalls of those early days that:

You'll be surprised to hear that even thoughJudge Dreddhad been in2000ADsince Prog 2 the editors weren't sure which of the interior characters would sell the comic best if that character was on the cover. Artists like me just came up with cover ideas and, if they liked them, we'd draw the cover and they would write a one-page text story based on it to go inside. These early covers of mine fall into that category.

Other covers followed for nearly a third of the first 30 progs, as well as stand-alone pages and some inking duties on Gibbons'Dan Dare.Already familiar with Nick Landau (acting editor), when another artist dropped out, Bolland was called directly to complete aJudge Dreddstory in Prog 41 (3 Dec 77) and soon was established as a regular artist on the series."From that point on," writes Bolland, "either he [Landau] or his successorSteve MacManuscalled me direct whenever they wanted me to do aDreddstory. "Dredd stories started as traditional UK comic stories, i.e. "six-page one-offs... [Writers]Pat MillsandJohn Wagnerseem[ing] to spurn the American comic idea of continuing stories or, worse, the idea of a2000 ADcontinuity between characters, "Bolland seeing this as a" strength... hav[ing] one great new idea each week. "Soon, though, the writers began to craft serials, and Bolland's distinct abilities with subtle facial expressions, dramatic lighting and the dynamic composition of page layout made him the perfect choice to draw the ongoing sagas, starting with "The Lunar Olympics".Bolland contributed artwork to suchJudge Dreddstory-arcs as "Luna Period","The Cursed Earth","The Day the Law Died","The Judge Child Quest"and"Block Mania".As the Dredd stories rose in popularity, they" were moved so they started on the middle pages "with a colour double-page spread, which Bolland" always struggled with "finding it "very difficult... [trying] to fill that space most effectively."Ultimately the weekly deadlines meant that Bolland was unable to produce all episodes of the epic storylines himself, and the art chores onThe Cursed Earthwere split between Bolland andMike McMahon.

Bolland's early work onJudge Dreddwas much influenced by McMahon, a talented newcomer whose idiosyncratic style was fuelling the interest in the new character. Bolland thought McMahon was "terrific, the real ideas man on Dredd," but noted that McMahon's approach was "veryimpressionistic,"while the" average comics reader, certainly at the time, does tend to prefer realism. "Bolland therefore states that he "aped Mike's genius... and then reinterpreted [Dredd] in a style which actually borrowed a lot from the work of the American artists,"retaining McMahon's "granite-jawed" look but bringing a level of realism and fine detail to the character, which Mark Salisbury says "finally cemented the iconic image."

As well as honing the look of the character and contributing to the highest-profile early storylines, Bolland also created the look of two of the wider Dredd universe's most enduring characters:Judge Death(and the other threeDark Judges)andJudge Anderson.

Later, Landau's Titan "decided they could repackage theJudge Dreddstories in an American comic format with new covers and sell it to America, "and did under the brand"Eagle Comics".Bolland provided many of the covers for these compendium issues.

Bolland "drew the first three episodes of theJudge Deathstory over the winter of 1979–80, "as" just another villain in just another excellentJohn Wagnerscript. "He does not "remember doing any sketches to get him right," the "outfit was described somewhat in the script... and details of it were heavily inspired by the look ofKevin O'Neill'sNemesis the Warlock.Bolland was, he acknowledges, "by far the slowest of the rotatingJudge Deathartists, "opting to" take as long as I needed and do a half-way decent job "rather than rushing.For the sequel, a "massive (for me) 30 pages,"2000 AD's editorial banked one-off stories to give Bolland long enough to draw it all.

When Nick Landau began (in 1981)Titan Books' reprints of Judge Dredd material, he "used this story non-chronologically" to begin the series.Landau spent time paginating the book at Bolland's flat, and discovered that "[s]ome stories started or ended on the wrong page thereby leaving blank pages," as it was set to be "in effect, the first book exclusively of my work" the artist "gladly offered to add three full page pictures for theCursed Earthvolume and a new back cover for the firstJudge Dreddvolume.

Walter the Wobot was an android with aspeech impedimentwho served as Judge Dredd's personal servant robot. Created forcomedic relief,Bolland notes that "[t]he great thing about theJudge Dreddstrip was it's [sic] ability to slide seamlessly between gritty sci fi adventure, nastygothic horror,spoofery,all the way to daft comedy. "Walter's solo adventures – "Walter the Wobot, Fwiend of Dwedd" – were the latter style.Bolland drew all bar a couple of Walter's adventures, which appeared between Progs #50–61; #67–68 and #84–85 (withIan Gibsondrawing the first two episodes andBrendan McCarthythe last two), and says that he "was usually able to complete one in a day."He namechecks "the greatDon Martin"as an artist he" shamelessly ripped off "for the human supporting characters, drawing most of the pages inChiswick,1978.

Other UK work

In betweenDreddassignments Bolland drew horror strips forDez Skinn'sHouse of Hammer,having been introduced to the comic through another of the "fanboy in-crowd,"Trevor Goring,who drew "a comic strip version of the moviePlague of the Zombies,"and asked Bolland to ink it.Soon, Bolland was asked to draw "Vampire Circus"(dir.Robert Young,1972; comic version scripted bySteve Parkhouse), and "pile[d] on the gore" for his firstHammerhorror adaptation – although he found much of the "blood painted out" in the printed version.

Cover art ofLegacy of EAGLES(1984). Art by Bolland.

From the 1970s to the present, Bolland has also produced one-off pieces of artwork for use as record (including one forThe Driftersin 1975), paperback book (including the UKTitaneditions ofGeorge R. R. Martin'sWild Cardsanthologies) and magazine covers (includingTime Outand every major comics publication). He continued to produce work for fanzines, including for Nick Landau'sComic Media News,andArkenswordand even "drew the hazard cards" for aboard gamecalledManeater.He later "got to know theGames Workshopguys,Steve JacksonandIan Livingstone,"and produced various" games related drawings "including a cover or two forFighting FantasyAdventure Game Books,and RPG scenario pamphlets.His cover work for Games Workshop includes the role-playing gameGolden Heroesand its only adventureLegacy of Eagles,and theFighting FantasybookAppointment with F.E.A.R.

