Fortnite Front End

This is something of a mini art dump, covering many of my contributions for Fortnite's Front End: Seasons 12 through 14. Generally, my duties included Environment Art, Lighting, Composition/Previs, various prop art source creation, and collaboration with UI and gameplay to accomodate the myriad evolutions throughout seasons that Fortnite is known for. Copious credit goes to Paul Mader for his Environment Tech Art magic, Patrick Murphy for his exacting and inclusive style of Art Direction, and the Environment team for their fantastic work, without which these screens would have been impossible. Thanks as well to the UI, Animation and VFX teams for their deft, professional execution, and for their agility throughout the seasons.

Each season's Front End involved varying levels of cinematic work which I was also involved in. Most of this work was Environment and Lighting.

Paul Mader and I acted as co-lighters for many scenes. Massive thanks go to him for his advice, effecitveness, and optimization methods across the plethora of platforms that Fortnite runs on.

Credit goes to Paul Mader for all lighting work on Season 14's Front End screen.

Skye's Season 12 character-centric Front End room.

Doomsday Device room. The device (in it's initial 'off' state), was created by Tobias Koepp. I designed, built and lit this room, an area that had a lot of cinematic and other purposes throughout the season.

Season 14's Front End: The Avengers Helicarrier interior. Thanks to Leo Huang for his excellent supporting Environment work.

Season 13's Front End. Massive thanks to the Epic Montreal team for their hard work on this lookset, and for Gil Rimmer's Art Direction support here.

Season 12's Front End room for Midas. The Doomsday Device would change states over the season, eventually triggering the flood that would usher in Season 13.

For 12, rooms were setup to work with the over arching faction choice, a branching progression path available to players for this season.

Lots of credit to Nate Bowden and Andy Carroll, both of which did an excellent job guiding and managing all the supporting outsource art and concept art work.