Compose mathematical shapes — booleans blend like molten metal, every surface is mathematically smooth, and the ray-marched viewport shows the final result as you sculpt.
Chisel booleans run on the distance fields directly, so the result is always a single watertight surface — no mesh repair, no bad normals, no booleans that fall apart at zoom.

Merge two SDF objects into one watertight volume.

Subtract the target from the active object — the classic cut.

Keep only the volume where both shapes overlap.

Cut the active object in two and keep both halves as volumes.

Raise a stamp out of the host surface, fillets carry through.

Recess a stamp into the host surface with rounded inner corners.
Each primitive is a distance function — infinite resolution, no subdivision setting, no topology debt. New in v4: the Oblong and the editable Ngon. Plus Curve Tube and Curve Revolve when you need to sweep a profile along a Bezier.
Rectangular box with optional edge rounding per profile.
A perfect sphere — smooth at any scale, no subdivision.
Bevelled vertical edges, rounded caps — box to capsule in one shape.
Editable extruded polygon. Drag points, bevel every corner on its own.
Circular cylinder with optional rounding on the rims.
Frustum from full circle down to a sharp apex.
Cylinder with hemispherical caps, hot-dog shape.
Donut. Major and minor radius, no rounding required.
N-sided prism (3, 5, 6, 8) with separate bevel and cap.
Box frustum — pyramid through to box via cap scale.
Identical fillet shapes across rounding and blending. Hold the Adjust modal and tap 1–5 to swap between them live, on either a primitive edge or a boolean seam.





Chisel is a tight set of operators built around one idea: model with distance fields and let the renderer show the truth, frame by frame.
Push Blend Radius above zero and the seam between two shapes becomes a smooth fillet — no extra geometry, no weld, just SDF interpolation. Pick the profile that matches the look you want.

Point Chisel at a mesh — a scan, a CAD import, a sculpt — and it bakes into a signed-distance grid. From there it is just another primitive: boolean it, blend it, mirror it, array it, emboss it. The grid is cached in the .blend, so reopening the file is instant instead of a re-bake.

Switch the tool to Bisect and drag across the viewport: every selected shape is cut by that plane, live. Draw a polyline instead and you get a fence of connected planes with a filletable crease at every corner. F flips the side you keep.

The renderer is a GPU compute pipeline, and v4 puts a sparse brick volume in front of it: shapes bake incrementally in the background, so only the region you edit re-bakes. Progressive refinement holds your target framerate while you move and climbs to full quality when you stop. F12 renders straight through the camera.

Not every shape is a box or a cylinder. The Ngon is an extruded polygon you edit right in the viewport — drag the points, click an edge to add one, X to remove one. Every corner carries its own rounding and profile, and they stay clean even where the outline folds back on itself.

Hard-surface, organic, mechanical, abstract — every form lives in the same distance field, and in v4 so does any mesh you bring with you. Smooth where you want smooth, sharp where you want sharp, infinite resolution everywhere.