In 1977, Bolland was approached bySyd Jordantoghostsome episodes of Jordan'snewspaper stripJeff Hawke,after fellow fandom-pro artistPaul Nearyhad already done a fair number of them.Bolland drew 13 episodes, and "Syd touched up some of the faces, a few details here and there, to make them look a bit more like him."By this point, "although theExpressowned the rights to the strip, they were not printing it, "but since it had a strong European following, these new episodes (Bolland believes)" got collected in anthologies in French and Spanish, "but not in the UK except briefly in" the fanzineEureka."In 1985, as a known fan, Bolland was approached by Nick Landau to select stories and draw covers for two Titan collections of the strip, with a third design going unpublished.Bolland also contributed "A Miracle ofElisha"toKnockabout Comics'Old BaileyOZ TrialSpecial,written becauseOld Testamenthistory had piqued the interest of Bolland when living near theBritish Museum.This page was later reprinted in theOutrageous Tales From the Old Testamentvolume, which included works fromMoore,Hunt Emerson,Gaiman,Gibbons,andDave McKean,although Bolland's name was left off the cover.

Bolland produced a considerable amount of advertising work, initially because his agent "Barry Coker kept putting advertising jobs my way," including a number of ads for "Palitoy'sStar Warstoys. "He also drew some of the earliest pieces of advertising artwork for the science fiction and comic shopDark They Were, and Golden-Eyed,which ran in variousfanzines,convention programmes, and magazines such asTime Outand was commissioned by future-Titan DistributionandForbidden Planetco-founder Mike Lake (who was "working there at the time" ) c. 1976.As well as the DTWAGE adverts, Bolland and most of his peers also contributed artwork to advertise, and/or feature in programme booklets for theUK Comicon,startingc. 1976.In 1978, Nick Landau, Mike Lake and Mike Luckman "took their comic distribution business into the highstreet," opening the firstForbidden Planetcomics shop, for which Lake asked Bolland to produce the now-famous "People likeusshop at... FORBIDDEN PLANET "adverts. Bolland's artwork would also feature on the shop's plastic bags, as well as T-Shirts and" covers for their SF, comic and TV & film catalogues, "among other places.Later, when a branch of Forbidden Planet was opened in New York, and at a second location in London, Bolland "did ads for both of them."

DC Comics

Bolland was among the first British comics creators to work in the American comics industry, spearheading the so-called "British Invasion"in 1979/80. Bolland recalls that his big break came whenJoe Statonattended the Summer 1979 Comicon, and, needing somewhere to work onGreen Lanternwhile in the UK, arranged to stay with the Bollands.Staton called his editorJack Harrisand told him that Bolland, a bigGreen Lanternfan, would like to draw aGreen Lanterncover; Harris agreed.He drew several covers forDC Comics,starting withGreen LanternNo. 127 (April 1980),as well as some fill-in stories.These stories included, in 1980-1981, "Certified Safe" inMystery in Spaceand "Falling Down to Heaven" inMadame Xanadu,DC's first attempt at marketing comics specifically to the "direct market"of fans and collectors.For editorJulius Schwartz,Bolland drew covers around which writers would craft stories, which included twoStarrocovers forJustice League of AmericaNo. 189 and 190 andSupermanNo. 422 (Aug. 1986).

Among his earliest interior work for DC was a chapter inJustice League of AmericaNo. 200 (March 1982) alongsideJoe Kubert,Carmine Infantino,Gil Kane,Jim Aparo,George Pérez,andDick Giordano.This gave the artist his "first stab at drawingBatman."Bolland felt that "after my cover [GL#127] worked out the people at DC turned their gaze on London... and particularly on the group of artists at2000ADwho had been weaned on the DC characters. "He recalled that, "after I was settled in at DC, scouts from that company came to our"Society of Strip Illustration"meetings to win over a few more of us,"making a "formal invitation" at an SSI meeting, which saw "Dave Gibbons,Kevin O'Neill... [t]henAlan DavisandMark Farmer,"following the artists"Alan Grant"went across" and, at some point, acertain tall hairy writer from the Midlands."

In 1982, DC editorLen Weinchose Bolland to be the artist on DC'sCamelot 300012-issuemaxi-series,with writerMike W. Barr.The story, dealing with the return ofKing Arthurto save England from analien invasionin the year 3000, not only the largest body of work in a single series by Bolland – and his only attempt to draw a monthly title – but was also the first maxi-series from DC or any other publisher.Bolland was not familiar with the Arthurian legends, and initially conceived Merlin as a comical character.The series was graced with considerable media hype, and Bolland found himself invited toSan Diego Comic-Conand other conventions.Bolland was allowed to pick between two inkers, but opted to ink his covers himself.Bolland was uncomfortable with having a third party ink his pencils, and later admitted that he put a high level of detail into his art for the series to leave as little room as possible for the inker to creatively reinterpret his work.However, he was satisfied with the finished results.Reacting indignantly to being presented with Ross Andru layouts for the first twoCamelot 3000covers, he

chose to ignore [the Andru design] completely and come up with my own unapproved design. Len Wein rejected it and told me to do the Ross Andru one. Grudgingly I drew the number one cover that made it onto the issue – but as a protest I reversed the letter N in my signature as a code to remind myself that my "artistic integrity" had been despoiled. I liked the backwards N enough to keep it from that day on.

Camelot 3000had lengthy delays between its final issues. Bolland recalled that he and DC spoke often about how long the series would take to complete, and because the series was inked by other artists, he started off enthusiastically working on issues.As the series continued, however, Bolland became increasingly meticulous, always trying to improve upon his pages.The added details he introduced into his artwork caused significant delays in the final issues of the limited series,causing issues #8–11 to be released on a quarterly rather than monthly status, and the final issue to becover datednine months later than the penultimate issue.

Bolland drew a pinup forSupermanNo. 400 (Oct. 1984)and its companion portfolio.In 1986, Bolland was one of several artists who contributed pages to the anniversary issueBatmanNo. 400 (Oct. 1986),his offering featuring villainsRa's al GhulandCatwoman.Around this time, Titan Books were trying to launch a line of comics written byAlan Moore,including aBatman Meets Judge Dreddone-off by Moore and Bolland.

Origin of theJokerinBatman: The Killing Joke.Art by Brian Bolland and John Higgins.

After watching the 1928 filmThe Man Who Laughs,which features a character named Gwynplaine (played byConrad Veidt) whoserictus grininspired the visual design of the Joker,Bolland conceived of the 1988 graphic novelBatman: The Killing Joke.The book was written byAlan Mooreto great critical acclaim, winning theEisner Awardfor Best Graphic Album, and has been regarded as one of the all-time best Joker stories,and one of the greatest Batman graphic novels ever.DirectorTim Burtonhas namedThe Killing Jokeas an influence for his1989 film adaptation ofBatman,specifically the origin of the Joker.It would also prove to be highly influential on future Batman and Joker stories,though it has also been met with criticism for the violence inflicted on the characterBarbara Gordon.

