Turn heavy geometry into clean, textured models.

Retopology, Two Ways

Automatic when you want speed. Manual when you want control.

• Manual Remesh — when you want control: quad retopology built on a proven mixed-integer quadrangulation solver. Pick Organic or Hard-Surface, set a target quad count, and let it run. The target defaults to your model's polygon count, with one-click 75% / 66% / 50% / 33% / 25% / 10% presets so you can dial density in seconds. Or you can paint density where you need more resolution and leave flat areas light.
• Auto Remesh — when you want speed: solve an orientation field and a position field, then extract topology that follows the surface. Run it as it comes, or steer the flow yourself first — comb the field along a limb, pin it with a magnet, or scare it away from an area you want left alone. It's not as accurate as manual, but it's super fast!

Both paths produce quad-dominant meshes that are actually pleasant to animate, subdivide, or edit downstream.

UV Unwrapping & Inspection

A clean atlas, and a way to check it before you commit.

Automatic UV unwrapping produces a clean atlas from the new topology, including per-material UV maps for multi-material assets. A dedicated UV inspector lets you see the layout, isolate by material, and confirm the unwrap before you commit to baking.

Four unwrap engines, picked per run: Lightmap packs tightly for baking and lightmapping; Artist favours lower distortion and more natural islands for hand-painting; Vertexix guides the cuts with the same orientation field the retopology uses, so seams land along the flow rather than across it; and Grid Unwrap takes the fast path on a quad mesh, walking the grid instead of solving for it. Same mesh, four very different atlases — try them and keep the one that suits the job.

Or place the seams yourself. Seam Tools lets you click edges to mark a seam, Alt+click to run it around a loop, and Suggest Seams to have Vertexix propose a set from sharp angles and flat-region clustering before you edit it by hand. Seams save and load with the project, and the Vertexix and Grid Unwrap engines treat them as forced cuts.

UDIM Support - Film and VFX assets don't fit in one 0-1 square. Vertexix reads UDIM layouts natively — load a multi-tile model and it works out which tile each material occupies, names the sets, and shows the whole grid in the UV inspector with every tile wearing its own texture.

A Real 3D Painting Suite

Paint every PBR channel directly on the model.

The Paint mode is a full texturing workspace, not a touch-up tool. Paint base color, metallic, roughness, occlusion, emission, height, displacement — even the normal map — right on the mesh, each channel with its own strength.

• Image brushes with Photoshop-style dynamics — build your own brush library, then drive it with size, angle, opacity and color jitter, scatter and count controls, and the full set of familiar blend modes (Multiply, Screen, Overlay, Color Dodge and the rest). A live stroke preview shows exactly what a stroke will do before you touch the mesh.
• Brushes that follow your hand — Rake mode rotates the brush image to follow the stroke's direction, arrow keys spin it by hand, and real pressure-sensitive stylus support drives size and opacity live.
• Real texture layers — every channel of every material carries its own Photoshop-style layer stack: blend modes, per-layer opacity, folders, lock, visibility and solo, drag to reorder, merge down or flatten — with the shortcuts you already know (Ctrl+J duplicate, Ctrl+G group, Ctrl+Shift+E merge).
• Layer masks — give any layer a mask and paint it in or out non-destructively. Invert it, edit its black point, white point and midtones in a levels editor, or bake one from the model itself: an occlusion mask at any resolution, or — on Ultra — cavity, curvature and edge masks probed off the geometry.
• Stencil painting — build a stencil library from your own greyscale images, float any stencil over the viewport as a screen-locked pattern with opacity, tiling, rotation, scale, stretch and drag-to-position controls, then paint straight through it with whichever brush you're holding. A translucent trail shows exactly where your strokes have landed through the pattern.
• Masking that remembers — protect regions with painted, lasso, box, polygon or circle masks, erase mask strokes with a right-click drag, undo any mask edit, and store masks in 12 memory slots (F1–F12) for instant recall.
• The practical tools — eraser and smudge brushes, a clone brush that works across every channel, a blur tool that reaches into the UV padding so seams stay clean, an eyedropper, a dockable Color Picker and Swatches panel, and full paint undo/redo.
• A Scratch Pad to build surfaces on — capture what's on screen, draw on it, tile it, or load images into it, then generate the maps a material needs straight from that image: normal, height, displacement and occlusion, each with invert, blur, black/white levels, midtones and strength. A lit shader ball previews the result. Save the lot as a surface preset and it joins a browsable library with folders and thumbnails — pick one later and Vertexix creates whatever layers the material is missing. The Clone Brush works in both directions between the pad and the model.
• Painting runs on the GPU — brush dabs, masks, stencils and the layer composite are all done on the graphics card, with only the triangles actually under the brush submitted and only the changed tiles sent back. It's on by default and there's a switch in Settings if you'd rather it wasn't.

See It The Way The Engine Will

What you approve on screen is what ships.

A real-time PBR preview with image-based lighting shows your material maps working together under realistic light before you ever export — including directional-light shadows, with painted displacement physically offsetting the geometry and casting real shadows of its own.

When something looks wrong, isolate it: a one-click layer row along the bottom of the viewport shows any single channel on its own — albedo, normals, roughness, occlusion, cavity and the rest — and World Normals and Depth Map debug views help you see what the shading is actually working with. Prefer clay? MatCap display is one keypress away.

The preview speaks modern glTF, not just the base PBR set: iridescence, transmission and dispersion, sheen, clearcoat, anisotropy, specular colour, volume thickness and subsurface scattering all render, and a material with packaged variants gets a selector to switch between them. Ultra adds OpenPBR shading, with MaterialX .mtlx load and save for the materials you author against it.