As the Academy Award-nominated co-production designer for Avatar: The Way of Water, Dylan oversees the design of the entire Avatar franchise, including the moon of Pandora, its environments, creatures, characters, and cultures. His extensive portfolio also includes serving as Senior Matte Painter for The Lord of the Rings: Return of the King, Concept Art Director on Avatar, and Production Designer for Maleficent.
However, beyond his technical mastery, his approach to art and storytelling is grounded in a philosophy that prioritises creative authenticity, intentionality, and adaptability in an ever-evolving industry.
Dylan Cole grew up in the 80s, a time when Star Wars profoundly impacted many aspiring artists, and for Dylan, it was no different. The films ignited his passion for escapism and the exploration of fantastical worlds. “It was the idea of going to other worlds, experiencing escapism, and the wonder of places I wished existed,” he reflects.
During high school, his passion evolved into a realistic career path when The Art of Star Wars books were reissued alongside the special edition releases in the mid-’90s. “That was the first time I really got to see the original matte paintings and concept art,” he recalls. “It blew me away. I thought, Okay, that’s what I want to do.” This early fascination with creating immersive environments has driven his career, particularly in the realm of large-scale sci-fi and fantasy films. For Dylan, it’s always been about world-building, bringing to life expansive worlds that transport audiences to other realms.
Breaking into the industry wasn’t without its setbacks, but Dylan never doubted his ability to succeed. “I never thought about quitting,” he says. “It wasn’t arrogance, just realism. If other people could do it, so could I.”
This confidence wasn’t blind optimism; it was grounded in self-awareness. Dylan constantly evaluated his strengths and weaknesses, refining his skills to match the level of professionals he admired. “I tell students all the time, ‘You’re not competing against your classmates. You’re competing against professionals. So aim high.’
In the early stages of his career, Dylan admits that he was primarily focused on creating impressive paintings. However, over time, he realised that great design goes beyond aesthetics; it’s about meaning, storytelling, and function. “You have to think about the why and the how of design, not just make something look cool,” he explains. “It takes just as much effort to illustrate a bad idea as it does a good one. So why not put in the time to build something meaningful?”
“It’s not just about making an image that looks impressive—it’s about crafting something that serves the story.”
This perspective was shaped by working with visionary directors like James Cameron, who challenged his team to think more deeply about the worlds they were creating. “It’s not just about making an image that looks impressive—it’s about crafting something that serves the story.”
As Dylan transitioned from an illustrator and matte painter to a concept artist and production designer, his entire approach to design shifted. “I used to think of myself as someone who just made pretty pictures,” he recalls. “But stepping into concept art and production design forced me to think things through as a designer. You have to lay a solid foundation. Understanding why a design exists, how it functions, and how it enhances the narrative—this is what separates great work from something forgettable.”
As the entertainment industry continues to evolve, so does the artist’s role. Dylan Cole reflects on how the rapid advancement of technology has shifted the expectations and demands placed on concept artists. The ability to render something realistically is no longer enough in this new landscape. Instead, it’s about harnessing creativity and taste and making intentional artistic choices that resonate deeply with audiences.
“It’s not just about making something visually impressive; it’s about making something that resonates, something that lasts.”
For Dylan, adaptation is not just about keeping up with new tools—it’s about refining his role as a storyteller. “It’s not just about making something visually impressive; it’s about making something that resonates, something that lasts.”
With a landscape that is ever changing with technology he believes that concept artists and creatives will need to shift their focus. “It’s going back to the idea of creating something that is more than just visually impressive. if everything is available to you, then the real question becomes, what choices are you making? It’ll be less about raw creation and more about restraint, about the path you choose. The best artists will be the ones who can filter through the noise and make something personal.”
For artists striving to carve out their own unique identity, the key lies in authenticity rather than simply imitating those who inspire them.
“It’s easy to get caught up in trying to prove yourself by cramming every skill into one painting,” he says. “But true artistic growth comes from learning restraint, from understanding how to distill your ideas into something uniquely yours.”
He sees this as a critical skill in an era where technology has made image creation more accessible than ever. “With all these tools at our disposal, the real question becomes—what makes your work distinct? What’s your signature?”
Dylan recalls struggling with this himself early in his career. “I used to be self-conscious about being a geek,” he admits. “I got into this because of Star Wars and the love of creating worlds, and for a while, I felt like I had to downplay that. But eventually, I embraced it—this is me, I’m a professional geek, and I love what I do.”
“People can sniff out authenticity. They can tell when you’re passionate about something. So don’t be afraid to own it.”
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