Speaking circa 2000, Bolland said that sinceThe Killing Jokehe has only drawn comics that he also wrote.Six years later he clarified that

Since then I haven't wanted to draw comics that anyone else has had a hand in. I'd rather not work on a story I haven't written myself or one that will ultimately be colored by someone else. I have to earn a living, though. Covers are a safe place for me. If someone else's colors swamp my work then, who cares. It was only one page. I can move on...

Bolland had expressed some dissatisfaction with the final book, regretting that its impending schedule for release meant he could not colour the book himself, withJohn Higginsinstead being the colorist.In March 2008, the twentieth anniversary hardcover edition ofThe Killing Jokesaw the release of the artwork as Bolland intended it, and is completely recoloured by Bolland himself. The book madeThe New York TimesBest Seller listin May 2009.

In 1996, Bolland wrote and drew the story "An Innocent Guy" for the anthologyBatman: Black and White,in which an otherwise normal inhabitant ofGotham Citydocuments his plan to carry out the ultimateperfect crimeand assassinate the Dark Knight Detective. Drawing inspiration from a cover byAlex Toth,and intended as an homage to theSilver AgeBatman,Bolland wrote in 2006 that "If anyone were to ask me what is the thing I've done in my career that I'm most pleased with, it would be this."

Approached by Batman-editorMark Chiarello,Bolland was asked whether he would like to draw Batman covers for a new title,Batman: Gotham Knights.Excited by the opportunity, he remarks that a misunderstanding resulted in his being unaware of the first issue being scheduled, resulting inDave Johnsondrawing No. 1 instead, and Bolland joining at issue No. 2. Bolland's first two covers were coloured by editor Chiarello, but from issue No. 5 to No. 47 (his last) they were coloured by the artist himself. As his run progressed, the cover art onGotham Knightswas increasingly done by Chiarello and other artists, and Bolland's first ideas for covers were rejected more often. Eventually, Bolland was told that he'd be done on the title within a few issues, but after discovering that upcoming covers featuredBaneprominently (and not the Joker or Penguin as he had been hoping for some time), Bolland offered to leave immediately.

Covers

Although his forays into interior artwork are almost universally acclaimed, Bolland is now far more commonly seen as 'just' a cover artist – although he notes that he has never decided to actually solely create covers, having merely explored other jobs from strip work.He admits that he works slowly, and consequently finds covers easier to supply than whole story artwork. He also noted simply that he began to focus on covers simply because they were the assignments he was offered. He adds that for artists like him that are well known for covers, editors will usually ask for pin-ups instead.

Bolland has contributed covers – in many cases to complete runs/arcs – to comics since the 1990s, with his photo-realistic work on the titles for which he works as the primary external reference image.

Bolland now draws on a computer, eschewing pencil and paper. He cites the influence ofDave Gibbons,who was himself enthusiastic about the capabilities of computers.Noting also that some colorists were increasingly using computer effects on a whim, he decided if he did not do the colouring himself, the effects would produce covers that didn't resemble his work.Starting in 1997, Bolland bought a lot of software and spent ten frustrated months learning the ropes and ultimately finding the liberating ability to adapt his now-solely-onscreen artwork. He states categorically that, in his opinion, drawing on hisWacom tabletis no different from drawing on a pad of paper.Having fully embraced the technology, Bolland has also produced a number of lessons/tutorials on his official website demonstrating his complex techniques. He states that, while this leap means that he no longer produces any paper-based artwork (a profitable sideline for many artists who sell on their original work to collectors), he was certain on abandoning pen and paper.

Bolland recalls that, in the wake ofThe Killing Joke,he received plenty of work offers, but didn't feel ready to make a long commitment.So, instead

[a]fterKilling Joke,DC asked me to do the covers onAnimal Man,and I said fine, expecting it to be maybe ten or so. I ended up doing sixty-three. It became almost habitual, and it did mean that there would at least be something new of mine out there to look at.

Animal Man

Cover ofAnimal Man#19 (Jan. 1990). Art by Bolland.

The first 63 issues ofAnimal Manfeaturing Bolland's artwork covered the tenures of writersGrant Morrison,Peter Milligan,Tom VeitchandJamie Delano,with Bolland's images maintaining a continuity of style and imagery while the interior work underwent several changes of style and storyline.Initially, he recalls that his cover images derived directly from the script. He would find a scene from the interior art that appeared to make for a good cover, or use a hook on the cover that outlined the plot of the issue.This included the incorporation of photographs into the later covers of Morrison's tale ofmetafictionanddeus ex machinaauthor-input. With the (post-Morrison) move ofAnimal Manto DC's new 'Mature Readers' imprintVertigo,Bolland notes that the covers moved to full color paintings with issue No. 57. These of his covers were "a mixture of ink linework, color washes,airbrushand then, eventually, areas painted in poster color by my wife, Rachel, "which ultimately saw her have significant input on some covers, with Bolland acknowledging that some of his finalAnimal Mancovers were mostly her work.

Describing the art of good covers, Bolland remarks that

[y]ou really have to be constantly thinking of ways that the image on the cover will intrigue and lure in the potential punter. It helps to try and imagine your cover is in a whole bank of thirty or more and you need it to stand out.

Coincidentally, when atime travelstory arc saw Bolland's work coincide with the plot in such a way that he was able to produce a recreated cover from an alternate angle to shed new light on an initially inconsequential image.

The Invisibles

Main article:The Invisibles

Bolland's covers adorn the whole second and third volumes ofGrant Morrison'sThe Invisiblesand his depictions of the main characters are widely reprinted as the definitive images, despite them all having been realised by other artists – and often drawn by several before Bolland entered the picture. With this title, the artist remarks the complicated subject matter necessitated his "working a lot of strangesymbolismandsubliminalmessages into the cover designs "to create" an image that puzzles to a degree and is layered with elements ofsurrealism."Asked to take over fromSean Hugheson the covers for volume two by editor Shelly Roeberg, Bolland found her to be an ideal editor, effusive with praise and specific in requirements. Generally, Bolland recalls she was excited for his ideas, although Morrison had approval on all designs as the series creator. Finding that he had a rapport with, and the trust of, his editor, Bolland thinks that these factors led to some of his most experimental work.Newly embracing the use of a computer, Bolland citesThe InvisiblesVol 2 No. 11 as his earliest computer-assisted piece of artwork.

