Editing Brian Bolland

{{Short description|British comics artist}}
{{Use British English|date=August 2014}}
{{Use dmy dates|date=August 2014}}
{{Infobox comics creator
| image         = 10.9.10BrianBollandByLuigiNovi.jpg
| imagesize     =
| caption       = Bolland at the [[New York Comic Con]] in Manhattan, 9 October 2010
| birth_name    =
| birth_date    = {{Birth date and age|df=yes|1951|3|26}}
| birth_place   = [[Butterwick, Lincolnshire|Butterwick]], [[Lincolnshire]], England
| death_date    =
| death_place   =
| pencil        = y
| ink           = y
| write         = y
| alias         =
| notable works = ''[[Judge Dredd]] vs. [[Judge Death]]''<br>''[[Batman: The Killing Joke]]''<br>''[[Camelot 3000]]''
| awards        =
}}
'''Brian Bolland''' ({{IPAc-en|ˈ|b|ɒ|l|ə|n|d}}; born 26 March 1951)<ref name="Art11">Salisbury, Mark, ''Artists on Comic Art'' ([[Titan Books]], 2000) {{ISBN|1-84023-186-6}}, p. 11</ref> is a British [[comics artist]]. Best known in the United Kingdom as one of the [[Judge Dredd]] artists for British comics anthology ''[[2000 AD (comics)|2000 AD]]'', he spearheaded the '[[British Invasion (comics)|British Invasion]]' of the American comics industry, and in 1982 produced the artwork alongside author [[Mike W. Barr]] on ''[[Camelot 3000]]'', which was [[DC Comics]]' first 12-issue comicbook [[maxiseries]] created for the [[direct market]].

Bolland illustrated the critically acclaimed 1988 graphic novel ''[[Batman: The Killing Joke]]'', an [[origin story]] for [[Batman]] supervillain the [[Joker (character)|Joker]], with writer [[Alan 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 the ''[[Animal Man (comic book)|Animal Man]]'', ''[[Wonder Woman]]'', and ''[[Batman: Gotham Knights]]'' superhero comic book series. In 1996, he drew and self-penned a ''[[Batman: Black and White]]'' story, "An Innocent Guy". For DC's [[Vertigo Comics|Vertigo]] imprint, Bolland has done covers for ''[[The Invisibles]]'', ''[[Jack of Fables]]'', and a number of [[One-shot (comics)|one-shots]] and [[Limited series (comics)|miniseries]].

In addition to interior and cover art, Bolland has also produced several [[comic strip]]s and pin-ups as both writer and artist. His most notable are the semi-autobiographical humour strip ''Mr. Mamoulian'' and the whimsical rhyming strip ''The Actress and the Bishop''. All strips of both projects were included in the ''Bolland Strips!'' collection book, published in 2005. In 2006, he compiled the art book ''The Art of Brian Bolland'', showcasing all of Bolland's work to date and also his work as a photographer.

==Early life==
[[File:Boston, Lincolnshire (England) (43462410301).jpg|thumb|right|Bolland grew up near [[Boston, Lincolnshire]].]]
Brian Bolland was born in [[Butterwick, Lincolnshire]], England,<ref name="Art11"/> to Albert "A.J." John, a fenland farmer, and Lillie Bolland.<ref name="ABBOSE">Bolland, Brian, "On Sale Everywhere" in [[Joe Pruett]] (ed.). ''The Art of Brian Bolland'', ([[Image Comics]], 2006), {{ISBN|1-58240-603-0}}, pp. 10–15</ref> He grew up in a small village near [[Boston, Lincolnshire]] until he was 18 years old.<ref name="ABBOSE"/> When American comics began to be imported into England, {{circa|1959}}, Bolland hadn't read any comics before the age of ten, but by 1960 he was intrigued by [[Dell Comics]]' ''Dinosaurus!'', which developed into a childhood interest in dinosaurs of all shapes and sizes.<ref name="ABBOSE"/> Comics including ''[[Turok]], Son of Stone'' and DC Comics' ''[[Tomahawk (comics)|Tomahawk]]'' soon followed, and it was this burgeoning comics collection that would help inspire Bolland to draw his own comics<ref name="Art11"/> around the age of ten with ideas such as "Insect League."<ref name="ABB22">Bolland & Pruett, "The 1960s – Insect League" in ''The Art of Brian Bolland'', pp. 22–23</ref> 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."<ref name="ABBOSE"/> These adolescent criteria led from ''Dinosaurus!'' and ''Turok'' via ''[[House of Mystery]]'' to "[[Batman]] and [[Robin (comics)|Robin]] [who] were [often] being harassed by big weird things, as were [[Superman]], [[Aquaman]], [[Wonder Woman]] [etc]," Bolland recalled.<ref name="ABBOSE"/> Soon, family outings to [[Skegness]] became 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.<ref name="ABBOSE"/>

As early as 1962, aged 11, Bolland remembers thinking that "[[Carmine Infantino]]'s work on the ''[[The Flash (comic book)|Flash]]'' and [[Gil Kane]]'s on ''[[Green Lantern (comic book)|Green Lantern]]'' and the ''[[Atom (Ray Palmer)|Atom]]'' had a sophistication about it that I hadn't [previously] seen."<ref name="ABBOSE"/> He would later cite Kane and [[Alex Toth]] as "pinnacle[s] of excellence,"<ref name="Art11"/> alongside [[Curt Swan]], [[Murphy Anderson]], [[Sid Greene]], [[Joe Kubert]], [[Ross Andru]], [[Mike Esposito (comics)|Mike Esposito]], [[Nick Cardy]], and [[Bruno Premiani]], whose influences showed in his "early crude stabs at drawing comics."<ref name="ABBOSE"/> The young Bolland did not rate [[Marvel Comics]] as highly as DC, feeling the covers cluttered and the paper quality crude.<ref name="ABBOSE"/> His appreciation of the artwork of [[Jack Kirby]], he says, only materialised much later.<ref name="ABBOSE"/> He did however enjoy UK comics, including newspaper strips such as ''[[Jeff Hawke]]'' by [[Syd Jordan]] and ''[[Carol Day]]'' by [[David Wright (artist)|David Wright]],<ref name="ABB17">Bolland & Pruett, "Influences – Carol Day by David Wright" in ''The Art of Brian Bolland'', p. 17</ref> and ''[[Valiant (comic)|Valiant]]'' which featured ''[[Mytek the Mighty]]'' by [[Eric Bradbury]] and ''[[Steel Claw]]'' by [[Jesus Blasco]].<ref name="ABB19">Bolland & Pruett, "Influences – The Steel Claw by Jesus Blasco" in ''The Art of Brian Bolland'', p. 19</ref><ref name="ABBOSE"/> 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.<ref name="Art10">Salisbury, p. 10</ref>

Growing up as an only child with parents that had no interest in art, literature, or music, he embraced the late 1960s [[popular culture|pop culture]] explosion of [[pirate radio]] stations, [[experimental music]], recreational drugs, [[psychedelia]], ''[[Oz (magazine)|Oz Magazine]]'', "[[Turn on, tune in, drop out|dropping out]]" and other aspects of hippy culture epitomised by [[underground comix]] such as [[Robert Crumb]]'s ''[[Zap Comix]]''.<ref name="ABBOSE"/> Having taken both [[O-Level]] and [[A-Level]] examinations in art, Bolland spent five years at art school beginning in 1969,<ref name="ABBOSE"/> learning [[graphic design]] and [[art history]].<ref name="Art10"/> Learning to draw comics, however, was an art he self-taught, with Bolland eventually writing a 15,000-word dissertation in 1973 on [[Neal Adams]] – an "artist [his teachers] had never heard of."<ref name="Art11"/><ref name="Art10"/> He would later recall:
{{bquote|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, [[Hal Foster|Foster]], [[George Herriman|Herriman]], [[Alex Raymond]] and [[Winsor McCay]]... [[Noel Sickles]], [[Milton Caniff|Milt Caniff]], [[Roy Crane]], had all, I discovered, put down the basic building blocks of our "Art form". And there were the Europeans... [[Jean Giraud|Moebius]], [[Milo Manara|Manara]], [[Alberto Breccia|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.<ref name="ABBOSE"/>}}

==UK career==

===Fanzines and early work===
Bolland studied graphic design at [[Norwich University of the Arts]].<ref>{{cite web|url= http://www.nua.ac.uk/alumni/notable/|title= Notable Alumni|date= n.d.|publisher= [[Norwich University of the Arts]]|archive-url= https://web.archive.org/web/20160323111254/http://www.nua.ac.uk/alumni/notable/|archive-date= 23 March 2016|url-status= dead|df= dmy-all|access-date= 11 June 2016}}</ref> While at art school, Bolland drew and self-published a couple of [[fanzine]]s and his work was published in British underground magazines ''[[Frendz]]'', ''[[International Times]]'' and ''[[Oz (magazine)|OZ]]''.<ref name="ABB27">Bolland & Pruett, "The 1970s – Time Out Illustration" in ''The Art of Brian Bolland'', p. 27</ref> In 1971, his friend Dave Harwood entered printed mass production with his ''RDH Comix'', for which Bolland provided a cover (featuring [[Norwich Cathedral]]).<ref name="ABB25">Bolland & Pruett, "The 1970s – Epic & RDH Comix" in ''The Art of Brian Bolland'', p. 25</ref> Also in 1971, ''[[Time Out (company)|Time Out]]'' – an underground magazine<ref name="ABB27"/> rapidly reinventing itself into "the biggest weekly listings magazine in London" – gave Bolland his first compensated work<ref name="ABB142">Bolland & Pruett, "The 1980s – Time Out" in ''The Art of Brian Bolland'', pp. 142–143</ref> producing an illustration of [[blues]] guitarist [[Buddy Guy]].<ref name="ABB27"/> While in [[Norwich]], Bolland produced the first episodes of an adult ''[[Little Nemo in Slumberland]]'' [[parody]] entitled ''Little [[Nymphomania|Nympho]] in Slumberland'', and when he moved to the [[Central School of Art and Design]] in London in 1973, he continued to produce (mostly full-page) ''Little Nympho'' strips for a 50-copy fanzine entitled ''Suddenly at 2-o-clock in the Morning.''<ref name="ABB29">Bolland & Pruett, "The 1970s – Suddenly and Little Nympho" in ''The Art of Brian Bolland'', p. 29</ref> He also contributed a smaller, [[newspaper comic strip|strip]] entitled "The Mixed-Up Kid" to the Central School of Art's ''Galloping Maggot'', the college newspaper.<ref name="ABB34">Bolland & Pruett, "The 1970s – The Mixed-Up Kid" in ''The Art of Brian Bolland'', pp. 34–35</ref>

