Minecraft Skin Editor

A standard 64×64 PNG. Legacy 64×32 skins are converted on load: the left arm and leg are filled in as a mirror of the right ones, which is what the game itself does with an old skin. Anything taller than 64px is cropped to the top 64 rows.

No. A PNG you upload is read in the browser and painted straight into the document, so the image never leaves your device. Only username lookups talk to the Crafty API, and nothing you draw is sent anywhere or saved on our side. The texture is kept in your browser's own local storage so a refresh doesn't lose it, and that copy stays on your machine. It never travels with a request.

Yes. The flattened texture is written to your browser's local storage as you draw, so reloading the page, or coming back later on the same browser, opens on the skin you left. Entries are kept for two weeks. Layers aren't kept: what comes back is the texture, flattened into one layer.

Yes. The field at the top of the Source card names whatever is on the table. The name is what the skin card's header shows, what its row in Recent skins is listed under, and what the download is filed as: call a skin "Ender Knight" and it saves as ender-knight.png. The filename is previewed on the right of the field as you type. Leave it empty and the download falls back to crafty-skin.png. To rename an older skin, switch to it first, since the name always applies to the one you're editing.

Yes. Recent skins in the Source card lists the last eight skins this browser has had open, newest first, each with its face and when you last touched it. Click one to put it back on the table. The skin you were editing is written out first, so switching costs you nothing either way. Loading a skin or starting a Blank canvas begins a new entry rather than writing over the old one, and the bin icon drops an entry you're finished with.

The skin sits in the middle and stays put while you scroll. Source (top-left) loads a skin and picks the model and layer, Colour (bottom-left) is the wheel, palettes and every colour already in the texture, Tools (top-right) holds the toolset and the whole-layer edits, and Layers (bottom-right) is the stack you paint into. Zoom sits under the skin itself, and the two drawing aids — the pixel grid and the front arrow — are at the foot of the Source card. The Tutorial button at the top of the page walks you through all four.

Yes. It plays itself the first time you open the editor, and the Tutorial button at the top of the page reopens it whenever you like. It lights up one card at a time and explains what it does. The arrow keys step through it and Esc closes it.

Three views of one document, switched in the skin card's header. 3D paints straight onto the player model. Flat lays the skin out as a paper doll, with the front faces of every part standing as they would on the model and a Turn around button for the back. 2D paints on the raw 64×64 texture with the face borders drawn over it. Every tool works in all three, they all write the same layer, and they can never disagree: a stroke in one appears in the others the same frame.

Classic is 4px arms (Steve), Slim is 3px (Alex). It's not cosmetic here. The arm width changes which texture pixels the arm faces cover, so painting a slim skin on the classic model puts the pixels in the wrong columns. Set it before you start drawing arms.

Hold the middle mouse button and drag. Left-drag also rotates, but only where the ray misses the model. Over the skin the left button is the brush, so the middle button is the one gesture that spins the model whatever is under the cursor. The right-click context menu is suppressed over the model so a right-drag can erase cleanly.

Scroll over the model, from 0.2× out to 2×. It zooms about the cursor rather than the middle of the frame, so the pixel you point at stays where it is while everything else scales around it. That's how you get in close on a face without losing it off the edge. The Zoom slider under the skin, in the Skin card itself, drives the same value, so the two always match.

It runs the current tool in reverse, so you rarely have to switch tools mid-stroke. Brush → erase back to transparent, Fill → flood with transparency, Shade → lighten (or add saturation, in saturation mode). The eraser itself has no inverse: both buttons clear. Right-drag works exactly like left-drag, so it strokes.

Left paints, right erases or runs the tool's inverse, and middle-drag pans the texture under the cursor. That's the flat view's answer to spinning the model, and the only way to reach the far side once you've zoomed past the frame. Scroll zooms from 4× to 24×, anchored on the texel under the pointer, and the − / + buttons step the same zoom.

Tools: B brush, E eraser, G fill, S shade, I pick. M toggles mirror, L flips between the base and overlay layer, and [ / ] shrink and grow the brush. Ctrl+Z undoes, Ctrl+Shift+Z or Ctrl+Y redoes, using Cmd on a Mac. Shortcuts are ignored while you're typing in a field.

Hold Alt. Any tool becomes the eyedropper while it's down and goes back to what it was when you let go, so you can pick a shade off the model and carry on painting without touching the toolset. Clicking with it reads the flattened colour under the cursor and drops it into Recent.

Yes. A touch drag paints in both views, and the layout stacks into one column on a narrow screen. There's no middle button on touch, so use the 2D view's zoom buttons and the Zoom slider under the skin rather than the wheel gestures. A mouse is still the better tool for pixel work.