For the third series,

we [Bolland and Morrison] talked about trying to make the covers look different in some way, and when DC decided to number the issues backwards [from 12 to 1; to count down to theMillennium], that set me thinking. I remember seeingPeter Greenaway's filmDrowning By Numbers,in which they had these numbers placed subtly in every scene, and I really liked that idea. So I began to include elements of the issue number... always trying to think of ways to hide it, or make it an integral design element.

The covers for the third volume ofThe Invisibleswere done using a computer, in part because Vertigo had requested "painted" covers and Bolland felt that line and flat color wouldn't suffice. The experimental nature of the twelve covers was assisted by the fact that neither Bolland or Roeberg saw the issue script. For the trade paperback covers, Bolland "was determined to make each one weirder than the last," and so created aFrancis Baconinspired "fleshy mass [dubbed" The Blobby Man "] with a typewriter" forEntropy in the UK.Having convincedKaren Berger(Editor in chief of Vertigo) and Roeberg that it was a good idea, the artist recalls that "Shelly rang up and, rather than telling me how wonderful I was, said that when she saw it she nearly lost her lunch! I was asked to turn his skin color from flesh to blue to tone him down a bit." For the finalInvisible KingdomTPB cover, Bolland produced a cover featuring 12 small alternativeInvisiblescovers, which had been very time consuming. Likening the process to creating "a mini comic strip," Bolland says that "if any detail made any sense it had to be changed to something that didn't."

Bolland's style includes the initial 'rough' outline stage, making it easy for the publisher (and, in some cases, the writer) to "sign off" on his designs.In the case ofThe Invisibles,however, although Morrison officially had final approval on cover art, Bolland described him as generous to the work Bolland came up with.In selected cases, however, Bolland would ask for ideas, and in one specific case "Shelly [Roeberg],the editor... did once relay that Grant wanted an arm coming out of the water holding a gun on the cover of the last issue. "Bolland admits "I don't know exactly why. I just supplied it."

Wonder Woman

Main article:Wonder Woman

Bolland also contributed a large number of covers toWonder Woman,beginning withWilliam Messner Loebs's first issue (#63, June 1992) after that author took over writer (and artist)George Pérez's 1987post-Crisis relaunch.Bolland recalls his time drawingWonder Womanfondly, as one of the few occasions he actually sought work rather than being sought for work. He recalls

I usually sit at home optimistically hoping that people love me enough to ring me and offer me work. The end result is that most of the time I'm doing what other people want and not what I want.Wonder Womanwas an exception. I happened to mention toTom Peyer,my editor onAnimal Man,that I'd love to drawWonder Womancovers... [a]t the time, despite her long history at DC, her iconic appearance, even hercult TV series,she wasn't a character that A-list artists were lining up to draw. Well, I wasn't an A-list artist, so I was keen to have a crack at her.

Bolland's first cover saw Diana next to the headline: "TheStunningreturn of comics'greatestheroine! "speaking directly to the reader the words"... Miss me? "Bolland's covers over the next 30-plus issues laid the visual groundwork for the character, and saw Bolland illustrate up to and including the centennial issue No. 100.To prepare for his work, Bolland "clipped pictures of the most beautiful women of the time –Christy Turlington,Stephanie Seymour,etc. "saying that he was predominantly interested in their faces, generally doing the body without reference. Interested particularly in drawing the costume, which he feels" has to be one of the sexiest in comics, "he soon found the character removed from her normal costume in the storyline.For her return to her famous costume, Bolland produced the Britannia-esque pose fromWonder Woman#72 (Mar 1993).He says that "[i]mages like that... usually arise when you're completely stuck for an idea." The image was so iconic that it was released as a poster and later turned into a statue. Shortly thereafter, Diana underwent another costume change – this time designed by Bolland, and mostly drawn on the interior pages byMike Deodato.The black costume was roundly disliked, even by its designer, Bolland, who philosophically says only that "it was what was asked for at the time," and – aside fromCamelot 3000– is the lone instance he was asked to design a costume.The new costume – blackhotpants,halter top, straight hair (which Bollanddidlike) and "WW" -emblazoned jacket – was based, Bolland recalled, on aVersaceoutfit that Cindy Crawford wore forVoguemagazine.

Other cover work

A rare Marvel cover forHellstorm: Prince of LiesNo. 16 (July 1994).

Bolland notes that while he tends not to reuse cover ideas, he does occasionally produce homages to his past covers. Particularly, for the first EagleJudge Dreddcomic issue – which repackaged2000 ADstories for the American market – on which the positioning of the figures echoed similar covers Bolland had drawn "two or three times for different companies with different characters."

In addition to his landmark runs onAnimal ManandThe Invisibles,Bolland has also produced lengthy runs on covers forGeoff Johns'The Flash(from roughs by series editorJoey Cavalieri) and the Batman anthology seriesBatman: Gotham Knights,as well as assorted issues ofTank Girl(for original UK publicationDeadlineand the two subsequent Vertigo miniseriesTank Girl: The OdysseyandTank Girl: Apocalypse),Superman,Green Lantern,Batmanand many more, including a number of oneshots and miniseries for DC's offshootVertigo.From 2007 to 2011, Bolland was the cover artist on Vertigo'sFablesspin-offJack of Fables,replacing previous cover artistJames Jean.Bolland's covers also appear on the DC/Vertigo trade paperback collections of Grant Morrison'sDoom Patrol,although he only produced some of covers for the individual issues. He recalls that he sent a number of rough artwork that was often rejected, much to his disappointment, as previous cover artistSimon Bisleyhad been "a hard act to follow."

Long-standing familiarity with DC characters and staff, coupled with high demand have combined with other factors to mean that the vast majority of Bolland's work has been for DC Comics. InThe Art of Brian Bolland,he also mentions in passing that a bad experience with aMarvel UKHulkcover and a later oddity with aShe-Hulkcover featuringHoward the Duckhave given him a mild "phobia" of Marvel and the company's production line method that overrules his art style.He has however, produced odd covers for Marvel,First Comics,Continuity Comics,Eclipse Comics,New Comicsand a dozen other companies, large and small, as well as book, magazine and record covers. ForDark Horse Comics,Bolland has produced several diverse covers, including a couple forMichael Chabon'sThe Amazing Adventures of the Escapistat the behest of editorDiana Schutz.He recalled that the cover of the tenth issue would've had the style ofHergé'sThe Adventures of Tintin,but it was cancelled after eight issues.