===''2000 AD'', ''Judge Death'' and ''Walter the Wobot''===
In 1972, Bolland attended the [[British Comic Art Convention]] at the Waverley Hotel in London, and met several influential figures in the current British comics scene, including [[Dez Skinn]], [[Nick Landau]], [[Richard Burton (comics)|Richard Burton]], [[Angus McKie]] and – crucially – [[Dave Gibbons]].<ref name="ABB37">Bolland & Pruett, "1970s – Powerman" in ''The Art of Brian Bolland'', p. 37</ref> Bolland and Gibbons became firm friends. After finishing his college course, Bolland was hit with "the stark reality of unemployment"<ref name="ABB37"/> and on the advice of Gibbons<ref name="Art13">Salisbury, p. 13</ref> joined art agency Bardon Press Features. He soon found work doing a number of two-page strips for [[D. C. Thomson & Co.|D.C. Thomson]] resulted, but Bolland would refer to this period as his "lowest time."<ref name="ABB37"/> Bardon did however produce a client called Pikin which was "planning a bi-weekly comic about an African superhero," [[Powerman (comic book series)|Powerman]], which was to be sold in [[Nigeria]].<ref name="Art11"/><ref name="ABB37"/> Gibbons and Bolland were to draw alternate issues, with Bolland first drawing ''Powerman'' No. 2.<ref name="Art11"/> Bolland recalls that "soon Dave had drawn his entire story and I had produced just a few pages."<ref name="ABB37"/> 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."<ref name="ABB37"/> With comics purportedly being new to Nigeria,<ref name="ABB37"/> Bolland recalls this work being created specifically to be "really simple; six panels on a page and [all] the panels had to be numbered."<ref name="Art12"/> 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."<ref name="ABB37"/> He "drew around 300 pages of that very straightforward, simple-to-follow work, and I guess the storytelling flowed naturally from that."<ref name="ABB37"/><ref name="Art12">Salisbury, p. 12</ref> 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 AD'' and ''[[League of Extraordinary Gentlemen]]'' artist [[Kevin O'Neill (comics)|Kevin O'Neill]].<ref name="ABB42">Bolland & Pruett, "The 1970s – Help from Friends" in ''The Art of Brian Bolland'', p. 42</ref>

Bolland writes that starting with ''Powerman'' he "found regular employment drawing comics, one of which, ''[[Judge Dredd]]'', in 1977–80, turned out to be quite a hit..."<ref name="ABBOSE"/>

In early 1977, Bardon agent [[Barry Coker]] called Gibbons and Bolland to the office and showed them "mock-ups from a new science fiction comic [[IPC Magazines|IPC]] was planning to publish."<ref name="ABB57">Bolland & Pruett, "The 1970s – 2000AD" in ''The Art of Brian Bolland'', p. 57</ref> Gibbons joined [[Carlos Ezquerra]] in "jumping into ''2000AD'' feet first with issue 1 (or Programme, later Prog 1)... but meanwhile [Bolland] would have to keep drawing ''Powerman'' on [his] own."<ref name="ABB57"/> ''Powerman'' dropped to a monthly schedule, and Coker soon got Bolland "a cover on ''2000 AD'' in May '77 with Prog 11" (7 May 1977; signed "Bollo").<ref name="ABB57"/> Bolland recalls of those early days that:
{{bquote|You'll be surprised to hear that even though ''[[Judge Dredd]]'' had been in ''2000AD'' since 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.<ref name="ABB57"/>}}

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 a ''[[Judge Dredd]]'' story in Prog 41 (3 Dec 77) and soon was established as a regular artist on the series.<ref name="ABB60">Bolland & Pruett, "The 1970s – My First Dredd Nov 1977" in ''The Art of Brian Bolland'', p. 42</ref> "From that point on," writes Bolland, "either he [Landau] or his successor [[Steve MacManus]] called me direct whenever they wanted me to do a ''Dredd'' story."<ref name="ABB60"/> Dredd stories started as traditional UK comic stories, i.e. "six-page one-offs... [Writers] [[Pat Mills]] and [[John Wagner]] seem[ing] to spurn the American comic idea of continuing stories or, worse, the idea of a ''2000 AD'' continuity between characters," Bolland seeing this as a "strength... hav[ing] one great new idea each week."<ref name="ABB72">Bolland & Pruett, "The 1970s – Dredd Stories and 2000AD covers" in ''The Art of Brian Bolland'', p. 72</ref> 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]]".<ref name="ABB72"/> Bolland contributed artwork to such ''Judge Dredd'' story-arcs as "[[Luna Period]]", "[[The Cursed Earth (Judge Dredd story)|The Cursed Earth]]", "[[The Day the Law Died]]", "[[Judge Child|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"<ref name="ABB76">Bolland & Pruett, "The 1970s – The Muties Mountain Double Page Spread" in ''The Art of Brian Bolland'', p. 76</ref> finding it "very difficult... [trying] to fill that space most effectively."<ref name="Art13"/> Ultimately the weekly deadlines meant that Bolland was unable to produce all episodes of the epic storylines himself, and the art chores on ''The Cursed Earth'' were split between Bolland and [[Mike McMahon (comics)|Mike McMahon]].<ref>{{cite web |url=https://www.cbr.com/exclusive-brian-bollands-cover-for-judge-dredd-the-cursed-earth-uncensored/ |title=EXCLUSIVE: Brian Bolland's Cover for "Judge Dredd: The Cursed Earth Uncensored" |last=Ching |first=Albert |date=2 April 2016 |website=[[Comic Book Resources]] |access-date=3 October 2016 |url-status=live |archive-url=https://web.archive.org/web/20161003163701/https://www.cbr.com/exclusive-brian-bollands-cover-for-judge-dredd-the-cursed-earth-uncensored/ |archive-date=3 October 2016}}</ref>

Bolland's early work on ''Judge Dredd'' was 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 "very [[impressionist]]ic," while the "average comics reader, certainly at the time, does tend to prefer realism."<ref name="Art13"/><ref name="Art12"/> 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,"<ref name="Art13"/> 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."<ref name="Art12"/>

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 three [[Dark Judges]])<ref>{{cite web |url=https://www.cbr.com/exclusive-staples-takes-judge-death-back-to-his-roots-for-dark-justice/ |title=EXCLUSIVE: Staples Takes Judge Death Back to His Roots for "Dark Justice" |last=Keily |first=Karl |date=5 December 2014 |website=Comic Book Resources |access-date=3 October 2016}}</ref> and [[Judge Anderson]].<ref>{{cite web |url=https://downthetubes.net/comics-inspiration-how-celebrities-have-inspired-the-look-of-some-comic-characters-part-3-2000ad-edition/ |title=Comics Inspiration: How Celebrities have inspired the look of some Comic Characters Part 3: 2000AD Edition |last=Noble |first=Colin |date=4 June 2019 |website=Down The Tubes |access-date=6 June 2019 |url-status=live |archive-url=https://web.archive.org/web/20190606120408/https://downthetubes.net/?p=107564 |archive-date=6 June 2019}}</ref>

Later, Landau's Titan "decided they could repackage the ''Judge Dredd'' stories in an American comic format with new covers and sell it to America," and did under the brand "[[Eagle Comics]]".<ref name="ABB145">Bolland & Pruett, "The 1980s – Eagle Comics Covers" in ''The Art of Brian Bolland'', p. 145</ref> Bolland provided many of the covers for these compendium issues.<ref name="ABB145"/>

Bolland "drew the first three episodes of the ''Judge Death'' story over the winter of 1979–80," as "just another villain in just another excellent [[John Wagner]] script."<ref name="ABB114">Bolland & Pruett, "The 1980s – Judge Death" in ''The Art of Brian Bolland'', p. 114</ref> 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 of [[Kevin O'Neill (comics)|Kevin O'Neill]]'s ''[[Nemesis the Warlock]]''.<ref name="ABB114"/> Bolland was, he acknowledges, "by far the slowest of the rotating ''Judge Death'' artists," opting to "take as long as I needed and do a half-way decent job" rather than rushing.<ref name="ABB114"/> For the sequel, a "massive (for me) 30 pages," ''2000 AD''<nowiki>'</nowiki>s editorial banked one-off stories to give Bolland long enough to draw it all.<ref name="ABB114"/>

When Nick Landau began (in 1981) [[Titan Books]]' reprints of Judge Dredd material, he "used this story non-chronologically" to begin the series.<ref name="ABB114"/> 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 the ''Cursed Earth'' volume and a new back cover for the first ''Judge Dredd'' volume.<ref name="ABB124">Bolland & Pruett, "The 1980s – Titan Books" in ''The Art of Brian Bolland'', p. 124</ref>

Walter the Wobot was an android with a [[speech impediment]] who served as Judge Dredd's personal servant robot. Created for [[Comic relief|comedic relief]], Bolland notes that "[t]he great thing about the ''Judge Dredd'' strip was it's [sic] ability to slide seamlessly between gritty sci fi adventure, nasty [[gothic horror]], [[parody|spoof]]ery, all the way to daft comedy."<ref name="ABB68">Bolland & Pruett, "The 1970s – Walter the Wobot" in ''The Art of Brian Bolland'', p. 68</ref> Walter's solo adventures – "Walter the Wobot, Fwiend of Dwedd" – were the latter style.<ref name="ABB68"/> Bolland drew all bar a couple of Walter's adventures, which appeared between Progs #50–61; #67–68 and #84–85 (with [[Ian Gibson (artist)|Ian Gibson]] drawing the first two episodes and [[Brendan McCarthy]] the last two), and says that he "was usually able to complete one in a day."<ref name="ABB68"/> He namechecks "the great [[Don Martin (cartoonist)|Don Martin]]" as an artist he "shamelessly ripped off" for the human supporting characters, drawing most of the pages in [[Chiswick]], 1978.<ref name="ABB68"/>

===Other UK work===
In between ''Dredd'' assignments Bolland drew horror strips for [[Dez Skinn]]'s ''[[House of Hammer]]'', having been introduced to the comic through another of the "fanboy in-crowd," [[Trevor Goring (comics)|Trevor Goring]], who drew "a comic strip version of the movie ''[[Plague of the Zombies]]''," and asked Bolland to ink it.<ref name="ABB65">Bolland & Pruett, "The 1970s – House of Hammer" in ''The Art of Brian Bolland'', p. 65</ref> Soon, Bolland was asked to draw "''[[Vampire Circus]]''" (dir. [[Robert Young (director)|Robert Young]], 1972; comic version scripted by [[Steve Parkhouse]]), and "pile[d] on the gore" for his first [[Hammer Film Productions|Hammer]] horror adaptation – although he found much of the "blood painted out" in the printed version.<ref name="ABB65"/>

