TEXTURE DIRECTION
Jane's Bodysuit - Textures by Hannah Sheeley
Texturing, UV Mapping, Retopology
For our joint film project, I was responsible for modeling the main character's clothing. It is largely inspired by comic book heroines. I provided the texture artist with a quad-topologized, UV-mapped, 3D model. I also set the surfaces of this model with eight Arnold Standard Surface shaders so that the texture artist had flexibility for texture placement. I drew the lines of the coloring book, if you will.
I directed the final look of this bodysuit with constant communication and collaboration with the texture artist. We discussed color, bump mapping, wear, etcetera. Hannah Sheeley executed all final textures of this bodysuit in Substance Painter. Using our film's shared Google Drive, I exported her texture maps and plugged them in using Autodesk Maya's Hypershade.
Volkswagen Beetle
Texturing, Rendering, Lighting
I was responsible for texturing and rendering this vehicle. It was provided to me as a basic mesh with UV maps. I assigned unique Arnold Standard Surfaces to this model in preparation for texturing in Substance Painter. There are 25+ Shader networks with 5 maps per texture, meaning this LookDev project required me to move 125 maps from Substance Painter to Maya. This project gave me a great deal of experience in Hypershade and texture networks.
Trailer
Texturing, Rendering, Lighting
Turntable of a trailer consisting of 15 unique shader maps. This Look Development project was a study of Arnold Renderer and Arnold Standard Surfaces. Note the realistic amber lights and metallic surfaces.
Jane's Shoes - Textures by Hannah Sheeley
Texturing, UV Mapping, Retopology
Screencaps sent to me by the Texture artist on our film project, MORE. The boots models were found online. To prepare them for texturing, I retopologized and unwrapped them.
RENDER DIRECTION
Jane's Final Scene - Renders
Rendering, Lighting, Layout
As of March 2026, I am animating the final scene of my collaborative film MORE. Simultaneously, I am developing the overall look of the film. These are screencaps of different render effects on the final character during her moment of realization.
Developing the look of of this scene means I'm visually reflecting this character's current emotion, I'm setting the tone, and I'm guiding the audience to feel the same.
CROWD VARIATION
Creatures - Textures by Hannah Sheeley
Texturing, UV Mapping, Arnold
The collaborative film is about a young woman feeding her mermaid friend human parts, until the mermaid's colony becomes hungry for more. The colony is on screen for a short bit of time, but needs equal amounts of attention. For visual interest and complexity, I tasked the Texture Artist on the film, Hannah Sheeley, to texture four variations.
I provided Hannah with the the model that I sculpted, retopologized, and UV mapped. I also assigned twelve Arnold Standard Surfaces to this model as the Maya to Substance workflow calls for. Once Hannah was done texturing these creatures in Substance, I took the maps and I applied each texture set to a rigged creature model in its own Maya file. That way, they can be referenced into the master film scene.
There were 4 models with 12 independent surfaces with 5 maps each. I successfully handled 240 texture maps in Maya's Hypershade.