Brian Bolland and Glenn Fabry have also produced a large number of iconic covers for the Vertigo line, Fabry probably being best known for his work on one title: Garth Ennis and Steve Dillon's Preacher ( and the spin-off miniseries ).

Bolland, one of the very earliest British creators whose work was brought to America, drew the first 63 covers for Animal Man, mostly for DC, but also the first 6 Vertigo issues before handing over to a succession of other artists.

Bolland also drew the cover for Vertigo's first Doom Patrol issue and for the entire second and third volumes of Morrison's Invisibles ( 1997 – 2000 ) ( and in addition provided artwork for the TPB collections of Morrison's Doom Patrol run, and all volumes of The Invisibles ).

Bolland also wrote and illustrated stories for the anthology titles Heartthrobs and Strange Adventures ( 1999 ) and OGN 1001 Nights of Snowfall, as well as providing a cover each for the Gangland and Winter's Edge anthologies.

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 ) and Judge Anderson.

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 ), paperback book ( including the UK Titan editions of George R. R. Martin's Wild Cards anthologies ) and magazine covers ( including Time Out and a every major comics publication ).

As well as the DTWAGE adverts, Bolland also contributed ( alongside most of his peers ) artwork to advertise, and / or feature in programme booklets for the UK Comicon, starting c. 1976.

This atmosphere allowed Bolland not only the time to produce his best work, but also " to do lots of other pieces of work in and around it.

In 1996, in accordance with his hopes to only draw interior work written by him also, 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.

" Having fully embraced the technology, Bolland has also produced a number of lessons / tutorials on his Official Website demonstrating his complex techniques.

# " In the Army Now " – 4: 31 ( original by Bolland, also covered by Status Quo )

Bolland is also a prolific remixer with a long résumé, including work with Orbital, Depeche Mode, Moby, The Prodigy and Tori Amos.

" Bolland contributed artwork to such popular and seminal Judge Dredd story-arcs as " Luna Period ," " The Cursed Earth ," " The Day the Law Died ," " The Judge Child Quest " and " Block Mania.

In 1986, Bolland was one of several artists who contributed pages to the anniversary issue Batman # 400 ( Oct, 1986 ), his offering featuring villains Ra's Al Ghul and Catwoman.

Bolland has contributed covers — in many cases to complete runs / arcs — to some of the more famous landmark comics of recent years, with his photo-realistic work leaving an indelible impression on the titles for which he works, as the primary external reference image.

Along with Brian Bolland and Mike McMahon he contributed to two of the character's most popular epic-length stories, " The Day the Law Died " and " The Judge Child ".

Bolland remains in high demand a cover artist, producing the vast majority of his work for DC Comics.

When American comics began to be imported into England, c. 1959, Bolland says that it " took a little while for me to discover them ," but by 1960 he was intrigued by Dell Comics ' Dinosaurus !, which fed into a childhood interest in dinosaurs of all shapes and sizes.

Comics including Turok, Son of Stone and DC's Tomahawk soon followed, and it was this burgeoning comics collection that would help inspire the young Bolland to draw his own comics around the age of ten with ideas such as " Insect League.

" The young Bolland did not rate Marvel Comics as highly as DC, feeling the covers cluttered and the paper quality crude.

* Power Comics # 1-4 ( a, with Don Avenell, Norman Worker and Brian Bolland, Eclipse, 1988 )

During 1842, Taylor, together with his Cambridge friends Frederick Ponsonby ( Earl of Bessborough ), Charles G. Taylor and William Bolland, formed the Old Stagers, which is recognised as the oldest amateur drama society still performing.

While at art school, Bolland drew and self-published a couple of fanzines and his work was published in British underground magazines Friendz, International Times and OZ.

** “ Judge Death ,” written by John Wagner, art by Brian Bolland, in 2000 AD # 149 – 151 ( 1980 )

** “ Judge Death Lives ,” written by John Wagner and Alan Grant, art by Brian Bolland, in 2000 AD # 224 – 228 ( 1981 )

It featured stories written by Brian Azzarello, Brian Bolland, Dave Gibbons, Bruce Jones, Joe R. Lansdale, John Ney Rieber, Robert Rodi, Doselle Young and Mark Schultz.

The song was written by Falco and Dutch music producers Bolland & Bolland.

Category: Songs written by Bolland & Bolland

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.

Bolland recalls that he and DC " talked quite a bit about how long it would take me to do the series ," and because the series was inked by a third party ( initially by Bruce Patterson, then by Terry Austin ), he started off " churning the pages out with great enthusiasm.

" As the series continued, however, Bolland became increasingly meticulous, " trying to make the pages look better and better " not least because he " wanted the final parts of the story to amazing.

Having taken both O-Level and A-Level examinations in art, Bolland spent five years at art school ( starting in 1969 ) learning graphic design and Art history.

Underestimating the magnitude of the undertaking, Bolland initially thought he could finish the work on his own, but after a few years he had to admit that the undertaking was beyond his individual strength.

As early as 1962, aged 11, Bolland remembers thinking that " Carmine Infantino's work on the Flash and Gil Kane's on Green Lantern and the Atom had a sophistication about it that I hadn't seen.

Growing up as " and only child in a house without culture ," ( Bolland says that his " mother and father had no use for art, literature or music "), he embraced the late 1960s pop culture explosion of " pirate radio stations, music ( particularly Frank Zappa ...), drug taking, psychedelia, " peace and love ," " dropping out ," the underground scene, Oz Magazine ," and other aspects of hippy culture epitomised by underground comix such as Robert Crumb's Zap Comix.

Learning to draw comics, however, was " more a self-taught thing ," with Bolland eventually writing a 15, 000 word dissertation in 1973 on Neal Adams-an " artist teachers had never heard of.

), and Bolland recalls that " soon Dave had drawn his entire story and I had produced just a few pages.

" With comics purportedly being new to Nigeria, Bolland recalls this work being created specifically to be " really simple ; six panels on a page and the panels had to be numbered.

" 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.

" Bolland feels that " after my cover # 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.

" With these ideas kicking around in his head, and when " it became clear that 3000 had sold reasonably well ," DC editor Dick Giordano then asked Bolland what project he wanted to work on next.

Both Moore and Bolland are well-known for their meticulous and time-consuming work-both creators ' then-recently-finished 12-issue maxiseries titles had seen delays-and Bolland made it clear that he " wanted to do the best possible job ," even though it wasn't perhaps " quite what I'd hoped to draw.

" He was, however, quite hurt when Moore confessed that " to him, it was just another Bat comic "-for Bolland " it was this grand thing I had been building up to ... it to be really special.

Rosweyde had proposed to publish only the original texts, without commentaries or annotations, but Bolland decided to give all the information he could find for each saint and his cult, to preface each text with a study of its author and its historical value, and to append notes of explanation.

Shortly after arriving in Antwerp, Bolland had already succeeded in putting in good order the documents relating to the saints of January, and had found a publisher, Jan van Meurs.