[[File:Cover art of Legacy of Eagles 1984.png|thumb|left|Cover art of ''[[Legacy 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 for ''[[The Drifters]]'' in 1975<ref name="ABB44">Bolland & Pruett, "The 1970s – The Drifters" in ''The Art of Brian Bolland'', pp. 44–45</ref>), paperback book (including the UK [[Titan Books|Titan]] editions of [[George R. R. Martin]]'s ''[[Wild Cards]]'' anthologies<ref name="ABB209">Bolland & Pruett, "The 1980s – Wild Cards" in ''The Art of Brian Bolland'', p. 209</ref>) and magazine covers (including ''[[Time Out (company)|Time Out]]''<ref name="ABB142"/> and every major comics publication). He continued to produce work for fanzines, including for Nick Landau's ''[[Comic Media News]]'',<ref name="ABB47">Bolland & Pruett, "The 1970s – Comic Media News" in ''The Art of Brian Bolland'', p. 47</ref> and ''Arkensword'' and even "drew the hazard cards" for a [[board game]] called ''Maneater''.<ref name="ABB46">Bolland & Pruett, "The 1970s – Maneater" in ''The Art of Brian Bolland'', p. 46</ref> He later "got to know the [[Games Workshop]] guys, [[Steve Jackson (UK game designer)|Steve Jackson]]<ref>Not the US game designer [[Steve Jackson (US game designer)|of the same name]], despite the section heading in ''The Art of Brian Bolland''.</ref> and [[Ian Livingstone]]," and produced various "games related drawings" including a cover or two for ''[[Fighting Fantasy]]'' Adventure Game Books,<ref name="ABB167">Bolland & Pruett, "The 1980s – Steve Jackson Games" in ''The Art of Brian Bolland'', p. 167</ref> and RPG scenario pamphlets.<ref name="ABB169">Bolland & Pruett, "The 1980s – Steve Jackson Games" in ''The Art of Brian Bolland'', p. 169</ref> His cover work for Games Workshop includes the role-playing game ''[[Golden Heroes]]'' and its only adventure ''[[Legacy of Eagles]]'',<ref name="HW">{{cite book|last=Schick |first=Lawrence|authorlink=Lawrence Schick|title=Heroic Worlds: A History and Guide to Role-Playing Games|publisher=Prometheus Books |year=1991|isbn=0-87975-653-5}}</ref>{{rp|50}} and the ''Fighting Fantasy'' book ''[[Appointment with F.E.A.R.]]''{{rp|367}}

In 1977, Bolland was approached by [[Syd Jordan]] to [[ghost write|ghost]] some episodes of Jordan's [[comic strip|newspaper strip]] ''[[Jeff Hawke]]'',<ref name="ABB52">Bolland & Pruett, "The 1970s – Jeff Hawke" in ''The Art of Brian Bolland'', pp. 52–55</ref> after fellow fandom-pro artist [[Paul Neary]] had already done a fair number of them.<ref name="ABB52"/> 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."<ref name="ABB52"/> By this point, "although the ''Express'' owned 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 fanzine ''Eureka''."<ref name="ABB52"/> 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.<ref>Bolland & Pruett, "The 1980s – Jeff Hawke Titan Collections" in ''The Art of Brian Bolland'', p. 174</ref><ref>Bolland & Pruett, "The 1980s – Jeff Hawke Volume 3 Prelim" in ''The Art of Brian Bolland'', p. 174</ref> Bolland also contributed "A Miracle of [[Elisha]]" to [[Knockabout Comics]]' ''[[Old Bailey]] [[Oz trial|OZ Trial]] Special'', written because [[Old Testament]] history had piqued the interest of Bolland when living near the [[British Museum]].<ref name="ABB156">Bolland & Pruett, "The 1980s – A Miracle of Elisha" in ''The Art of Brian Bolland'', p. 156</ref> This page was later reprinted in the ''Outrageous Tales From the Old Testament'' volume, which included works from [[Alan Moore|Moore]], [[Hunt Emerson]], [[Neil Gaiman|Gaiman]], [[Dave Gibbons|Gibbons]], and [[Dave McKean]], although Bolland's name was left off the cover.<ref name="ABB156b">Bolland & Pruett, "The 1980s – Outrageous Tales From the Old Testament" in ''The Art of Brian Bolland'', p. 156</ref>

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]]'s ''[[Star Wars]]'' toys."<ref name="ABB99">Bolland & Pruett, "The 1970s – Star Wars Ads" in ''The Art of Brian Bolland'', p. 99</ref> He also drew some of the earliest pieces of advertising artwork for the science fiction and comic shop [[Dark They Were, and Golden-Eyed (bookshop)|Dark They Were, and Golden-Eyed]], which ran in various [[Comics fanzine|fanzines]], convention programmes, and magazines such as ''Time Out'' and was commissioned by future-[[Titan Distribution]] and [[Forbidden Planet (bookstore)|Forbidden Planet]] co-founder Mike Lake (who was "working there at the time") c. 1976.<ref name="ABB48">Bolland & Pruett, "The 1970s – Dark They Were and Golden Eyed" in ''The Art of Brian Bolland'', p. 48</ref> As well as the DTWAGE adverts, Bolland and most of his peers also contributed artwork to advertise, and/or feature in programme booklets for the [[British Comic Art Convention|UK Comicon]], starting {{circa|1976}}.<ref name="ABB46b">Bolland & Pruett, "The 1970s – Comicon 1976" in ''The Art of Brian Bolland'', p. 46</ref> In 1978, Nick Landau, Mike Lake and Mike Luckman "took their comic distribution business into the highstreet," opening the first [[Forbidden Planet (bookstore)|Forbidden Planet]] comics shop, for which Lake asked Bolland to produce the now-famous "People like ''us'' shop 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.<ref name="ABB96">Bolland & Pruett, "The 1970s – Forbidden Planet" in ''The Art of Brian Bolland'', p. 96</ref> 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."<ref name="ABB96b">Bolland & Pruett, "The 1970s – Forbidden Planet Expansion" in ''The Art of Brian Bolland'', p. 96</ref>

==DC Comics==
Bolland was among the first British comics creators to work in the American comics industry, spearheading the so-called "[[British Invasion (comics)|British Invasion]]" in 1979/80. Bolland recalls that his big break came when [[Joe Staton]] attended the Summer 1979 Comicon, and, needing somewhere to work on ''[[Green Lantern]]'' while in the UK, arranged to stay with the Bollands.<ref name="ABB102">Bolland & Pruett, "The 1970s – Green Lantern" in ''The Art of Brian Bolland'', p. 102</ref> Staton called his editor [[Jack C. Harris|Jack Harris]] and told him that Bolland, a big ''Green Lantern'' fan, would like to draw a ''Green Lantern'' cover; Harris agreed.<ref name="ABB102"/> He drew several covers for [[DC Comics]], starting with ''Green Lantern'' No. 127 (April 1980),<ref name="ABB102"/> as well as some fill-in stories.<ref name="ABBOSE"/> These stories included, in 1980-1981, "Certified Safe" in ''[[Mystery in Space]]''<ref name="ABB130">Bolland & Pruett, "The 1980s – ''JLA'' 200 and ''Superman'' Beastman Cover" in ''The Art of Brian Bolland'', p. 130</ref> and "Falling Down to Heaven" in ''[[Madame Xanadu]]'', DC's first attempt at marketing comics specifically to the "[[direct market]]" of fans and collectors.<ref>{{Cite journal|author-link=Michael Catron|last=Catron|first=Michael|title=DC Taps Fan Market for ''Madame Xanadu''|journal= [[Amazing Heroes]]|number=1 |date=June 1981|page= 25|quote= ''Madame Xanadu'', a 32-page/$1.00 comic that marks DC's first attempt at marketing comics specifically to fans and collectors, went on sale in early April. The book contains a 25-page tale by Steve Englehart and Marshall Rogers entitled "Dance for Two Demons" and a seven-page fantasy story by J. Marc DeMatteis and Brian Bolland.}}</ref> For editor [[Julius Schwartz]], Bolland drew covers around which writers would craft stories, which included two [[Starro]] covers for ''[[Justice League|Justice League of America]]'' No. 189 and 190 and ''[[Superman (comic book)|Superman]]'' No. 422 (Aug. 1986).<ref name="ABB130"/>

Among his earliest interior work for DC was a chapter in ''Justice League of America'' No. 200 (March 1982) alongside [[Joe Kubert]], [[Carmine Infantino]], [[Gil Kane]], [[Jim Aparo]], [[George Pérez]], and [[Dick Giordano]]. This gave the artist his "first stab at drawing ''Batman''."<ref name="ABB130"/> 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 at ''2000AD'' who had been weaned on the DC characters."<ref name="ABB103">Bolland & Pruett, "The 1970s – The European Invasion" in ''The Art of Brian Bolland'', p. 103</ref> 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,"<ref name="ABBOSE"/> making a "formal invitation" at an SSI meeting, which saw "[[Dave Gibbons]], [[Kevin O'Neill (comics)|Kevin O'Neill]]... [t]hen [[Alan Davis]] and [[Mark Farmer (comics)|Mark Farmer]]," following the artists "[[Alan Grant (writer)|Alan Grant]] "went across" and, at some point, a [[Alan Moore|certain tall hairy writer from the Midlands]]."<ref name="ABB103"/>

In 1982, DC editor [[Len Wein]] chose Bolland to be the artist on DC's ''[[Camelot 3000]]'' 12-issue [[Limited series (comics)|maxi-series]], with writer [[Mike W. Barr]].<ref>{{cite book|last=Manning|first= Matthew K.|editor-last=Dolan|editor-first=Hannah|chapter= 1980s|title = DC Comics Year By Year A Visual Chronicle|publisher=[[Dorling Kindersley]]|year=2010|location= London, United Kingdom|isbn= 978-0-7566-6742-9 |page= 199 |quote = Writer Mike W. Barr and artist Brian Bolland pushed the limits of the conventional comic book with ''Camelot 3000''. DC Comics' first foray into the realm of the maxiseries, ''Camelot 3000'' was a twelve-issue story printed on vibrant Baxter paper that showcased Bolland's realistic artwork.}}</ref><ref>{{cite journal|last = Boyanski|first = Brian|title = Brian Bolland: The Gentleman Masochist|journal= Comicology|issue = 4|publisher = [[TwoMorrows Publishing]]|date = Summer 2001|location= Raleigh, North Carolina|url = http://www.twomorrows.com/comicology/articles/04bolland.html |archive-url= https://web.archive.org/web/20041207125926/http://www.twomorrows.com/comicology/articles/04bolland.html|archive-date= 7 December 2004|url-status= dead|df=dmy-all}}</ref> The story, dealing with the return of [[King Arthur]] to save England from an [[alien invasion]] in 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.<ref name="Art10"/><ref name="Art17">Salisbury, p. 17</ref> Bolland was not familiar with the Arthurian legends, and initially conceived Merlin as a comical character.<ref name="ABB133">Bolland & Pruett, "The 1980s – Camelot 3000" in ''The Art of Brian Bolland'', p. 133</ref><ref name="Back27">{{cite journal|last= Ash|first= Roger|date= April 2008|title= Mike W. Barr and Brian Bolland Return to Camelot|journal= [[Back Issue!]]|issue= 27|pages= 45–56|publisher= [[TwoMorrows Publishing]]|location= Raleigh, North Carolina}}</ref> The series was graced with considerable media hype, and Bolland found himself invited to [[San Diego Comic-Con International|San Diego Comic-Con]] and other conventions.<ref name="ABB133"/> Bolland was allowed to pick between two inkers, but opted to ink his covers himself.<ref name="ABB133"/> 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.<ref name="Back27"/> However, he was satisfied with the finished results.<ref name="ABB133"/> Reacting indignantly to being presented with Ross Andru layouts for the first two ''Camelot 3000'' covers, he
{{quote|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.<ref name="ABB133"/>}}

