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Brian Bolland (born 1951)〔Salisbury, Mark, ''Artists on Comic Art'' (Titan Books, 2000) ISBN 1-84023-186-6, p. 11〕 is a British comics artist. Best known in the UK as one of the definitive Judge Dredd artists for British comics anthology ''2000 AD'', he spearheaded the 'British Invasion' of the American comics industry, and in 1982 produced the artwork on ''Camelot 3000'' (with author Mike W. Barr), which was DC's first 12-issue comicbook maxiseries〔Salisbury, p. 17〕 created for the direct market.〔Salisbury, p. 10〕 His rare forays into interior art also include ''Batman: The Killing Joke'', with UK-based writer Alan Moore, and a self-penned ''Batman: Black and White'' story. Bolland remains in high demand as a cover artist, producing the vast majority of his work for DC Comics. ==Early life== Brian Bolland was born on 26 March 1951 in Butterwick, Lincolnshire〔 to parents Albert "A.J." John, a fenland farmer, and Lillie Bolland.〔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〕 He spent his "first 18 years" living "in a small village near Boston in the fens of Lincolnshire, England," but has "no memory of comics" much before the age of ten.〔 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."〔Bolland, "The 1960's – Insect League" in ''The Art of Brian Bolland'', pp. 22–23〕 He recalls that "()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."〔 This adolescent criteria led from ''Dinosaurus!'' and ''Turok'' via ''House of Mystery'' to "Batman and Robin () were () being harassed by big weird things, as were Superman, Aquaman, Wonder Woman ()."〔 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 "bookcase I'd made in school woodwork especially."〔 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."〔 He would later cite Kane and Alex Toth as "pinnacle() of excellence,"〔 alongside "Curt Swan, Murphy Anderson, Sid Greene, Joe Kubert, Ross Andru, Mike Esposito, Nick Cardy and the under-rated Bruno Premiani," whose influences showed in his "early crude stabs at drawing comics."〔 The young Bolland did not rate Marvel Comics as highly as DC, feeling the covers cluttered and the paper quality crude.〔 His appreciation of the artwork of Jack Kirby, he says, only materialised much later "through the eyes of a seasoned professional."〔 He did however enjoy UK comics, including newspaper strips such as "Syd Jordan's ''Jeff Hawke'' () David Wright's ''Carol Day'',〔Bolland, "Influences – Carol Day by David Wright" in ''The Art of Brian Bolland'', p. 17〕 " and ''Valiant'' which featured "Eric Bradbury's ''Mytek the Mighty'' and Jesus Blasco's ''Steel Claw''〔Bolland, "Influences – The Steel Claw by Jesus Blasco" in ''The Art of Brian Bolland'', p. 19〕 "〔 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, who "evidently said all the right things to me."〔 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''.〔 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.〔 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."〔〔 He would later recall: 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Brian Bolland」の詳細全文を読む スポンサード リンク
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