Bolland is noted by some for his use ofbondageimagery, although in a humorous self-referential comment, he quotes this "fact" (cited as from Wikipedia), and states that he is unsure of the sentiment's accuracy. He notes that "I can only think off-hand of a few occasions when I've drawn bondage. A few Wonder Woman covers perhaps, a Flash cover, a 2000 AD cover, a Mr. Mamoulian page... but that's all that I can remember out of many hundreds of images."In 2006'sThe Art of Brian Bolland,he does suggest that "I trace my mild bondage fetish back to a book of Bible stories that must have been given to my father as a Sunday school gift when he was a child," wherein "was a picture ofShadrach, Meshach and Abednigo[sic]. "Such Biblical imagery was bolstered in 1971 by a book bought in Paris" calledLes Filles de Papier... [a] large part of [which] was taken up with comic strips about women tied up in fiendish and excruciating positions by mad robots... it was just jaw-droppingly bonkers... and yet... there was something rather appealing about it. "The Art of Brian Bollandalso features a separate "Nudes" section, mostly created for the purpose of experimenting with different inking techniques or practicing figures from difficult angles.Only three of the nude sketches involve scenes of bondage.

Other comics work

In addition to his early forays into full interior strip art, and his later focus on covers, Bolland has also produced a number of short – often single pages – strips, numerous pin-ups and a pair of ongoing irregular humour strips. These latter feature Bolland as writer-artist, his now-preferred method of working.Most notable are Bolland's two "personal projects",Mr. MamoulianandThe Actress and the Bishop,all appearances of which strips were collected in the bookBolland Strips!(Palmano-Bennet/Knockabout Comics,2005).Bolland Strips!stemmed from a suggestion by Josh Palmano (owner of Gosh Comics in London, and also involved in publishing company Knockabout Comics) to collect all instances of Bolland's two strips andSteve Moore's "Zirk" story. Bolland had other thoughts, and suggested including an undrawn 20-page story called "The Actress & the Bishop and the Thing in the Shed" (written 18 years previously), and two stories written and illustrated by him for Vertigo Comics. After negotiations with DC, the two stories – "Princess & the Frog" (fromHeartthrobs) and "The Kapas" (fromStrange Adventures) were included alongside six limited edition Éditions Déesse prints.

Mr. Mamoulian

Among Bolland's other works is theRobert Crumb-esque semi-autobiographicalstream of consciousnesshumour stripMr. Mamoulian,which was first printed inPaul Gravett's UK pro-zineEscapeand later brought to the US in issues of theDark HorsetitleCheval Noirand theCaliber ComicsanthologyNegative Burn.Bolland recalled that the origins of the character lay in him contemplatingmiddle ageon his 36th birthday, and experimenting with drawing "whatever came into my head". The name echoes the character's mammalian look, resembling ahedgehog,although Bolland acknowledges that Armenian-American film directorRouben Mamoulianlikely provided an inspiration on the name front. Noting his enjoyment ofBerke Breathed'sBloom County,Bolland's own strip wasn't always humorous, reflecting Bolland's own mood at times. Thus the strip became an exposé of Bolland's inner self drawn out of a personal desire to do so, as a forum to explore and express "various interests of mine, various philosophical notions, personalneuroses."Designed to be read individually – indeed, early publication inEscapewas in "no particular order" – gradually it became clear that a mildly self-referential wider chronological narrative had been established. For example, a plot concluded on one page might've continued in a future volume.

Bolland wrote in 2006 thatNick LandauofTitan Bookswas impressed byMr. Mamoulianand became Bolland's unofficial agent.Through Landau, Bolland saw his strip published across Europe in publications includingLinus,Cimocand (inSweden)Pox.Such widespread exposure had its downside, when the original artwork went missing, meaning that later reprints ofMamoulianhad to be made from Bolland's photocopies. Disenchanted by the loss of (more of) his artwork, and with declining European interest, Bolland ceased drawing the strip. Subsequent to the collectionBolland Strips!,however, interest fromNegative Burn(now published byDesperado Publishing) had persuaded the artist to make more pages.

The Actress and the Bishop

Bolland's other "personal project" is his occasional strip "The Actress and the Bishop".This strip's origins date back to 1985, when Frederick Manzano commissioned Bolland to "draw 6 plates in my own portfolio bearing my name" for Éditions Déesse, a "small Paris based comic-store-cum-publishers", and Bolland drew in one of the six plates an elderly Bishop (whose face echoed "shamelessly" the work ofAlberto Breccia) and a femme fatale Actress.Bolland was subsequently approached byGarry Leachand Dave Elliot, who were publishing a new comic anthology series,A1.They asked Bolland to draw – and write – a couple page to include in the first issue, and Bolland recalls that it was his first commission as both a writer and an artist.Actively seeking to write a story that wouldn't be classified as any particular genre, Bolland found the description 'Whimsy' reached by Leach and Elliot to be very apt, and "rooted in the Englishness" of the artists life.

Written in rhyming couplets, the pair "look like the punchline of a smutty joke," but their creator instead "wanted the reader to see them in a benign and non-judgemental light" – the antithesis of "Benny Hill,Frankie Howerd"Oo er, Mrs!"... [rather] like theowl and the pussycatsetting sail in a pea green boat. "Three pages inA1No. 1 were followed by another three inA1No. 3, while a longer story with 110 verses went unreleased for 17 years until publication in the compendium hardbackBolland Strips!.

The Art of Brian Bolland

In 2006 a comprehensively sizeable retrospective of Bolland's work was published byImage/Desperado under the titleThe Art of Brian Bolland,featuring contextualising references and copious text – 33,500 words– written by the artist withJoe Pruettalongside hundreds of pieces of artwork and rare photographs.The Art of Brian Bollandcovers all of the artist's work to date, under an introduction from close friendDave Gibbons,an autobiographical essay and sections ranging from his "Influences" (featuring near-unseen examples of Bolland's childhood art),through each of the decades from the 1960s to the present. The book also showcases several of Bolland's own photographs taken in Asia and Russia over twenty years of travelling.

Non-comics work

Bolland is also an accomplished photographer, with examples of his work being included in the Image/Desperado bookThe Art of Brian Bolland.In May 2008, Bolland announced on his website that he had begun making a photo book of a week he spent inBurmain 1988.Some photographs taken by Bolland in Burma are reprinted in the Image-published retrospectiveThe Art of Brian Bolland.

Much in demand for advertisements, Bolland has produced work down the years for bookshops – including pioneering UK Sci-Fi/Comics sellers such asDark They Were, and Golden-EyedandForbidden Planet– and film festivals including a poster forBFI Southbank's July/August 2008 Comic-Book Movies series.His work has appeared on the covers of, and inside, numerous publications over the decades, ranging fromfanzinesto several covers for London-based magazineTime Outand other professional, internationally sold magazines.