''Camelot 3000'' had 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.<ref name="Art17"/><ref name="Art16">Salisbury, p. 16</ref> As the series continued, however, Bolland became increasingly meticulous, always trying to improve upon his pages.<ref name="Art17"/> The added details he introduced into his artwork caused significant delays in the final issues of the limited series,<ref name="Back27"/> causing issues #8–11 to be released on a quarterly rather than monthly status, and the final issue to be [[cover date]]d nine months later than the penultimate issue.<ref name="GCD">{{gcdb|type=credit|search=Brian+Bolland|title=Brian Bolland}}</ref>

Bolland drew a pinup for ''[[Superman (comic book)|Superman]]'' No. 400 (Oct. 1984)<ref>[http://www.comics.org/issue/39168/ ''Superman'' #400] at the Grand Comics Database</ref> and its companion portfolio.<ref>[[Dick Giordano|Giordano, Dick]] "Meanwhile" column, ''Jemm, Son of Saturn'' No. 2 (Oct. 1984) "We have another goodie for you! Also on this year's October schedule is the ''Superman'' No. 400 portfolio&nbsp;... The portfolio will have a full-color painted cover by Howard Chaykin and will contain 15 black-and-white plates by Terry Austin, Brian Bolland, John Byrne, Jack Davis, Steve Ditko, Will Eisner, Mike Grell, Jack Kirby, Frank Miller, Moebius, Jerry Robinson, Bill Sienkiewicz, Walter Simonson, Steranko, and Berni Wrightson. Look for it around June 26th. On good stock, it'll be available for $10.00 in the USA and $16.00 in Canada."</ref> In 1986, Bolland was one of several artists who contributed pages to the anniversary issue ''[[Batman (comic book)|Batman]]'' No. 400 (Oct. 1986),<ref>Manning "1980s" in Dolan, p. 221: "Batman celebrated the 400th issue of his self-titled comic with a blockbuster featuring dozens of famous comic book creators and nearly as many infamous villains. Written by Doug Moench, with an introduction by novelist Stephen King...[it was] drawn by George Pérez, Bill Sienkiewicz, Arthur Adams, Joe Kubert, Brian Bolland, and others."</ref> his offering featuring villains [[Ra's al Ghul]] and [[Catwoman]].<ref name="Art18">Salisbury, p. 19</ref> Around this time, Titan Books were trying to launch a line of comics written by [[Alan Moore]], including a ''Batman Meets Judge Dredd'' one-off by Moore and Bolland.<ref name="ABB195">Bolland & Pruett, "The 1980s – The Killing Joke" in ''The Art of Brian Bolland'', pp. 195–197</ref> 

[[File:Jokerkillingjoke.png|thumb|right|Origin of the [[Joker (character)|Joker]] in ''[[Batman: The Killing Joke]]''. Art by Brian Bolland and John Higgins.]]
After watching the 1928 film ''[[The Man Who Laughs (1928 film)|The Man Who Laughs]]'', which features a character named Gwynplaine (played by [[Conrad Veidt]]) whose [[rictus grin]] inspired the visual design of the Joker,<ref>{{cite web|url=https://screenrant.com/batman-the-killing-joke-movie-comic-trivia-facts/|publisher=[[Screen Rant]]|language=en-US|url-status=live|author=Mithaiwala, Mansoor|title=15 Things You Need To Know About Batman: The Killing Joke|date=July 19, 2016|access-date=August 21, 2022|archivedate=July 20, 2016|archiveurl=https://web.archive.org/web/20160720180433/https://screenrant.com/batman-the-killing-joke-movie-comic-trivia-facts/}}</ref> Bolland conceived of the 1988 graphic novel ''[[Batman: The Killing Joke]]''.<ref>{{cite book|last=Brooker|first=Will|date=18 September 2001|title=Batman Unmasked: Analyzing a Cultural Icon|location=London, England|publisher=Bloomsbury Academic|pages=268–272|isbn=978-0826413437}}</ref> The book was written by [[Alan Moore]] to great critical acclaim, winning the [[Eisner Award]] for Best Graphic Album, and has been regarded as one of the all-time best Joker stories,<ref>{{cite web|first=Hilary|last=Goldstein|url=http://comics.ign.com/articles/618/618658p1.html|title=''Batman: The Killing Joke'' Review|website=[[IGN]]|publisher=[[j2 Global]]|location=San Francisco, California|date=May 24, 2005}}</ref><ref>Goldstein, Hilary (June 13, 2005). [http://comics.ign.com/articles/624/624619p1.html "The 25 Greatest Batman Graphic Novels"]. [[IGN]].</ref> and one of the greatest Batman graphic novels ever.<ref>{{cite web |url=http://www.popsyndicate.com/site/story/batman_the_killing_joke_deluxe_20th_anniversary_edition/ |archive-url=https://web.archive.org/web/20080404022717/http://www.popsyndicate.com/site/story/batman_the_killing_joke_deluxe_20th_anniversary_edition/ |archive-date=April 4, 2008 |title=Batman: The Killing Joke Deluxe 20th Anniversary Edition |author=James Donnelly |publisher=Pop Syndicate |date=March 21, 2008}}</ref> Director [[Tim Burton]] has named ''The Killing Joke'' as an influence for his [[Batman (1989 film)|1989 film adaptation of ''Batman'']], specifically the origin of the Joker.<ref>{{cite book|first=Tim|last=Burton|authorlink=Tim Burton|title=Burton on Burton|publisher=[[Faber and Faber]]|location=London, England|date=2006|page=71|isbn=0-571-22926-3}}</ref> It would also prove to be highly influential on future Batman and Joker stories,<ref>{{cite book|last1 = Greenberger|first1 = Robert|author-link = Robert Greenberger|last2 = Manning| first2 = Matthew K.|title = The Batman Vault: A Museum-in-a-Book with Rare Collectibles from the Batcave|publisher = [[Running Press]]|year = 2009|location= Philadelphia, Pennsylvania|isbn = 978-0-7624-3663-7|page= 38 |quote = Offering keen insight into both the minds of the Joker and Batman, this special is considered by most Batman fans to be the definitive Joker story of all time.}}</ref><ref>{{cite book|last=Manning|first= Matthew K.|editor-last=Dolan|editor-first=Hannah|chapter= 1980s|title = DC Comics Year By Year A Visual Chronicle|publisher=[[Dorling Kindersley]] |year=2010 |isbn= 978-0-7566-6742-9 |page= 233 |quote = Crafted with meticulous detail and brilliantly expressive art, ''Batman: The Killing Joke'' was one of the most powerful and disturbing stories in the history of Gotham City.}}</ref> though it has also been met with criticism for the violence inflicted on the character [[Barbara Gordon]].<ref>{{citation|author=Brian Cronin|title=Was Superman A Spy?: And Other Comic Book Legends Revealed|publisher=Penguin|year=2009|page=47|isbn=9780452295322}}</ref><ref>{{citation|author=Sharon Packer|title=Superheroes and Superegos: Analyzing the Minds Behind the Masks|publisher=ABC-CLIO|year=2010|page=201|isbn=9780313355363}}</ref><ref>{{citation|author=Jeffrey A. Brown|title=Dangerous Curves: Action Heroines, Gender, Fetishism, and Popular Culture|publisher=[[University Press of Mississippi]]|year=2011|page=175|isbn=9781604737141}}</ref>

Speaking circa 2000, Bolland said that since ''The Killing Joke'' he has only drawn comics that he also wrote.<ref name="Art18"/> Six years later he clarified that
{{quote|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...<ref name="ABB195"/>}}
Bolland had expressed some dissatisfaction with the final book, regretting that its impending schedule for release meant he could not colour the book himself, with [[John Higgins (comics)|John Higgins]] instead being the colorist.<ref>Brian Bolland, "On Batman: Brian Bolland Recalls ''The Killing Joke''," ''DC Universe: The Stories of Alan Moore'' (New York: DC Comics, 2006) 256. {{ISBN|1-4012-0927-0}}.</ref> In March 2008, the twentieth anniversary hardcover edition of ''The Killing Joke'' saw the release of the artwork as Bolland intended it, and is completely recoloured by Bolland himself. The book made [[The New York Times Best Seller list|''The New York Times'' Best Seller list]] in May 2009.<ref>[http://artsbeat.blogs.nytimes.com/2009/05/22/graphic-books-best-seller-list-may-16/ "Graphic Books Best Seller List: May 16"], ''[[The New York Times]]''; George Gene Gustines. May 22, 2009</ref>

In 1996, Bolland wrote and drew the story "An Innocent Guy" for the anthology ''[[Batman: Black and White]]'', in which an otherwise normal inhabitant of [[Gotham City]] documents his plan to carry out the ultimate [[perfect crime]] and assassinate the Dark Knight Detective. Drawing inspiration from a cover by [[Alex Toth]], and intended as an homage to the [[Silver Age of Comic Books|Silver Age]] ''Batman'', 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."<ref name="ABB254">Bolland & Pruett, "The 1990s – An Innocent Man" in ''The Art of Brian Bolland'', p. 254</ref>

Approached by Batman-editor [[Mark 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 in [[Dave Johnson (comics)|Dave Johnson]] drawing 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 on ''Gotham Knights'' was 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 featured [[Bane (comics)|Bane]] prominently (and not the Joker or Penguin as he had been hoping for some time), Bolland offered to leave immediately.<ref name="ABB266">Bolland & Pruett, "The New Millennium – Batman Gotham Knights" in ''The Art of Brian Bolland'', p. 266</ref>

===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.<ref name="Art18"/> 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.<ref name="Art20"/>

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.<ref name="ABB230-231">Bolland & Pruett, "The 1990's" in ''The Art of Brian Bolland'', pp. 230–231</ref>

Bolland now draws on a computer, eschewing pencil and paper. He cites the influence of [[Dave Gibbons]], who was himself enthusiastic about the capabilities of computers.<ref name="Art24"/> 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.<ref name="Art24"/><ref name="Art26">Salisbury, p. 26</ref> 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 his [[Wacom tablet]] is no different from drawing on a pad of paper.<ref name="Art26"/> 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.<ref name="Art28">Salisbury, p. 28</ref>

Bolland recalls that, in the wake of ''The Killing Joke'', he received plenty of work offers, but didn't feel ready to make a long commitment.<ref name="ABB213">Bolland & Pruett, "The 1980s – Animal Man" in ''The Art of Brian Bolland'', p. 213</ref> So, instead
{{bquote|[a]fter ''Killing Joke'', DC asked me to do the covers on ''Animal 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.<ref name="Art20">Salisbury, p. 20</ref>}}

