Boolean, paint, and workspaces

v367690
5 September 2026
44 changes in this update

Added

25 changes
  • Boolean, on the Solid stage: union, subtract or intersect two bodies.

  • The engine's boolean has been working for a while, but it could only be reached by drawing a profile or drilling a hole - there was no way to point at two solids you already had and make them one.

  • Pick the tool body, pick the operation from the button's dropdown, and the tool is consumed by the cut. Keep tool bodies leaves it if you want to reuse it.

  • A Boolean refuses rather than guesses. A body cannot be its own tool, an unpicked tool is an error instead of quietly meaning "every body", and a subtract that removes everything or a union of solids that never touch each say so.

  • Painting. Press Paint and brush colour straight onto the model.

  • The paint composes over whatever material the part already wears, so a dropped material still shows everywhere you did not brush.

  • Strokes are saved in the .effigy file and replayed whenever the model rebuilds, so paint follows the part through later edits instead of smearing.

  • A workspace bar across the top: CAD, Sculpt, Paint, Rig.

  • The part of the pipeline you are in is a control now, rather than a word written small in the corner that you had to infer it from.

  • Each workspace opens the panels it needs and puts the rest away - Paint brings up the material browser, Rig gives the skeleton tree the whole right-hand side.

  • Whatever you rearrange while you are in a workspace is what you come back to.

  • Rigging has its own tool bar. Add Bone, Delete, Assign Body and Mirror sit on the Bones and Bind stages like every other tool, instead of being buttons in a side panel.

  • Rigs are saved in the .effigy file. Bones, their bind pose, their softness and which body is pinned to which bone all survive a save and reopen.

  • They did not before: placing bones and reopening the part lost every one of them, silently.

  • A part with no rig is written exactly as it was before, byte for byte, and still opens in older builds.

  • Soft bones are reachable. Select a bone, tick Soft in the Rig panel, and set its stiffness, damping, weight and cone.

  • Soft bones draw blue in the viewport so you can see which ones are simulated.

  • Preview on the Rig bar runs the solver live. Gravity pulls the soft bones off their pose so you can watch them sag and settle while you tune the numbers.

  • Dragging a bone with the pose gizmo makes everything soft below it swing behind the drag. Rest puts them back.

  • A tool that cannot run yet is dimmed and says why when you hover it, instead of looking live and doing nothing.

  • The tool bar marks which tools will use what you have selected. Click a face and Fillet, Chamfer, Draft, Hole, Face Material, Extrude and Move Face each get a green mark down their left edge.

  • Bones can be scaled in Marionette. The drag mode cycles Rotate, Move and Scale, and E still flips between the first two.

  • The scale is one number rather than three, because that is all a Source 2 bone carries. It keys like any other channel and plays back at runtime.

  • Shift-click builds a selection of bones instead of replacing it, and the group gets one gizmo at its centre that moves them together.

  • A Handle Size slider scales the bone dots and the areas you click to grab them, so a dense hand rig can be shrunk until its fingers stop overlapping. It is remembered between sessions.

Improved

5 changes
  • The built-in Effigy tutorial builds a house rather than a lamp, in five steps: box walls, a wedge roof, holes drilled for the windows and the door, then the export.

  • Every step is a shape you can see arrive. The lamp asked you to sketch, revolve, shell, subdivide, unwrap and sculpt before you had made anything you could look at.

  • The pull handle is a single arrow now, pointing the way the face faces. Two of the old three did nothing when dragged, which reads as broken.

  • Sliding a wall sideways is Move Face's Translate mode.

  • Only one thing can own a click in the viewport. Sketching, sculpting, painting and the bone tool could each be armed at once, so a click tried to do two things.

Fixed

10 changes
  • Bones can be clicked in the viewport. They never could: every bone shared one click target, so the hit test knew the cursor was over a bone but not over which one.

  • A bone's hit target is the bone you can see. It used to be a fixed size while the drawing scaled with length, so a long bone was mostly dead and a short one stuck out past its end.

  • The pose gizmo stops vanishing when you click the bone it belongs to.

  • Hovering a bone highlights the bone, rather than putting a blob at one end of it.

  • Picking a bone in the Rig tree turns it yellow in the viewport straight away, instead of waiting until you happen to move the mouse.

  • In the Rig workspace the model's faces are no longer selectable, so a click meant for a bone cannot land on the wall of triangles behind it.

  • A rig edit marks the document unsaved. Closing the window used to close it cleanly without asking, and the whole rig went with it.

  • Undo works on soft bones. Making a bone soft and pressing Ctrl+Z left it soft, and changing a stiffness twice lost the first value.

  • An oversized fillet or chamfer is refused again across the whole range where it should be. On a 2-unit cube, radii between about 1.0 and 1.25 used to come back quietly self-intersecting.

  • The suggested radius the error offers no longer proposes a size inside that broken band.

Known Issues

4 changes
  • Paint is as fine as the mesh it lands on. A bare box paints as a few colour blobs; add a Subdivide or Sculpt above the Paint feature and the same brush gets as fine as the mesh.

  • A painted model writes its colours into the DMX, and the whole chain up to that file is checked on every test run - the strokes replay, survive an edit underneath them, and come back identical after a save and reopen.

  • What is unchecked is the far side of the compile: nobody has looked at how the engine's shader composites those colours. Check a painted model renders its paint before relying on it.

  • Paint tints the material rather than covering it. Paint that fully replaces the colour under it needs a shader.