Bolland has also produced posters for local theatre groups' amateur stage productions, most notably for his local "villagepanto"production ofBeauty and the Beastin 2004.

Personal life

Bolland married his girlfriend, illustrator and sometime-collaborator Rachel Birkett in 1981.She later gave up illustration and became a cook for a vegetarian restaurant,although she has since assisted her husband with his work, acting as colourist, inker, co-artist and ghost. The two have a son.

Awards

Wins

Bolland and his work have received recognition in both the British and American comics industry. He was awarded the "Best Newcomer" award by theSociety of Strip Illustrationin 1977.

In 1982, he received anInkpot Award,and the following year, he was named "Favourite Artist" in the British section of theEagle Awards.

In 1989, Moore and Bolland'sThe Killing Jokereceived anEisner Awardfor "Best Graphic Album," while Bolland was named separately as "Best Artist/Penciller/Inker" for the same work.The same year, Bolland won threeHarvey Awards;two in the same categories for the same work – "Best Artist" and "Best Graphic Album" – while the third was alsoThe Killing Jokewhich was separately honoured as the winner of the "Best Single Issue" award.

In 1992, Bolland won an Eisner Award after being named "Best Cover Artist,"an honour he received three years in a row (1992–1994),and twice subsequently (1999, 2001) for various works.

In 2007, Bolland added to his Eisner Award wins whenThe Art of Brian Bollandwon the "Best Comics-Related Book" award.

Nominations

TheCamelot 3000limited series, which he created withMike W. Barr,was nominated for the 1985Kirby Awardfor Best Finite Series, narrowly losing toMarv WolfmanandGeorge Pérez'sCrisis on Infinite Earths.In 2002, he placed second behindJack Kirbyfor the title of "Best Artist Ever" in the short-livedNational Comics Awards.

Bibliography

Interior comic work includes:

• 2000 AD(IPC Media):
  • Dan Dare:"Greenworld, Part 2" (withGerry Finley-DayandDave Gibbons,in No. 35, 1977)
  • Judge Dredd:
    • "The Mega-City 5000, Part 2" (withJohn Howard,in No. 41, 1977)
    • "Land Race" (with John Howard, in No. 47, 1978)
    • "The Lunar Olympics" (with John Howard, in No. 50, 1978)
    • "Luna 1 War" (with John Howard, in No. 51, 1978)
    • "The Face-Change Crimes" (with John Howard, in No. 52, 1978)
    • "The Oxygen Board" (with John Howard, in No. 57, 1978)
    • "Full Earth Crimes" (with John Howard, in No. 58, 1978)
    • "The Cursed Earth":
      • "Part 5: The Mutie Mountains" (withPat Mills,in No. 65, 1978)
      • "Part 9: The Slay-Riders!" (with Pat Mills, in No. 69, 1978)
      • "Part 10: Requiem for an Alien!" (with Pat Mills, in No. 70, 1978)
      • "Part 17: Giants aren't Gentlemen!" (withJack Adrian,in No. 77, 1978)
      • "Part 18: Soul Food" (with Jack Adrian, in No. 78, 1978)
      • "Parts 21–22: Tweak's Story" (with Pat Mills, in #81–82, 1978)
    • "Crime and Punishment" (with John Howard, in No. 86, 1978)
    • "Outlaw" (with John Howard and Dave Gibbons, in No. 87, 1978)
    • "The Day the Law Died!" (with John Howard):
      • "Part 6: Behold the Hordes of Klegg!" (withGarry Leach,in No. 94, 1978)
      • "Part 7" (with Garry Leach, in No. 95, 1978)
      • "Part 10" (in No. 98, 1979)
      • "Parts 13–14" (in #101–102, 1979)
    • "Punks Rule!" (with John Howard, in No. 110, 1979)
    • "The Forever Crimes" (with John Howard, in No. 120, 1979)
    • "Father Earth" (with John Howard, in #122–123, 1979)
    • "Night of the Fog" (with John Howard, in No. 127, 1979)
    • "Judge Death" (with John Howard, in #149–151, 1980)
    • "The Judge Child" (with John Howard):
      • "Part 1" (in No. 156, 1980)
      • "Part 7" (in No. 162, 1980)
      • "Parts 17–18" (in #172–173, 1980)
    • "Block War" (with John Howard, in No. 182, 1980)
    • "Judge Death Lives" (withT.B Grover,in #224–228, 1981)
    • "Block Mania, Part 9" (with T.B Grover, in No. 244, 1981)
    • "The Alien Zoo" (withJohn Wagner,inAnnual'82, 1981)
  • Tharg's Future Shocks:"Solo Flip" (with Jack Adrian, in No. 52, 1978)
  • Walter the Wobot(withJoe Collins):
    • "Walter's Brother" (in #52–56, 1978)
    • "Radio Walter" (in No. 57, 1978)
    • "Master-Mind" (in No. 58, 1978)
    • "The Fwankenheim Monster" (in #59–61, 1978)
    • "Frankenheim's Finest Hour!" (in No. 67, 1978)
    • "Grin and Bear It!" (in No. 68, 1978)
• Graphixus#3: "Little Nympho in Slumberland Meets Benny Bunny" (script and art,Graphic Eye,1978)
• Madame Xanadu#1: "Falling Down to Heaven..." (withJ.M. DeMatteis,DC Comics,1981)
• Mystery in Space#115: "Certified Safe" (withArnold Drake,DC Comics, 1981)
• Justice League of America#200: "A League Divided" (withGerry Conway,among other artists, 1982)
• Warrior#3: "Zirk: Silver Sweater of the Spaceways" (withPedro Henry,Quality Communications,1982)
• Camelot 3000#1–12 (withMike W. Barr,DC Comics, 1982–1985)
• Grimjack#22: "Mother's Calling" (withJohn Ostrander,First Comics,1986)
• Batman#400: "Resurrection Night!" (withDoug Moench,among other artists, DC Comics, 1986)
• Outrageous Tales from the Old Testament:"Elisha's Miracle" (script and art, anthologygraphic novel,Knockabout,1987)
• The Outsiders#18: "Freeway of Fear!" (with Mike W. Barr, DC Comics, 1987)
• Real War Stories#1: "The Elite of the Fleet" (with Mike W. Barr,Eclipse,1987)
• Power Comics#1–4 (withDon Avenell,Norman Workerand Dave Gibbons, Eclipse, 1988)
• Batman: The Killing Joke(withAlan Moore,graphic novel, DC Comics, 1988)
• AARGH!#1: "A Page from Brian Bolland" (script and art,Mad Love,1988)
• Wonder WomanAnnual#1: "Epilogue" (withGeorge Pérez,DC Comics, 1988)
• A1(script and art,Atomeka):
  • "The Actress and the Bishop Go Boating" (in No. 1, 1989)
  • "The Actress and the Bishop Throw a Party" (in No. 3, 1989)
  • "Parcels of Events" (inTrue Life Bikini Confidential,1990)
• Cheval NoirNo. 3, 5–9, 11–12, 15–18 (Mr. Mamoulianstrips, script and art,Dark Horse,1989–1991)
• Freak Show:"Harry the Head" (script and art, anthology graphic novel, Dark Horse, 1992)
• Legends of Arzach#6: "The Fountains of Summer" (withJean-Marc Lofficier,among other artists,Kitchen Sink,1992)
• Negative Burn#1–5, 7–14, 16, 18–22, 24–27, 29, 33, 35, 38–39, 42–50 (Mr. Mamoulianstrips, script and art,Caliber,1993–1997)
• Batman: Black and White#4: "An Innocent Guy" (script and art, DC Comics, 1996)
• Heartthrobs#1: "The Princess and the Frog" (script and art,Vertigo,1999)
• Strange Adventures#1: "The Kapas" (script and art, Vertigo, 1999)
• Negative Burn#1–5, 13,Summer Special,Winter Special(Mr. Mamoulianstrips, script and art,Desperado Publishing,2005–2007)
• Fables: 1001 Nights of Snowfall:"What You Wish for" (withBill Willingham,graphic novel, Vertigo, 2006)
• 52(DC Comics):
  • "The Origin of Animal Man" (withMark Waid,co-feature, in No. 19, 2006)
  • "The Origin of Zatanna" (with Mark Waid, co-feature, in No. 34, 2006)
• Countdown to Final Crisis#31: "The Origin of Joker" (with Mark Waid, co-feature, DC Comics, 2007)
• DC Universe: Legacies#7: "Snapshot: Reunion!" (withLen Wein,co-feature, DC Comics, 2011)
• Wasted#6: "Shit the Dog: Relish That!" (withAlan Grantand John Wagner,Bad Press,2011)
• The Spirit#17: "Strange Bedfellows" (withHoward Chaykin,DC Comics, 2011)