====''Animal Man''====
[[File:Animal man 19.jpg|thumb|right|Cover of ''[[Animal Man]]'' #19 (Jan. 1990). Art by Bolland.]]
The first 63 issues of ''[[Animal Man (comic book)|Animal Man]]'' featuring Bolland's artwork covered the tenures of writers [[Grant Morrison]], [[Peter Milligan]], [[Tom Veitch]] and [[Jamie Delano]], with Bolland's images maintaining a continuity of style and imagery while the interior work underwent several changes of style and storyline.<ref name="vert-ency">{{Cite book | last = Irvine | first = Alex | author-link = Alexander C. Irvine|contribution = Animal Man | editor-last = Dougall | editor-first = Alastair | title = The Vertigo Encyclopedia | page = 27 | publisher= [[Dorling Kindersley]]|location= London, United Kingdom| year = 2008 | isbn = 978-0-7566-4122-1 | oclc = 213309015 }}</ref> 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.<ref name="Art20"/> This included the incorporation of photographs into the later covers of Morrison's tale of [[metafiction]] and [[deus ex machina]] author-input. With the (post-Morrison) move of ''Animal Man'' to DC's new 'Mature Readers' imprint [[Vertigo (DC Comics)|Vertigo]], 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, [[airbrush]] and 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 final ''Animal Man'' covers were mostly her work.<ref name="ABB228">Bolland & Pruett, "The 1990s – Vertigo Animal Man" in ''The Art of Brian Bolland'', pp. 228–229</ref>

Describing the art of good covers, Bolland remarks that
{{bquote|[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.<ref name="Art20"/>}}

Coincidentally, when a [[time travel]] story 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.<ref name="Art24"/>

====''The Invisibles''====
{{main|The Invisibles}}
Bolland's covers adorn the whole second and third volumes of [[Grant Morrison]]'s ''[[The Invisibles]]''<ref name="vert-ency"/> and 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 strange [[symbol]]ism and [[subliminal stimuli|subliminal]] messages into the cover designs" to create "an image that puzzles to a degree and is layered with elements of [[surrealism]]."<ref name="Art20"/> Asked to take over from [[Sean Hughes (comics)|Sean Hughes]] on 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.<ref name="ABB256">Bolland & Pruett, "The 1990s – The Invisibles" in ''The Art of Brian Bolland'', p. 256</ref> Newly embracing the use of a computer, Bolland cites ''The Invisibles'' Vol 2 No. 11 as his earliest computer-assisted piece of artwork.<ref name="ABB260">Bolland & Pruett, "The 1990s – The Computer" in ''The Art of Brian Bolland'', p. 260</ref>

For the third series, 
{{bquote|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 the [[Millennium]]], that set me thinking. I remember seeing [[Peter Greenaway]]'s film ''[[Drowning 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.<ref name="Art20"/>}}
The covers for the third volume of ''The Invisibles'' were 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 a [[Francis Bacon]] inspired "fleshy mass [dubbed "The Blobby Man"] with a typewriter" for ''Entropy in the UK''. Having convinced [[Karen 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 final ''Invisible Kingdom'' TPB cover, Bolland produced a cover featuring 12 small alternative ''Invisibles'' covers, 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."<ref name="ABB262">Bolland & Pruett, "The 1990s – The Invisibles, Volume 3" in ''The Art of Brian Bolland'', pp. 262–263</ref>

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.<ref name="Art21">Salisbury, p. 21</ref> In the case of ''The Invisibles'', however, although Morrison officially had final approval on cover art, Bolland described him as generous to the work Bolland came up with.<ref name="Art24">Salisbury, p. 24</ref> In selected cases, however, Bolland would ask for ideas, and in one specific case "[[Shelly Roeberg|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."<ref name="Art21"/> Bolland admits "I don't know exactly why. I just supplied it."<ref name="Art24"/>

====''Wonder Woman''====
{{main|Wonder Woman}}
Bolland also contributed a large number of covers to ''[[Wonder Woman]]'', beginning with [[William Messner Loebs]]'s first issue (#63, June 1992<ref name="WW63">[http://www.comics.org/details.lasso?id=51348 ''Wonder Woman'' #63 (DC, June 1992)]. Retrieved 23 February 2009.</ref>) after that author took over writer (and artist) [[George Pérez]]'s 1987 [[Crisis on Infinite Earths|post-Crisis relaunch]]. Bolland recalls his time drawing ''Wonder Woman'' fondly, as one of the few occasions he actually sought work rather than being sought for work. He recalls
{{bquote|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 Woman'' was an exception. I happened to mention to [[Tom Peyer]], my editor on ''Animal Man'', that I'd love to draw ''Wonder Woman'' covers... [a]t the time, despite her long history at DC, her iconic appearance, even her [[Wonder Woman (TV series)|cult 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.<ref name="ABB230">Bolland & Pruett, "The 1990s – Wonder Woman" in ''The Art of Brian Bolland'', p. 230</ref>}}

Bolland's first cover saw Diana next to the headline: "The ''Stunning'' return of comics' ''greatest'' heroine!" speaking directly to the reader the words "...&nbsp;Miss me?"<ref name="WW63"/> 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.<ref>[http://www.comics.org/details.lasso?id=57479 ''Wonder Woman'' #100 (DC, August 1995)]. Retrieved 23 February 2009.</ref> 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.<ref name="ABB230"/> For her return to her famous costume, Bolland produced the Britannia-esque pose from ''Wonder Woman'' #72 (Mar 1993).<ref>[http://comics.org/details.lasso?id=52672 ''Wonder Woman'' #72 (DC, March 1993)]. Accessed 13 May 2009</ref> 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 by [[Mike 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 from ''Camelot 3000'' – is the lone instance he was asked to design a costume.<ref name="ABB230"/> The new costume – black [[hotpants]], halter top, straight hair (which Bolland ''did'' like) and "WW"-emblazoned jacket – was based, Bolland recalled, on a [[Versace]] outfit that Cindy Crawford wore for ''[[Vogue (magazine)|Vogue]]'' magazine.<ref name="ABB233">Bolland & Pruett, "The 1990s – The New Costume" in ''The Art of Brian Bolland'', p. 233</ref>

====Other cover work====
[[File:Hellstorm16.jpg|150px|thumb|left|A rare Marvel cover for ''[[Daimon Hellstrom|Hellstorm: Prince of Lies]]'' No. 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 Eagle ''Judge Dredd'' comic issue – which repackaged ''2000 AD'' stories 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."<ref name="Art24"/>

In addition to his landmark runs on ''Animal Man'' and ''The Invisibles'', Bolland has also produced lengthy runs on covers for [[Geoff Johns]]' ''[[Flash (DC Comics character)|The Flash]]'' (from roughs by series editor [[Joey Cavalieri]]<ref name="ABB268">Bolland & Pruett, "The New Millennium – The Flash" in ''The Art of Brian Bolland'', p. 268</ref>) and the Batman anthology series ''[[Batman: Gotham Knights]]'', as well as assorted issues of ''[[Tank Girl]]'' (for original UK publication ''[[Deadline (magazine)|Deadline]]'' and the two subsequent Vertigo miniseries ''Tank Girl: The Odyssey'' and ''Tank Girl: Apocalypse''), ''[[Superman]]'', ''[[Green Lantern]]'', ''[[Batman]]'' and many more, including a number of oneshots and miniseries for DC's offshoot [[Vertigo (comics)|Vertigo]]. From 2007 to 2011, Bolland was the cover artist on Vertigo's ''[[Fables (comics)|Fables]]'' spin-off ''[[Jack of Fables]]'', replacing previous cover artist [[James Jean]]. Bolland's covers also appear on the DC/Vertigo trade paperback collections of Grant Morrison's ''[[Doom 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 artist [[Simon Bisley]] had been "a hard act to follow."<ref name="ABB242">Bolland & Pruett, "The 1990s – Doom Patrol" in ''The Art of Brian Bolland'', p. 242</ref>

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. In ''The Art of Brian Bolland'', he also mentions in passing that a bad experience with a [[Marvel UK]] ''[[Hulk]]'' cover and a later oddity with a [[She-Hulk]] cover featuring [[Howard the Duck]] have given him a mild "phobia" of Marvel and the company's production line method that overrules his art style.<ref name="ABB221">Bolland & Pruett, "The 1990s – Howard and She-Hulk" in ''The Art of Brian Bolland'', p. 221</ref> He has however, produced odd covers for Marvel, [[First Comics]], [[Continuity Comics]], [[Eclipse Comics]], [[New Comics]] and a dozen other companies, large and small, as well as book, magazine and record covers. For [[Dark Horse Comics]], Bolland has produced several diverse covers, including a couple for [[Michael Chabon]]'s ''The Amazing Adventures of the Escapist'' at the behest of editor [[Diana Schutz]]. He recalled that the cover of the tenth issue would've had the style of [[Hergé]]'s ''[[The Adventures of Tintin]]'', but it was cancelled after eight issues.<ref name="ABB282">Bolland & Pruett, "The New Millennium – The Escapist Covers" in ''The Art of Brian Bolland'', p. 282</ref>

Bolland is noted by some for his use of [[Bondage (BDSM)|bondage]] imagery, 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."<ref name="webbio">[http://www.brianbolland.net/ "The Art of Brian Bolland" – The Official Website] {{webarchive|url=https://web.archive.org/web/20080724230611/http://www.brianbolland.net/ |date=24 July 2008 }}. Retrieved 25 February 2009.</ref> In 2006's ''The 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 of [[Shadrach, Meshach, and Abednego|Shadrach, Meshach and Abednigo]] [sic]." Such Biblical imagery was bolstered in 1971 by a book bought in Paris "called ''[[Les 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."<ref name="ABB29"/> ''The Art of Brian Bolland'' also features a separate "Nudes" section, mostly created for the purpose of experimenting with different inking techniques or practicing figures from difficult angles.<ref name="ABB283-292">Bolland & Pruett, "Nudes" in ''The Art of Brian Bolland'', pp. 283–292</ref> Only three of the nude sketches involve scenes of bondage.<ref name="ABB285, 292">Bolland & Pruett, "Nudes" in ''The Art of Brian Bolland'', pp. 285, 292</ref>

==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.<ref name="Art18"/> Most notable are Bolland's two "personal projects", ''Mr. Mamoulian'' and ''The Actress and the Bishop'', all appearances of which strips were collected in the book ''[[Bolland 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 and [[Steve Moore (comics)|Steve 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" (from ''Heartthrobs'') and "The Kapas" (from ''Strange Adventures'') were included alongside six limited edition Éditions Déesse prints.<ref name="ABB279">Bolland & Pruett, "The New Millennium – Bolland Strips!" in ''The Art of Brian Bolland'', p. 279</ref>

