Step back into the late ’90s and join us in rediscovering a long-lost interview with the Brothers Hildebrandt - two titans of fantasy art whose vivid calendars, book covers, and movie posters defined the imaginations of generations.
In this rare piece from Realms of Fantasy magazine (1999), Greg and Tim share their journey from crayons in Detroit to painting Tolkien’s Middle-earth, shaping the look of Star Wars, and even tackling Superman. This is a time capsule worth revisiting - full of creative passion, humor, and wisdom from the twins who never stopped playing.
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This Week’s Rediscovered Realms Theme Song:
"Dreamers of the Realm" flows like paint across canvas — a mystical ballad carried by flute and gentle strings. With a Celtic lilt and drifting reverence, this song celebrates the Brothers Hildebrandt, whose visions of light and legend still echo through the realms of fantasy. From Middle-earth to galaxies afar, their brush brought light and legend to life. This song celebrates their vision, a timeless tribute to two artists whose colors still shine across the realms of fantasy.
(Let me know in the comments if you have issues listening to both versions. I noticed last week that if I used the Substack app, it repeated the same version twice!)
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A Visit With The Brothers Hildebrandt
Karen Haber had the privilege of speaking with Tim & Greg back in 1999. From Realms of Fantasy Magazine, here is their fantastic tale . . .
A long time ago in a galaxy named Detroit, identical twin sons were born—in 1939—to George and Germaine Hildebrandt. By age two, Tim and Greg were already crayon connoisseurs. Greg says that the red ones tasted best but Tim liked the blue ones better. When they weren’t eating their tools they were using them to trace the great comic strips and books of the era. One day, Mama Hildebrandt said, “Enough. Stop tracing. Start drawing.”
Aided and abetted by their parents, the boys gobbled up art, Fantasy, and music. They read their way from Pellucidar to Mars, and fell in love with animation and puppetry. In high school, the Hildebrandt twins made 8mm Science Fiction films, constructing the models and making all the storyboards.
By the time they were 19, Tim and Greg had completed a stint in the army, attended Meinzinger School of Art in Detroit, and were employed—in animation—by Jam Handy Studios, a major film-production company.
Over the next few years they moved from their native Detroit to the East Coast, worked as filmmakers and children’s book illustrators, did advertising art, and each got married.
In 1975 they were swept up in Hobbit fever when they saw the J.R.R. Tolkien Calendar, submitted samples of their work to Ballantine Books, and got a contract for the next calendar. Not only did their style lend itself perfectly to the subject, but their ability to work in shifts made them a powerhouse artistic team able to leap tight deadlines in a single bound.
The late Judy Lynn Del Rey dubbed them the “Brothers Hildebrandt,” their Tolkien calendars sold out, and fans of fantastic art took notice of the dynamic Hildebrandt duo. They began to illustrate the covers of Fantasy novels that were written in the Tolkien vein, and this led to their interest in creating their own Tolkienesque saga, Urshurak, co- written with their friend Jerry Nichols.
Then came Star Wars. Or, rather, the Star Wars poster. The rest is movie/publishing/comic book/advertising art history. From the day that the art for the first Star Wars movie poster left their studio they have been an inextricable part of the Star Wars universe.
Regardless of the subject matter, the Hildebrandts are celebrated for their joyous use of color, light, and composition. They work long hours—often seven days a week—in the same studio, often working on the same painting. Each brother takes a corner and they meet in the middle. There’s always music playing in the background: jazz, rock, or classical, depending upon which brother gets to the radio dial first.
Among the many honors they’ve received are the Gold Medal from the Society of Illustrators, numerous illustration awards, both together and individually, and accolades from an army of fans. Their work has appeared in many formats: cover art, internal illustration, advertising, calendars, games, plates, cards, posters, movie preproduction drawings, and so forth. The twins keep a busy schedule of public appearances, and their work is carried in many galleries including Every Picture Tells a Story in Birmingham, Michigan. Recently they created a Web site, www.spiderwebart.com, which not only features their own work but that of other artists as well.
Among their most recent projects are Superman and the Last Goddess of Krypton for DC Comics, Star Wars: Episode One—Great Flap Book, for Random House, and the Emerald Seven comic strip series for Frank Frazetta’s Fantasy Illustrated magazine.