Covers only

• 2000 ADNo. 11, 15–17, 19, 20, 23, 27, 30, 45, 105, 121, 131, 134, 144, 146, 161, 166–167, 197, 199, 210, 213, 215–216, 236, 240, 242, 248, 403, 848, 891, Prog 2000, 1336, 1505,Sci-Fi Special'79 and '81,Judge Dredd Annual'81,Annual'83,Judge Dredd Mega-Special'88 (IPC Media/Fleetway/Rebellion Developments,1977–2006)
• StarlordNo. 2,Annual'81 (IPC Media, 1978–1980)
• Green LanternNo. 127, 130–131 (DC Comics,1980)
• Adventure ComicsNo. 475 (DC Comics, 1980)
• Justice League of AmericaNo. 189–190 (DC Comics, 1981)
• Tales of the Green Lantern CorpsNo. 1–3 (DC Comics, 1981)
• DC Comics PresentsNo. 43 (DC Comics, 1982)
• Amazing HeroesNo. 14, 52, 191, 197 (Fantagraphics Books,1982–1991)
• Judge DreddNo. 1–10, 15–33 (Eagle,1983–1986)
• Judge Dredd: The Judge Child QuestNo. 1–5 (Eagle, 1984)
• Axel PressbuttonNo. 1 (Eclipse,1984)
• 2000 AD MonthlyNo. 2, 5 (Eagle, 1985)
• Judge Dredd's Crime FilesNo. 1–2 (Eagle, 1985)
• Action ComicsNo. 571, 609 (DC Comics, 1985–1988)
• Elvira's House of MysteryNo. 1 (DC Comics, 1986)
• Detective ComicsNo. 559,AnnualNo. 2 (DC Comics, 1986–1989)
• Tales of the Teen TitansNo. 63–65, 77 (DC Comics, 1986–1987)
• VigilanteAnnualNo. 2 (DC Comics, 1986)
• 2000 AD Monthlyvol. 2 No. 1 (Eagle, 1986)
• Judge DreddNo. 34–35 (Quality,1986)
• SupermanNo. 422,AnnualNo. 12 (DC Comics, 1986)
• Howard the DuckNo. 33 (Marvel,1986)
• Secret OriginsNo. 7,SpecialNo. 1 (DC Comics, 1986–1989)
• ESPersNo. 3 (Eclipse, 1986)
• The OutsidersNo. 16 (DC Comics, 1987)
• Adventures of the OutsidersNo. 45 (DC Comics, 1987)
• ValkyrieNo. 2 (Eclipse, 1987)
• Swamp ThingNo. 151–153,AnnualNo. 3 (1987–1995)
• The Comics JournalNo. 122 (Fantagraphics Books, 1988)
• Animal ManNo. 1–56 (DC Comics, 1988–1993)
• Legion of Super-HeroesAnnualNo. 4 (DC Comics, 1988)
• Judge Dredd's Crime FileNo. 1–4 (Fleetway, 1989)
• Secret Origins of the World's Greatest Super-HeroesTPB (DC Comics, 1989)
• The Greatest Joker Stories Ever ToldTPB (DC Comics, 1989)
• BatmanNo. 445–447 (DC Comics, 1990)
• RevolverSpecialNo. 2 (Fleetway, 1990)
• Prince: Alter EgoNo. 1 (Piranha Press,1991)
• Animal ManTPB (DC Comics, 1991)
• RobinNo. 1–5 (DC Comics, 1991)
• Challengers of the UnknownNo. 1 (DC Comics, 1991)
• Maze AgencyNo. 20 (Innovation Publishing,1991)
• Judge Dredd MegazineNo. 16 (Fleetway, 1992)
• Doom Patrol: Crawling from the WreckageTPB (DC Comics, 1992)
• Wonder WomanNo. 0, 63–92, 94–100 (DC Comics, 1992–1995)
• CongorillaNo. 1–2 (DC Comics, 1992)
• Animal ManNo. 57–63,AnnualNo. 1 (Vertigo,1993)
• Doom PatrolNo. 64, 75 (Vertigo, 1993–1994)
• Showcase '93No. 3 (DC Comics, 1993)
• Judge Dredd Megazinevol. 2 No. 31 (Fleetway, 1993)
• Batman: Legends of the Dark KnightNo. 50, 119 (DC Comics, 1993–1999)
• Batman: The Collected Legends of the Dark KnightTPB (DC Comics, 1993)
• Kilroy is HereNo. 0 (Caliber,1994)
• Hellstorm: Prince of LiesNo. 16 (Marvel, 1994)
• VampsNo. 1–6 (Vertigo, 1994–1995)
• DeadlineNo. 58 (Deadline,1994)
• The AtomSpecialNo. 2 (DC Comics, 1995)
• Tank Girl: The OdysseyNo. 1–4 (Vertigo, 1995)
• Tank Girl: Apocalypse!No. 1–4 (Vertigo, 1995–1996)
• The Spectrevol. 3 No. 42 (DC Comics, 1996)
• The Batman ChroniclesNo. 3 (DC Comics, 1996)
• The Flash: The Return of Barry AllenTPB (DC Comics, 1996)
• The Invisiblesv2No. 1–22 (Vertigo, 1997–1999)
• LoboNo. 37 (DC Comics, 1997)
• Kilroy: DaemonstormNo. 1 (Caliber, 1997)
• Predator vs. Judge DreddNo. 1 (Dark Horse,1997)