===''Mr. Mamoulian''===
Among Bolland's other works is the [[Robert Crumb]]-esque semi-autobiographical [[Stream of consciousness (narrative mode)|stream of consciousness]] humour strip ''[[Mr. Mamoulian]]'',<ref>[http://www.brianbolland.net/gallery/mr_mamoulian.html ''Mr. Mamoulian'' on "The Art of Brian Bolland" – The Official Website] {{webarchive|url=https://web.archive.org/web/20090523104742/http://www.brianbolland.net/gallery/mr_mamoulian.html |date=23 May 2009 }}. Retrieved 25 February 2009.</ref> which was first printed in [[Paul Gravett]]'s UK pro-zine ''Escape'' and later brought to the US in issues of the [[Dark Horse Comics|Dark Horse]] title ''[[Cheval Noir (comics)|Cheval Noir]]'' and the [[Caliber Comics]] anthology ''[[Negative Burn]]''. Bolland recalled that the origins of the character lay in him contemplating [[middle age]] on his 36th birthday, and experimenting with drawing "whatever came into my head". The name echoes the character's mammalian look, resembling a [[hedgehog]], although Bolland acknowledges that Armenian-American film director [[Rouben Mamoulian]] likely provided an inspiration on the name front. Noting his enjoyment of [[Berke Breathed]]'s ''[[Bloom 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, personal [[neuroses]]." Designed to be read individually – indeed, early publication in ''Escape'' was 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.<ref name="ABB182">Bolland & Pruett, "The 1980s – Mr. Mamoulian" in ''The Art of Brian Bolland'', p. 182</ref>

Bolland wrote in 2006 that [[Nick Landau]] of [[Titan Books]] was impressed by ''Mr. Mamoulian'' and became Bolland's unofficial agent.<ref name="ABB182"/> Through Landau, Bolland saw his strip published across Europe in publications including ''Linus'', ''Cimoc'' and (in [[Sweden]]) ''Pox''. Such widespread exposure had its downside, when the original artwork went missing, meaning that later reprints of ''Mamoulian'' had 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 collection ''Bolland Strips!'', however, interest from ''Negative Burn'' (now published by [[Desperado Publishing]]) had persuaded the artist to make more pages.<ref name="ABB182"/>

===''The Actress and the Bishop''===
Bolland's other "personal project" is his occasional strip "[[The Actress and the Bishop]]".<ref>[http://www.brianbolland.net/gallery/the_actress.html ''The Actress & The Bishop'' on "The Art of Brian Bolland" – The Official Website] {{webarchive|url=https://web.archive.org/web/20090523093258/http://www.brianbolland.net/gallery/the_actress.html |date=23 May 2009 }}. Retrieved 25 February 2009.</ref> 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 of [[Alberto Breccia]]<ref name="ABB18">Bolland & Pruett, "Influences – [[Mort Cinder]] by Alberto Breccia" in ''The Art of Brian Bolland'', p. 18</ref>) and a femme fatale Actress.<ref name="ABB160">Bolland & Pruett, "The 1980s – Éditions Déesse" in ''The Art of Brian Bolland'', p. 160</ref> Bolland was subsequently approached by [[Garry Leach]] and Dave Elliot, who were publishing a new comic anthology series, ''[[A1 (comics)|A1]]''.<ref name="ABB202">Bolland & Pruett, "The 1980s – The Actress and the Bishop" in ''The Art of Brian Bolland'', p. 202</ref> 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.<ref name="ABB202"/> 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.<ref name="ABB202"/>

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 the [[The Owl and the Pussycat|owl and the pussycat]] setting sail in a pea green boat." Three pages in ''A1'' No. 1 were followed by another three in ''A1'' No. 3, while a longer story with 110 verses went unreleased for 17 years until publication in the compendium hardback ''Bolland Strips!''.<ref name="ABB202"/>

===''The Art of Brian Bolland''===
In 2006 a comprehensively sizeable retrospective of Bolland's work was published by [[Image Comics|Image]]/Desperado under the title ''[[The Art of Brian Bolland]]'', featuring contextualising references and copious text – 33,500 words<ref name="ABB310">Bolland & Pruett, "Moving Things About" in ''The Art of Brian Bolland'', p. 310</ref> – written by the artist with [[Joe Pruett]] alongside hundreds of pieces of artwork and rare photographs. ''The Art of Brian Bolland'' covers all of the artist's work to date, under an introduction from close friend [[Dave Gibbons]],<ref name="ABB6">Bolland & Pruett, "Introduction by Dave Gibbons" in ''The Art of Brian Bolland'', p. 6</ref> an autobiographical essay and sections ranging from his "Influences" (featuring near-unseen examples of Bolland's childhood art),<ref name="ABB16-19">Bolland & Pruett, "Influences" in ''The Art of Brian Bolland'', pp. 16–19</ref> 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.<ref name="ABB293-309">Bolland & Pruett, "Places of Interest" in ''The Art of Brian Bolland'', pp. 293–309</ref>

==Non-comics work==
Bolland is also an accomplished photographer, with examples of his work being included in the Image/Desperado book ''The 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 in [[Burma]] in 1988.<ref>[http://www.brianbolland.net/news.html "A Book About Burma" on "The Art of Brian Bolland" – The Official Website, 14 May 2008] {{webarchive|url=https://web.archive.org/web/20090616091631/http://www.brianbolland.net/news.html |date=16 June 2009 }}. Retrieved 25 February 2009.</ref> Some photographs taken by Bolland in Burma are reprinted in the Image-published retrospective ''The Art of Brian Bolland''.<ref name="ABB293">Bolland & Pruett, "Places of Interest" in ''The Art of Brian Bolland'', pp. 293–309</ref>

Much in demand for advertisements, Bolland has produced work down the years for bookshops – including pioneering UK Sci-Fi/Comics sellers such as [[Dark They Were, and Golden-Eyed (bookshop)|Dark They Were, and Golden-Eyed]]<ref name="ABB48"/> and [[Forbidden Planet (bookstore)|Forbidden Planet]] – and film festivals including a poster for [[British Film Institute|BFI Southbank]]'s July/August 2008 Comic-Book Movies series.<ref>[http://www.brianbolland.net/news.html "BFI poster" on "The Art of Brian Bolland" – The Official Website, 22 June 2008] {{webarchive|url=https://web.archive.org/web/20090616091631/http://www.brianbolland.net/news.html |date=16 June 2009 }}. Retrieved 25 February 2009.</ref> His work has appeared on the covers of, and inside, numerous publications over the decades, ranging from [[Comics fanzine|fanzines]] to several covers for London-based magazine ''Time Out'' and other professional, internationally sold magazines.<ref>{{cite book |last=Khoury |first=George |date=2004 |title=True Brit: A Celebration of the Great Comic Book Artists of the UK |url=https://books.google.com/books?id=KkcingcrXfUC&pg=PA49 |location=Raleigh, North Carolina |publisher=TwoMorrows Publishing |pages=49–50 |isbn=1893905330}}</ref>

Bolland has also produced posters for local theatre groups' amateur stage productions, most notably for his local "village [[Pantomime|panto]]" production of ''[[Beauty and the Beast]]'' in 2004.<ref name="ABB274">Bolland & Pruett, "The New Millennium – Beauty and the Beast" in ''The Art of Brian Bolland'', p. 274</ref>

==Personal life==
Bolland married his girlfriend, illustrator and sometime-collaborator Rachel Birkett in 1981.<ref name="ABB179">Bolland & Pruett, "The 1980s – Munden's Bar" in ''The Art of Brian Bolland'', p. 179</ref> She later gave up illustration and became a cook for a vegetarian restaurant,<ref name="ABB219">Bolland & Pruett, "The 1990s – Happy Birthday!" in ''The Art of Brian Bolland'', p. 219</ref> although she has since assisted her husband with his work, acting as colourist, inker, co-artist and ghost. The two have a son.<ref name="ABB145"/>

==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 the [[Society of Strip Illustration]] in 1977.<ref name="ABB81">Bolland & Pruett, "The 1970s – SSI Illustration" in ''The Art of Brian Bolland'', p. 81</ref>

In 1982, he received an [[Inkpot Award]],<ref>[https://www.comic-con.org/awards/inkpot Inkpot Award]</ref> and the following year, he was named "Favourite Artist" in the British section of the [[Eagle Award (comics)|Eagle Awards]].<ref>{{cite web |url=http://www.eagleawards.co.uk/results.asp |title=The Eagle Awards - Results: 1983 |website=Eagle Awards |access-date=16 May 2009 |url-status=dead |archive-url=https://web.archive.org/web/20070529025014/http://www.eagleawards.co.uk/results.asp |archive-date=29 May 2007}}</ref>

In 1989, Moore and Bolland's ''The Killing Joke'' received an [[Eisner Award]] for "Best Graphic Album," while Bolland was named separately as "Best Artist/Penciller/Inker" for the same work.<ref>{{cite web |url=http://www.hahnlibrary.net/comics/awards/eisner89.php |title=1989 Will Eisner Comic Industry Award Nominees |website=Hahn Library Comic Book Awards Almanac |access-date=16 May 2009 |url-status=live |archive-url=https://web.archive.org/web/20090502222727/http://www.hahnlibrary.net/comics/awards/eisner89.php |archive-date=2 May 2009}}</ref> The same year, Bolland won three [[Harvey Award]]s; two in the same categories for the same work – "Best Artist" and "Best Graphic Album" – while the third was also ''The Killing Joke'' which was separately honoured as the winner of the "Best Single Issue" award.<ref>{{cite web |url=http://www.hahnlibrary.net/comics/awards/harvey89.php |title=1989 Harvey Award Nominees and Winners |website=Hahn Library Comic Book Awards Almanac |access-date=16 May 2009 |url-status=live |archive-url=https://web.archive.org/web/20080811234433/http://www.hahnlibrary.net/comics/awards/harvey89.php |archive-date=11 August 2008}}</ref>

In 1992, Bolland won an Eisner Award after being named "Best Cover Artist,"<ref>{{cite web |url=http://www.hahnlibrary.net/comics/awards/eisner92.php |title=1992 Will Eisner Comic Industry Award Nominees and Winners |website=Hahn Library Comic Book Awards Almanac |access-date=16 May 2009 |url-status=live |archive-url=https://web.archive.org/web/20090501131009/http://www.hahnlibrary.net/comics/awards/eisner92.php |archive-date=1 May 2009}}</ref> an honour he received three years in a row (1992–1994),<ref>{{cite web |url=http://www.hahnlibrary.net/comics/awards/eisner93.php |title=1993 Will Eisner Comic Industry Award Nominees and Winners |website=Hahn Library Comic Book Awards Almanac |access-date=16 May 2009 |url-status=live |archive-url=https://web.archive.org/web/20090501131015/http://www.hahnlibrary.net/comics/awards/eisner93.php |archive-date=1 May 2009}}</ref><ref>{{cite web |url=http://www.hahnlibrary.net/comics/awards/eisner94.php |title=1994 Will Eisner Comic Industry Award Nominees and Winners |website=Hahn Library Comic Book Awards Almanac |access-date=16 May 2009 |url-status=live |archive-url=https://web.archive.org/web/20090502184012/http://www.hahnlibrary.net/comics/awards/eisner94.php |archive-date=2 May 2009}}</ref> and twice subsequently (1999, 2001) for various works.<ref>{{cite web |url=http://www.hahnlibrary.net/comics/awards/eisner99.php |title=1999 Will Eisner Comic Industry Award Nominees Winners |website=Hahn Library Comic Book Awards Almanac |access-date=16 May 2009 |url-status=live |archive-url=https://web.archive.org/web/20080524181518/http://www.hahnlibrary.net/comics/awards/eisner99.php |archive-date=24 May 2008}}</ref><ref>{{cite web |url=http://www.hahnlibrary.net/comics/awards/eisner01.php |title=2001 Will Eisner Comic Industry Award Nominees Winners |website=Hahn Library Comic Book Awards Almanac |access-date=16 May 2009 |url-status=live |archive-url=https://web.archive.org/web/20090502222658/http://www.hahnlibrary.net/comics/awards/eisner01.php |archive-date=2 May 2009}}</ref>

