Joachim Coppens

Senior Level Artist

About Me

Hi there! I'm a senior level artist for video games with a background in coding and graphic design.

I've had the pleasure of working on 4 shipped games across different genres and art styles, and like to do personal projects in my spare time.

Check out my work here and don't hesitate to contact me.

Download my CV

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Contact Me


Phone: +44 (0)7519 478944

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Shipped Titles


Sea of Thieves - The Ancient Isles

2015 - 2018  •  Rare  •  PC, XBox One  •  Unreal Engine 4

Every environment in Sea of Thieves is the result of a huge collaborative effort between many different members of Rare's multidisciplinary team. For over 2 years I've served as an environment artist on the level art team which means my main responsibility was to shape the natural world of the game and populate it with assets created by our world artists and outsource partners. No one artist usually owns an environment or an asset completely, so huge credit to the fantastic team at Rare!


The Ancient Isles hold secrets and riches long forgotten in its dark caves and dense jungles. These islands are generally more vertical, a lot denser and lush while still enjoying a tropical climate. My main contributions to this area were rock formations on Thieves' Haven, Plunder Outpost, Discovery Ridge, a couple of smaller islands that later became skeleton forts (natural base only) and helping define placement density and lore themes for riddle voyages.

Sea of Thieves - The Wilds

2015 - 2018  •  Rare  •  PC, XBox One  •  Unreal Engine 4

The Wilds contain some of the harshest conditions you will encounter on your pirate voyages. With its murky waters, cloudy skies and spiky rock formations, dangers lurk around every corner. My main contributions to this area were four of the bigger islands: Dagger Tooth Outpost, Shipwreck Bay (only dressing of the wreckage area), The Crooked Masts and The Sunken Grove.

Sea of Thieves - The Shores of Plenty

2015 - 2018  •  Rare  •  PC, XBox One  •  Unreal Engine 4

The Shores of Plenty consist of your typical tropical island paradises. Their flatter and more open environments sport beautiful beaches where calm waters lap gently ashore, and you never know where you might find some treasure hidden beneath the sands. My main contributions to this area were Lone Cove, Smuggler's Bay and a number of smaller islands and skeleton forts (natural base only).

Substance Designer Materials

2017  •  Personal Project  •  Online Challenge  •  Substance Designer

In the first months of this year I took the time to dive deeper into Substance Designer, learning the software by participating in some of the Polycount Bi-Weekly Substance Challenges.

All of these materials have been generated purely from Substance Designer graphs with no image input.

Assassin's Creed Chronicles

2014 - 2015  •  Climax Studios  •  PC, PS4, XBox One  •  Unreal Engine 3

During my time at Climax I worked on a third of the levels across all three episodes, helping to develop the series' three specific art styles along the way. I was responsible for creating and using modular kits for scene construction, modeling, texturing and lighting.

I also worked closely together with the design and VFX teams to help implement several interactive and destructible scenes.

Some of the highlights that I worked on: the explosive Great Wall finale level of China, the middle act of India for which I translated the visual identity of the First Civilization into 2D and the moving Train level in Russia.

Shadow of the Beast

2015  •  Climax Studios •  PS4  •  Unreal Engine 4

During my last half year at Climax I worked on the PS4 remake of this 1989 cult classic in conjunction with Heavy Spectrum.

I worked on five levels where I dealt mostly with outsource assets to implement them properly into the game.

I did a lot of lighting, Unreal Blueprint logic for gameplay and atmospherics, and optimizations by working closely together with the code team to ensure the game's performance was up to Sony's standards.

The game released as a downloadable title on PSN in May 2016.

Star Lord's Helmet

2014  •  Personal project  •  Fan Art  •  Marmoset Toolbag 2

Guardians of the Galaxy was my favorite movie of 2014.

This inspired me to make this fan art recreation of Star Lord's helmet practicing a PBR workflow.

Shortly after publishing this piece online I was contacted by the lovely people at PlayCanvas to use my work to demo their upcoming PBR support. Check out their blog post about it here.

The Forest

2014  •  Art Test  •  CryEngine

This was my first foray into CryEngine. For an art test, I had to learn the engine while producing a high quality playable environment.

I absolutely loved working on this because it taught me a lot and I was able to build it at a fairly quick pace.

Please note that I used mainly assets found in the CryEngine library, only the building and cliff assets were made by me.

Age of Wonders III - Cities

2013  •  Triumph Studios  •  PC  •  Inhouse Engine

I did a five month internship at Triumph Studios as a 3D environment/asset artist, working on Age of Wonders III.

All of the race-specific architecture you see in these screenshots for the Dwarves and Goblins was made by me.

The goal here was to make recognisable and reusable buildings for many scales, and reuse as much texture space as possible for performance reasons.

>> Check out the AoW website for more info!

Age of Wonders III - Environment Art

2013  •  Triumph Studios  •  PC  •  Inhouse Engine

During my time at Triumph as an environment art intern working on Age of Wonders III, I made a lot of smaller assets and all-round 3D support work. I quickly became the go-to guy for a varied set of 3D art tasks, ranging from vehicles and particle effects to optimization work and creation of man-made structures.

>> Check out the AoW website for more info!

Flintlock Pistol

2013  •  Personal Project  •  Marmoset Toolbag

Inspired by the TV show Sleepy Hollow, I did some research on American Revolutionary War weaponry and decided to create a classic Flintlock Pistol. For the presentation, I chose a weapon selector screen like you would see in current-gen games.

The model is 3899 triangles and is rendered in Marmoset Toolbag 2 using five 2k texture maps.

It was a great opportunity to get a feel for the PBR workflow.