Genial, lively, enthusiastic, good natured, Tim and Greg sound like two big kids—and they say that they feel like it. And, of course,they sound exactly the same. As we spoke, they were hard at work in their shared studio, finishing the sketches for a Superman graphic novel for DC Comics.
ROF: Obviously you work well together. But how do you handle artistic differences?
TIM: We don’t differ artistically. But we are individuals and have individual differences.
ROF: What are the challenges of painting an icon like Superman?
GREG: We feel total responsibility and awe—you come to it with a sense of all the history behind it. Our earliest recollections of reading comics were when our grandfather used to read the Sunday funnies to us: Prince Valiant—and, of course, Superman.
TIM: We used to copy comics, used to copy comic book comics. I think it’s a good way for kids to get started in illustration.
GREG: One of our first recollections is of drawing Superman—busting out of chains.
ROF: How do you feel when fans come up to you? Or when you realize that other artists are using your work as a benchmark?
GREG: I still feel like a kid on the east side of Detroit—trying to figure it out every day. Whatever’s in front of me, it’s not good enough, it’s not right yet.
TIM: We’re still in awe of the people we grew up with. N.C. Wyeth, Hal Foster, Howard Pyle—we’re comparing ourselves with them. So when people come up to us and tell us they’re our fans, it’s kind of amazing.
GREG: You’ve got to be in the moment. We don’t dwell on the achievements—we’re interested in what’s happening right now.
TIM: Besides, I always look at what I could have done better.
GREG: Yeah. You have to be your own worst critic in order to be a successful illustrator.
ROF: How did you decide on the right look for Superman?
GREG: We went to a gym and found models. A neighbor posed for Lex Luthor after I saw his bald head shining in the sunlight and called, “Hey, Lex!” And, of course, there’s the influence of those great Max Fleischer drawings.
TIM: Nobody said, “You have to make it look a certain way.” So we were free to bring our own interpretation to the thing. There’s a sense that you’re making it yours.
GREG: I’ve been waiting to do this all my life.
TIM: It’s funny with us and comics. Some artists get into comics early and then get into painting later. We’re just the opposite. Now, finally, we’re working on comics.
ROF: What’s next after Superman?
GREG: Batman, and then Wonder Woman. Those were the big three in our childhood.
ROF: What can you tell us about The Emerald Seven?
TIM: We were asked to work on an ongoing story for Frank Frazetta’s Fantasy Illustrated magazine. So we sort of crossed Captain Blood with The Fifth Element.
GREG: We got my son, Greg, Jr., who’s a writer, involved, helping us to spitball the plot. We’d already designed characters and a world, but we had to decide what we were going to do with it all, and fast. We were in a mad rush to finish the first 10 pages and then had to make up the next 10 pages and make sure that they justified the previous 10. And so on. It was kind of like the old serials: making it up as we went along. It came to 48 pages, all told. We’re thinking about publishing it as a collection.
ROF: You’ve got quite a few book projects in the works, haven’t you?
TIM: We’re all over the place. We don’t like to be pigeonholed. But among the book projects we’ve got percolating are how-to books on art technique, Tolkien artwork, and a general retrospective.
ROF: And what about Star Wars?
TIM: We were invited out to Skywalker Ranch and saw a presentation on the unfinished movie, rough footage, models, and 10 minutes of composite footage. Incredible.
GREG: This movie is going to knock your socks off. They’ve got unbelievable special- effects technology, and they make the entire thing look like a different era from the other movies. It’s amazing.
ROF: How did you get involved with Star Wars originally?
GREG: We got a last-minute call from the John & Murray advertising agency—George Lucas didn’t like the original posters that had . . .
. . . been done for Star Wars—and we were given a few photos of Darth Vader and Luke and Princess Leia.
TIM: We literally did it overnight, in shifts, taking turns sleeping and painting. When we walked in with it the next day they didn’t believe it.
ROF: Were you asked to make any changes?
GREG: We were asked to put a slit in Princess Leia’s skirt to make it look more pulpy.
TIM: We were the ones who suggested that the robots be included in the poster.
GREG: Of course, nobody knew how big Star Wars was going to be.