In 2007, Bolland added to his Eisner Award wins when ''The Art of Brian Bolland'' won the "Best Comics-Related Book" award.<ref>{{cite web |url=http://www.hahnlibrary.net/comics/awards/eisner07.php |title=2007 Will Eisner Comic Industry Awards |website=Hahn Library Comic Book Awards Almanac |access-date=16 May 2009 |url-status=live |archive-url=https://web.archive.org/web/20090504160411/http://www.hahnlibrary.net/comics/awards/eisner07.php |archive-date=4 May 2009}}</ref>

===Nominations===
The ''[[Camelot 3000]]'' limited series, which he created with [[Mike W. Barr]], was nominated for the 1985 [[Kirby Award]] for Best Finite Series, narrowly losing to [[Marv Wolfman]] and [[George Pérez]]'s ''[[Crisis on Infinite Earths]]''. In 2002, he placed second behind [[Jack Kirby]] for the title of "Best Artist Ever" in the short-lived [[National Comics Awards]].<ref>{{cite web |url=http://www.hahnlibrary.net/comics/awards/national02.php |title=2002 National Comics Awards |website=Hahn Library Comic Book Awards Almanac |access-date=29 March 2016 |url-status=live |archive-url=https://web.archive.org/web/20160329170749/http://www.hahnlibrary.net/comics/awards/national02.php |archive-date=29 March 2016}}</ref>

==Bibliography==
Interior comic work includes:
*''[[2000 AD (comics)|2000 AD]]'' ([[IPC Media]]):
**''[[Dan Dare]]'': "Greenworld, Part 2" (with [[Gerry Finley-Day]] and [[Dave Gibbons]], in No. 35, 1977)
**''[[Judge Dredd]]'':
*** "The Mega-City 5000, Part 2" (with [[John Wagner|John 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" (with [[Pat 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!" (with [[Chris Lowder|Jack 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!" (with [[Garry 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" (with [[John Wagner|T.B Grover]], in #224–228, 1981)
*** "Block Mania, Part 9" (with T.B Grover, in No. 244, 1981)
*** "The Alien Zoo" (with [[John Wagner]], in ''Annual'' '82, 1981)
**''[[Future Shocks|Tharg's Future Shocks]]'': "Solo Flip" (with Jack Adrian, in No. 52, 1978)
**''Walter the Wobot'' (with [[Joe Collins (comics)|Joe 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 Enterprises|Graphic Eye]], 1978)
*''[[Madame Xanadu]]'' #1: "Falling Down to Heaven..." (with [[J.M. DeMatteis]], [[DC Comics]], 1981)
*''[[Mystery in Space]]'' #115: "Certified Safe" (with [[Arnold Drake]], DC Comics, 1981)
*''[[Justice League of America]]'' #200: "A League Divided" (with [[Gerry Conway]], among other artists, 1982)
*''[[Warrior (comics)|Warrior]]'' #3: "Zirk: Silver Sweater of the Spaceways"  (with [[Steve Moore (comics)|Pedro Henry]], [[Quality Communications]], 1982)
*''[[Camelot 3000]]'' #1–12 (with [[Mike W. Barr]], DC Comics, 1982–1985)
*''[[Grimjack]]'' #22: "Mother's Calling" (with [[John Ostrander]], [[First Comics]], 1986)
*''[[Batman (comic book)|Batman]]'' #400: "Resurrection Night!" (with [[Doug Moench]], among other artists, DC Comics, 1986)
*''[[Outrageous Tales from the Old Testament]]'': "Elisha's Miracle" (script and art, anthology [[graphic novel]], [[Knockabout Comics|Knockabout]], 1987)
*''[[Outsiders (comics)|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 Comics|Eclipse]], 1987)
*''[[Powerman (comics)|Power Comics]]'' #1–4 (with [[Don Avenell]], [[Norman Worker]] and Dave Gibbons, Eclipse, 1988)
*''[[Batman: The Killing Joke]]'' (with [[Alan Moore]], graphic novel, DC Comics, 1988)
*''[[AARGH (Artists Against Rampant Government Homophobia)|AARGH!]]'' #1: "A Page from Brian Bolland" (script and art, [[Mad Love (publisher)#Independent period and Mad Love: 1988–1993|Mad Love]], 1988)
*''[[Wonder Woman]] Annual'' #1: "Epilogue" (with [[George Pérez]], DC Comics, 1988)
*''[[A1 (comic)|A1]]'' (script and art, [[Atomeka Press|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" (in ''True Life Bikini Confidential'', 1990)
*''[[Cheval Noir (comics)|Cheval Noir]]'' No. 3, 5–9, 11–12, 15–18 (''Mr. Mamoulian'' strips, script and art, [[Dark Horse Comics|Dark Horse]], 1989–1991)
*''[[Freak Show (Dark Horse)|Freak Show]]'': "Harry the Head" (script and art, anthology graphic novel, Dark Horse, 1992)
*''[[Arzach|Legends of Arzach]]'' #6: "The Fountains of Summer" (with [[Jean-Marc Lofficier]], among other artists, [[Kitchen Sink Press|Kitchen Sink]], 1992)
*''[[Negative Burn]]'' #1–5, 7–14, 16, 18–22, 24–27, 29, 33, 35, 38–39, 42–50 (''Mr. Mamoulian'' strips, script and art, [[Caliber Comics|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 (DC Comics)|Vertigo]], 1999)
*''[[Strange Adventures]]'' #1: "The Kapas" (script and art, Vertigo, 1999)
*''[[Negative Burn]]'' #1–5, 13, ''Summer Special'', ''Winter Special'' (''Mr. Mamoulian'' strips, script and art, [[Desperado Publishing]], 2005–2007)
*''[[1001 Nights of Snowfall|Fables: 1001 Nights of Snowfall]]'': "What You Wish for" (with [[Bill Willingham]], graphic novel, Vertigo, 2006)
*''[[52 (comics)|52]]'' (DC Comics):
** "The Origin of Animal Man" (with [[Mark 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!" (with [[Len Wein]], co-feature, DC Comics, 2011)
*''[[Wasted (Bad Press)|Wasted]]'' #6: "Shit the Dog: Relish That!" (with [[Alan Grant (writer)|Alan Grant]] and John Wagner, [[Bad Press Ltd.|Bad Press]], 2011)
*''[[Spirit (comics)|The Spirit]]'' #17: "Strange Bedfellows" (with [[Howard Chaykin]], DC Comics, 2011)