• Vertigo: Winter's EdgeNo. 1 (Vertigo, 1998)
• Corny's FetishNo. 1 (Dark Horse, 1998)
• The Spirit: The New AdventuresNo. 3 (Kitchen Sink,1998)
• GanglandNo. 2 (Vertigo, 1998)
• Batman Villains: Secret Files and OriginsNo. 1 (DC Comics, 1998)
• The Invisibles v3No. 12-1 (Vertigo, 1999–2000)
• Batman: Shadow of the BatNo. 87 (DC Comics, 1999)
• FanboyNo. 6 (DC Comics, 1999)
• Batman: Gotham KnightsNo. 2–11, 14–21, 23–30, 32–40, 42–47 (DC Comics, 2000–2004)
• Superman and Batman: World's Funnest(DC Comics, 2000)
• Silver AgeNo. 1 (DC Comics, 2000)
• The FlashNo. 164–178, 180–187 (DC Comics, 2000–2002)
• Adventures in the Rifle BrigadeNo. 1–3 (Vertigo, 2000)
• ComicologyNo. 4 (TwoMorrows,2001)
• Joker: Last LaughNo. 1, 6 (DC Comics, 2001–2002)
• Animal Man: Origin of the SpeciesTPB (Vertigo, 2002)
• Zatanna:Everyday Magic(Vertigo, 2003)
• Blood & WaterNo. 1–5 (Vertigo, 2003)
• Animal Man: Deus Ex MachinaTPB (Vertigo, 2003)
• JLA: Zatanna's SearchTPB (Vertigo, 2004)
• Green ArrowNo. 32 (DC Comics, 2004)
• Doom Patrol Archives Volume 2HC (DC Comics, 2004)
• Back Issue!No. 3 (TwoMorrows, 2004)
• Catwoman: Nine Lives of the Feline FataleTPB (DC Comics, 2004)
• Doom Patrol: The Painting That Ate ParisTPB (Vertigo, 2004)
• DC Comics Presents: Green LanternNo. 1 (DC Comics, 2004)
• DC Comics Presents: The AtomNo. 1 (DC Comics, 2004)
• Desperado PrimerNo. 1 (Desperado Publishing,2005)
• Michael Chabon Presents: The Amazing Adventures of the EscapistNo. 7–8 (Dark Horse, 2005)
• DC's Greatest Imaginary StoriesTPB (DC Comics, 2005)
• Doom Patrol: Down Paradise WayTPB (Vertigo, 2005)
• Rann-Thanagar WarTPB (DC Comics, 2005)
• Steel Claw:The Vanishing ManHC (Titan,2005)
• DC Universe: The Stories of Alan MooreTPB (DC Comics, 2006)
• Doom Patrol Archives Volume 3HC (DC Comics, 2006)
• AquamanNo. 39 (DC Comics, 2006)
• Jonah HexNo. 6 (DC Comics, 2006)
• Doom Patrol: MuscleboundTPB (Vertigo, 2006)
• Justice Society Volume 1TPB (DC Comics, 2006)
• ElephantmenNo. 3 (Comicraft,2006)
• Huntress: Darknight DaughterTPB (DC Comics, 2006)
• Doom Patrol: Magic BusTPB (Vertigo, 2007)
• Justice Society Volume 2TPB (DC Comics, 2007)
• Harlan Ellison's Dream CorridorTPB (Dark Horse, 2007)
• The Helmet of Fate: Detective ChimpNo. 1 (DC Comics, 2007)
• Amazing Transformations of Jimmy OlsenTPB (DC Comics, 2007)
• DeathblowNo. 4 (Wildstorm,2007)
• Jack of FablesNo. 12–20, 22–50 (Vertigo, 2007–2011)
• Doom Patrol: Planet LoveTPB (Vertigo, 2008)
• Jeff Hawke: OverlordHC (Titan, 2008)
• Femme Noir: The Dark City DiariesNo. 1 (Ape Entertainment,2008)
• Jeff Hawke: AmbassadorsHC (Titan, 2008)
• The War That Time ForgotNo. 2 (DC Comics, 2008)
• The SpiritNo. 26–28 (DC Comics, 2009)
• Superman: Whatever Happened to the Man of Tomorrow?HC (DC comics, 2009)
• Last Days of Animal ManNo. 1–6 (DC Comics, 2009)
• Green Lantern CorpsNo. 45 (DC Comics, 2010)
• DC's Greatest Imaginary Stories: Batman and RobinTPB (DC Comics, 2010)
• ZatannaNo. 1–6 (DC Comics, 2010)
• Star-Spangled War StoriesNo. 1 (DC Comics, 2010)
• Dial HNo. 1-15, 0 (DC Comics, 2012-2013)

Further reading

• Salisbury, Mark, "Brian Bolland" inArtists on Comic Art(Titan Books,2000)ISBN1-84023-186-6,pp. 10–29

External links

• Brian Bollandat theGrand Comics Database
• Brian Bollandat the Comic Book DB (archived fromthe original)
• Brian Bollandat Barney
• Brian Bollandat theLambiek Comiclopedia
• Brian Bollandat Mike's Amazing World of Comics
• Brian BollandatIMDb