TIM: We got swept up into the tidal wave—it was a wild ride.
GREG: We had just done the Tolkien calendar, and Star Wars came after that, and it was like, wow!
TIM: When the fan letters started coming in with the Tolkien calendar, we were floored. We never expected anything like that. We’d never had that experience before.
GREG: We’re eternally grateful to the fans. Neither one of us would be where he is, doing what he’s doing, without them.
TIM: What’s terrific is to see the gamut of fans: anywhere from four years old to 90. Imagination cuts across all boundary lines.
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ROF: Back in the ’eighties you two separated for a while. How did you come apart, and how did you get back together?
TIM: We just wanted to see how we functioned as individuals. And then it was time to get back together.
GREG: Well, Tim was behind on a project—
TIM: Actually, it was Greg. He was working on two fairy-tale books, and I visited him—
GREG: —and I was pulling out my hair because the damned things were due in three days. So I asked Tim for help—
TIM: —and I said “Sure,” and rolled up my sleeves. And then, ironically, I was in the same boat and Greg pitched in. So then we said, “I guess we’re working together again.”
ROF: Considering all that you’ve accomplished, what are your future goals?
GREG: Animation.
TIM: Feature animation—both digital and hand drawn. After all, animation is where we started.
GREG: We loved A Bug’s Life, and Toy Story. Incredible. Of course, I don’t even know how to turn on a computer.
ROF: What’s your artistic philosophy?
GREG: You want to make sure that what you’re doing is clear and understood. To me, the audience is the other half of the damn picture. I want them to be knocked out by what we do.
TIM: We’re into very direct communication. That’s probably why I stayed away from abstract art although I have nothing against it. But I don’t want the audience to have to interpret.
ROF: Any advice for young artists?
BOTH: Learn the computer.
GREG: Don’t give up. Don’t give in to your internal critic. Accept that you have it and use it to push yourself. Keep moving ahead. Little by little you’ll gather the information.
TIM: People say you’re born with the talent. I don’t know about that. What I think is that you’re born with a determination, a drive that compels you to do this thing.
GREG: You’ve got to be kind of crazy. Really, you’ve got to be kind of nuts to stay in one room with a pencil in your hand and just work away all day, alone.
TIM: Or with your brother.
GREG: Just don’t stop playing. Ever.
ROF: Any final words of wisdom?
BOTH: Don’t eat your tools.
The Hildebrandts remind us that imagination is both play and discipline - an endless cycle of wonder, hard work, and joy. Whether they were painting Hobbits, Jedi, or superheroes, they poured themselves into every canvas, leaving behind a legacy that still inspires us today.
Until next time, Adventurer, may your own creative fire keep the realms of fantasy alive. (Oh, and as they put it best: “Don’t eat your tools.”)
Which Hildebrandt work left the biggest impression on you - Tolkien, Star Wars, Shannara, Heavy Metal Magazine, comics, or something else?
Do you remember first discovering their art in a book, a magazine, a calendar, or maybe a poster?
If you could have commissioned the Brothers Hildebrandt to paint any fantasy scene, what would it be?
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Dreamers of the Realm [Verse 1] Two brothers set their sails in time, With canvas stretched and stars aligned. Through colors bold, through shadow’s gleam, They painted worlds, they shaped the dream. [Chorus] Dreamers of the Realm, your visions still remain, Brush and light, through day and night, the magic calls our name. Dreamers of the Realm, your legends never fade, Through every hue, the realms you drew, still shine in what you made. [Verse 2] From Middle-earth to distant skies, Your lanterns gleamed in weary eyes. The tales of kings, of elves, of fate, Were captured true with strokes of grace. [Chorus] Dreamers of the Realm, your visions still remain, Brush and light, through day and night, the magic calls our name. Dreamers of the Realm, your legends never fade, Through every hue, the realms you drew, still shine in what you made. [Bridge] By candle glow, by morning sun, Two voices joined, two hands as one. A legacy the ages keep, In painted halls where dreamers sleep. [Chorus – softer, then swelling] Dreamers of the Realm, your visions still remain, Brush and light, through day and night, the magic calls our name. [Outro – gentle, fading] Dreamers of the Realm… Forever shall you reign…