===Covers only===
*''[[2000 AD (comics)|2000 AD]]'' No. 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)
*''[[Starlord (comics)|Starlord]]'' No. 2, ''Annual'' '81 (IPC Media, 1978–1980)
*''[[Green Lantern (comic book)|Green Lantern]]'' No. 127, 130–131 ([[DC Comics]], 1980)
*''[[Adventure Comics]]'' No. 475 (DC Comics, 1980)
*''[[Justice League of America]]'' No. 189–190 (DC Comics, 1981)
*''[[Tales of the Green Lantern Corps]]'' No. 1–3 (DC Comics, 1981)
*''[[DC Comics Presents]]'' No. 43 (DC Comics, 1982)
*''[[Amazing Heroes]]'' No. 14, 52, 191, 197 ([[Fantagraphics Books]], 1982–1991)
*''[[Judge Dredd]]'' No. 1–10, 15–33 ([[Eagle Comics|Eagle]], 1983–1986)
*''[[The Judge Child|Judge Dredd: The Judge Child Quest]]'' No. 1–5 (Eagle, 1984)
*''[[Axel Pressbutton]]'' No. 1 ([[Eclipse Comics|Eclipse]], 1984)
*''[[2000 AD (comics)|2000 AD Monthly]]'' No. 2, 5 (Eagle, 1985)
*''Judge Dredd's Crime Files'' No. 1–2 (Eagle, 1985)
*''[[Action Comics]]'' No. 571, 609 (DC Comics, 1985–1988)
*''[[Elvira's House of Mystery]]'' No. 1 (DC Comics, 1986)
*''[[Detective Comics]]'' No. 559, ''Annual'' No. 2 (DC Comics, 1986–1989)
*''[[Tales of the Teen Titans]]'' No. 63–65, 77 (DC Comics, 1986–1987)
*''[[Vigilante (comics)|Vigilante]] Annual'' No. 2 (DC Comics, 1986)
*''[[2000 AD (comics)|2000 AD Monthly]]'' vol. 2 No. 1 (Eagle, 1986)
*''Judge Dredd'' No. 34–35 ([[Quality Comics|Quality]], 1986)
*''[[Superman (comic book)|Superman]]'' No. 422, ''Annual'' No. 12 (DC Comics, 1986)
*''[[Howard the Duck]]'' No. 33 ([[Marvel Comics|Marvel]], 1986)
*''[[Secret Origins]]'' No. 7, ''Special'' No. 1 (DC Comics, 1986–1989)
*''[[Espers (comics)|ESPers]]'' No. 3 (Eclipse, 1986)
*''[[Outsiders (comics)|The Outsiders]]'' No. 16 (DC Comics, 1987)
*''Adventures of the Outsiders'' No. 45 (DC Comics, 1987)
*''[[Valkyrie (Eclipse Comics)|Valkyrie]]'' No. 2 (Eclipse, 1987)
*''[[Swamp Thing]]'' No. 151–153, ''Annual'' No. 3 (1987–1995)
*''[[The Comics Journal]]'' No. 122 (Fantagraphics Books, 1988)
*''[[Animal Man (comic book)|Animal Man]]'' No. 1–56 (DC Comics, 1988–1993)
*''[[Legion of Super-Heroes]] Annual'' No. 4 (DC Comics, 1988)
*''Judge Dredd's Crime File'' No. 1–4 (Fleetway, 1989)
*''Secret Origins of the World's Greatest Super-Heroes'' TPB (DC Comics, 1989)
*''[[Joker (comics)|The Greatest Joker Stories Ever Told]]'' TPB (DC Comics, 1989)
*''[[Batman (comic book)|Batman]]'' No. 445–447 (DC Comics, 1990)
*''[[Revolver (Fleetway comics)|Revolver]] Special'' No. 2 (Fleetway, 1990)
*''[[Prince (musician)|Prince: Alter Ego]]'' No. 1 ([[Piranha Press]], 1991)
*''Animal Man'' TPB (DC Comics, 1991)
*''[[Tim Drake|Robin]]'' No. 1–5 (DC Comics, 1991)
*''[[Challengers of the Unknown]]'' No. 1 (DC Comics, 1991)
*''[[Maze Agency]]'' No. 20 ([[Innovation Publishing]], 1991)
*''[[Judge Dredd Megazine]]'' No. 16 (Fleetway, 1992)
*''[[Doom Patrol#Grant Morrison's Doom Patrol (volume 2, part 2)|Doom Patrol: Crawling from the Wreckage]]'' TPB (DC Comics, 1992)
*''[[Wonder Woman]]'' No. 0, 63–92, 94–100 (DC Comics, 1992–1995)
*''[[Congorilla]]'' No. 1–2 (DC Comics, 1992)
*''Animal Man'' No. 57–63, ''Annual'' No. 1 ([[Vertigo (DC Comics)|Vertigo]], 1993)
*''Doom Patrol'' No. 64, 75 (Vertigo, 1993–1994)
*''[[Showcase (comics)|Showcase '93]]'' No. 3 (DC Comics, 1993)
*''[[Judge Dredd Megazine]]'' vol. 2 No. 31 (Fleetway, 1993)
*''[[Batman: Legends of the Dark Knight]]'' No. 50, 119 (DC Comics, 1993–1999)
*''Batman: The Collected Legends of the Dark Knight'' TPB (DC Comics, 1993)
*''[[Kilroy is Here]]'' No. 0 ([[Caliber Comics|Caliber]], 1994)
*''[[Daimon Hellstrom|Hellstorm: Prince of Lies]]'' No. 16 (Marvel, 1994)
*''[[Vamps (comics)|Vamps]]'' No. 1–6 (Vertigo, 1994–1995)
*''[[Deadline (magazine)|Deadline]]'' No. 58 ([[Deadline Publications Ltd.|Deadline]], 1994)
*''[[Atom (Ray Palmer)|The Atom]] Special'' No. 2 (DC Comics, 1995)
*''[[Tank Girl|Tank Girl: The Odyssey]]'' No. 1–4 (Vertigo, 1995)
*''Tank Girl: Apocalypse!'' No. 1–4 (Vertigo, 1995–1996)
*''[[Spectre (comics)|The Spectre]]'' vol. 3 No. 42 (DC Comics, 1996)
*''[[The Batman Chronicles]]'' No. 3 (DC Comics, 1996)
*''[[The Flash (comic book)|The Flash: The Return of Barry Allen]]'' TPB (DC Comics, 1996)
*''[[The Invisibles]] v2'' No. 1–22 (Vertigo, 1997–1999)
*''[[Lobo (DC Comics)|Lobo]]'' No. 37 (DC Comics, 1997)
*''[[Kilroy (comics)|Kilroy: Daemonstorm]]'' No. 1 (Caliber, 1997)
*''[[Predator vs. Judge Dredd]]'' No. 1 ([[Dark Horse Comics|Dark Horse]], 1997)
*''[[Vertigo: Winter's Edge]]'' No. 1 (Vertigo, 1998)
*''[[Corny's Fetish]]'' No. 1 (Dark Horse, 1998)
*''[[Spirit (comics)|The Spirit: The New Adventures]]'' No. 3 ([[Kitchen Sink Press|Kitchen Sink]], 1998)
*''[[Gangland (comics)|Gangland]]'' No. 2 (Vertigo, 1998)
*''Batman Villains: Secret Files and Origins'' No. 1 (DC Comics, 1998)
*''The Invisibles v3'' No. 12-1 (Vertigo, 1999–2000)
*''[[Batman: Shadow of the Bat]]'' No. 87 (DC Comics, 1999)
*''[[Fanboy (comics)|Fanboy]]'' No. 6 (DC Comics, 1999)
*''[[Batman: Gotham Knights]]'' No. 2–11, 14–21, 23–30, 32–40, 42–47 (DC Comics, 2000–2004)
*''[[Superman and Batman: World's Funnest]]'' (DC Comics, 2000)
*''Silver Age'' No. 1 (DC Comics, 2000)
*''The Flash'' No. 164–178, 180–187 (DC Comics, 2000–2002)
*''[[Adventures in the Rifle Brigade]]'' No. 1–3 (Vertigo, 2000)
*''[[Comicology]]'' No. 4 ([[TwoMorrows]], 2001)
*''[[Joker: Last Laugh]]'' No. 1, 6 (DC Comics, 2001–2002)
*''Animal Man: Origin of the Species'' TPB (Vertigo, 2002)
*''[[Zatanna]]: Everyday Magic'' (Vertigo, 2003)
*''[[Blood & Water]]'' No. 1–5 (Vertigo, 2003)
*''Animal Man: Deus Ex Machina'' TPB (Vertigo, 2003)
*''JLA: Zatanna's Search'' TPB (Vertigo, 2004)
*''[[Green Arrow]]'' No. 32 (DC Comics, 2004)
*''Doom Patrol Archives Volume 2'' HC (DC Comics, 2004)
*''[[Back Issue!]]'' No. 3 (TwoMorrows, 2004)
*''[[Catwoman|Catwoman: Nine Lives of the Feline Fatale]]'' TPB (DC Comics, 2004)
*''Doom Patrol: The Painting That Ate Paris'' TPB (Vertigo, 2004)
*''[[DC Comics Presents#Julius Schwartz Tribute|DC Comics Presents: Green Lantern]]'' No. 1 (DC Comics, 2004)
*''DC Comics Presents: The Atom'' No. 1 (DC Comics, 2004)
*''[[Desperado Publishing|Desperado Primer]]'' No. 1 ([[Desperado Publishing]], 2005)
*''[[The Escapist (character)|Michael Chabon Presents: The Amazing Adventures of the Escapist]]'' No. 7–8 (Dark Horse, 2005)
*''[[DC Universe|DC's Greatest Imaginary Stories]]'' TPB (DC Comics, 2005)
*''Doom Patrol: Down Paradise Way'' TPB (Vertigo, 2005)
*''[[Rann-Thanagar War]]'' TPB (DC Comics, 2005)
*''[[Steel Claw]]: The Vanishing Man'' HC ([[Titan Books|Titan]], 2005)
*''[[DC Universe: The Stories of Alan Moore]]'' TPB (DC Comics, 2006)
*''Doom Patrol Archives Volume 3'' HC (DC Comics, 2006)
*''[[Aquaman]]'' No. 39 (DC Comics, 2006)
*''[[Jonah Hex]]'' No. 6 (DC Comics, 2006)
*''Doom Patrol: Musclebound'' TPB (Vertigo, 2006)
*''[[Justice Society of America|Justice Society Volume 1]]'' TPB (DC Comics, 2006)
*''[[Elephantmen]]'' No. 3 ([[Comicraft]], 2006)
*''[[Huntress (DC Comics)|Huntress: Darknight Daughter]]'' TPB (DC Comics, 2006)
*''Doom Patrol: Magic Bus'' TPB (Vertigo, 2007)
*''[[Justice Society of America|Justice Society Volume 2]]'' TPB (DC Comics, 2007)
*''[[Harlan Ellison|Harlan Ellison's Dream Corridor]]'' TPB (Dark Horse, 2007)
*''[[Detective Chimp|The Helmet of Fate: Detective Chimp]]'' No. 1 (DC Comics, 2007)
*''[[Jimmy Olsen|Amazing Transformations of Jimmy Olsen]]'' TPB (DC Comics, 2007)
*''[[Deathblow (comics)|Deathblow]]'' No. 4 ([[Wildstorm]], 2007)
*''[[Jack of Fables]]'' No. 12–20, 22–50 (Vertigo, 2007–2011)
*''Doom Patrol: Planet Love'' TPB (Vertigo, 2008)
*''[[Jeff Hawke|Jeff Hawke: Overlord]]'' HC (Titan, 2008)
*''[[Femme Noir: The Dark City Diaries]]'' No. 1 ([[Ape Entertainment]], 2008)
*''[[Jeff Hawke|Jeff Hawke: Ambassadors]]'' HC (Titan, 2008)
*''[[The War That Time Forgot]]'' No. 2 (DC Comics, 2008)
*''[[Spirit (comics)|The Spirit]]'' No. 26–28 (DC Comics, 2009)
*''[[Superman: Whatever Happened to the Man of Tomorrow?]]'' HC (DC comics, 2009)
*''Last Days of Animal Man'' No. 1–6 (DC Comics, 2009)
*''[[Green Lantern Corps]]'' No. 45 (DC Comics, 2010)
*''[[Batman and Robin (comic book)|DC's Greatest Imaginary Stories: Batman and Robin]]'' TPB (DC Comics, 2010)
*''Zatanna'' No. 1–6 (DC Comics, 2010)
*''[[Star-Spangled War Stories]]'' No. 1 (DC Comics, 2010)
*''[[Dial H]]'' No. 1-15, 0 (DC Comics, 2012-2013)

== References ==
{{reflist|30em}}

== Further reading ==
* Salisbury, Mark, "Brian Bolland" in ''Artists on Comic Art'' ([[Titan Books]], 2000) {{ISBN|1-84023-186-6}}, pp.&nbsp;10–29

==External links==
{{commons category}}
* {{gcdb|type=credit|search=Brian+Bolland}}
* {{comicbookdb|type=creator|id=173}}
* [http://www.2000ad.org?zone=droid&page=profiles&choice=brianb Brian Bolland] at Barney <!-- 2000 AD Online's old database moved to its own site -->
* [http://www.lambiek.net/artists/b/bolland_brian.htm Brian Bolland] at the [[Lambiek|Lambiek Comiclopedia]]
* [http://www.mikesamazingworld.com/mikes/features/creator.php?creatorid=105 Brian Bolland] at Mike's Amazing World of Comics
* {{IMDb name|id=2082787|name=Brian Bolland}}
{{Eisner Award for Best Cover Artist}}
{{Inkpot Award 1980s}}
{{Underground comix cartoonists|state=collapsed}}
{{Authority control}}

{{DEFAULTSORT:Bolland, Brian}}
[[Category:1951 births]]
[[Category:Alumni of Norwich University of the Arts]]
[[Category:Alumni of the Central School of Art and Design]]
[[Category:Eisner Award winners for Best Cover Artist]]
[[Category:Eisner Award winners for Best Penciller/Inker or Penciller/Inker Team]]
[[Category:English comics artists]]
[[Category:Harvey Award winners for Best Artist or Penciller]]
[[Category:Inkpot Award winners]]
[[Category:Living people]]
[[Category:People educated at Boston Grammar School]]
[[Category:People from the Borough of Boston]]
[[Category:Role-playing game artists]]
[[Category:Underground cartoonists]]