Maya, Max, Photoshop, Substance Designer
I'm an industry veteran with over 20 years of experience on 13 platforms starting in 1992 on the Super Nintendo as a pixel artist. Over the years there have been many other game systems, positions and companies all giving me a breadth
of experience to draw from.
I love working with teams to get them back in balance. I enjoy studying a pipeline and the people who write, maintain and use it. But what I really like is to find the right solution for each project, for their unique situation and
then work out strategies for change.
I consider myself an expert at improving art production pipelines while maintaining a high standard of visual and technical quality with minimal risk to schedules. Thats mostly because I've had success doing just that. All share the
same core solution of making the art easier to manage and easier to produce. The results have been projects that were behind schedule, lost key staff leaving them unlikely to meet targets or even at risk for being cancelled instead
were turned around.
During my career I have seen four console shifts, starting with the big change to 3D in the early 90s on the 3DO. We didn't have UV mapping in those days nor did we have experience with the complex art pipelines required to make a
game like that. For that project, we developed on Macs and SGI machines.
Each of these changes has given me opportunities to observe different teams and companies deal with the change. I developed a set of guiding principals that serve a company in between transitions work just as well for one that is in
I've worked on a wide range of titles which gives me a wide exposure to the unique challenges faced by each genre and different game engines.
I observed and documented the pipelines and production success and problems of the games we developed. Over 20 years I've accumulated a lot of theories and ideas about game production, specifically how art affects the ability for a
company to be flexible and stable.
I have also observed the effect of a company's unique culture on planning and production. Each companies values is most truly seen inside its pipelines and workflows. Its like a historical record of the realities faced by the project
over time. Its in there I can find all kinds of information.
"Sheila is: Highly Experienced, Highly Motivated, Highly Capable, Highly Professional, Slightly Mad."
"She has an uncanny sense of how to get things done on time by foreseeing problems far in advance of normal people."
"Although her time on my team was brief, her strong ideas formed the philosophical foundation for art pipelines at Relic long after her departure."
"Sheila constantly not only helped the individual game teams but sought solutions on a company and corporate level, looking to boost efficiency of the pipelines and quality of the art assets."
"Aside from producing quality work herself, her guidelines enabled the entire level art team to produce quality art on an extremely short and demanding schedule"
"Sheila has such depth in video game production. She'll find the gaps and create the solutions that are practical for both artists and programmers"
NBA Live 18
NBA Live 16
Madden NFL 25
MADDEN NFL 13
Dragon Age: Inquisition
Dragon Age II: Legacy
Dragon Age: Origins
Warhammer 40,000: Dawn of War II
Need for Speed: UNDERGROUND
Need for Speed: Hot Pursuit 2
Need for Speed: Porsche Unleashed
Need for Speed: High Stakes
Beetle Adventure Racing!
NBA Live 98
Need for Speed II
NBA Live 97
NBA Live 96
The Need for Speed: Special Edition
NBA Live 95
The Need for Speed
Where in the World Is Carmen Sandiego?
Where in Time Is Carmen Sandiego?