Three sizes, 1px, 2px and 3px, in a Square or Round footprint. The footprint is stamped along the whole line between pointer positions, so a fast drag draws a solid stroke rather than a row of dots. Size applies to the brush, the eraser and the shade tool.

By design. A stroke is clamped to the face it started on, so painting near an edge stops at the seam instead of spilling onto whatever happens to sit next to it in the texture. Cross onto another face and the line starts fresh there. Without that, a seam crossing would draw a streak between two unrelated corners of the texture.

Face stays on the single face you clicked. Cube walks the whole body part, following the model's own geometry across the UV seams, so a fill wraps round an arm instead of stopping at the edge of a texture patch. Replace ignores adjacency and recolours every matching pixel on the model. Colours within a couple of steps of each other count as the same, so slight anti-aliasing doesn't leave a fringe.

Left-click darkens, right-click lightens. Light / Dark moves the RGB value, Saturation moves the colour's saturation and leaves its brightness alone. Strength (1 to 40) is how far each stamp pushes it, and Once per pixel, on by default, stops a slow drag burning the same pixel over and over. Transparent pixels are left alone.

It paints the same pixel on the model's other side: left arm with right, left leg with right, and across the middle of the head and body, so a symmetrical skin takes half the work. It applies to the brush, the eraser and the fill. The shade tool stays single-sided, because it reads the pixel it's about to write and mirroring would sample the wrong side. Toggle it with M.

Greyscale, Invert and Tint run once over the selected layer and land on the undo stack like any other edit. There's no live filter to switch off later, so undo is how you take one back. Tint pulls every pixel toward the picked colour by the strength you set; at 0% the button is disabled.

It rewrites a part's faces inside the texture, so the change is in the pixels rather than the pose, and the result is still a real skin file. The head is a cube and takes full quarter turns in either direction. The other parts are taller than they are wide, so a quarter turn would distort them and they only offer a 180° flip. Face backwards flips every part at once.

60 steps, on Ctrl+Z or the Undo button in the Tools header. Every stroke, fill, filter, rotation and layer operation is one step, and redo is Ctrl+Shift+Z. Loading a new skin clears the history, since it's a new document.

No, it's a different idea with the same word. Base and overlay are parts of the texture. The Layers card is a paint-program stack: as many drawing layers as you like, each with its own opacity and visibility, flattened into the one 64×64 texture the model wears and the download writes. Sketch on one, line it in on another, drop the sketch when you're done.

Add, duplicate, reorder with the arrows, merge down onto the layer beneath, hide with the eye, set opacity, rename or delete. The top row is the layer drawn last. Only the selected layer takes paint, so click a row to select it, and its controls are the only ones shown, which keeps a tall stack readable.

Use the little figure in the Source card's Layers group. Pick base or overlay, then click a body part to hide or show it. It's handy for getting at a torso under a jacket. Hidden parts can't be painted on the 3D model, since there's nothing to hit, so either show them again or paint that area in the 2D view, which reaches everything.

The Colour card. The wheel takes a hex value or R/G/B numbers directly, Shades ramps whatever you've picked, Palettes holds ready-made sets plus any you save, Recent is what you've painted with this session newest-first, and In this skin lists every colour already in the texture most-used first, so matching an existing shade is one click rather than a round trip through the eyedropper.

The Shades row under the wheel is the colour you've picked at nine lightnesses, dark through to pale, rebuilt every time you pick a new one. Click a step to paint with it. It's the quick way to shade a face or fold a sleeve, where you want three or four steps of the same colour rather than four unrelated ones, and it pairs with the Shade tool, which nudges pixels along the same axis in place.

Yes. Saving stores the colours you've painted with this session (or, if you haven't painted yet, the ones already in the skin) under a name you choose. They live in your browser's local storage, so they're per-browser and per-profile. Clearing site data removes them, and they don't follow you to another device.

Yes. The moon and sun buttons in the Skin card header switch the stage between dark (the default) and light. It's worth flipping when the skin you're drawing is close in tone to the stage, since a pale skin disappears into the dark one. All three views follow it, and it only changes what sits behind the skin: the downloaded PNG keeps its transparency either way.

It's at the foot of the Source card, and it hides the chevron drawn on the floor in front of the model. The chevron is there so a spun-round model still tells you which way it's facing. Turn it off once you no longer need it. Like the grid, it's a drawing aid and never appears in the downloaded skin.

It sits beside the front arrow at the foot of the Source card, and draws the texel grid over the model so you can see exactly which pixel you're about to paint. The grid follows the layer you're editing, so switching to Overlay moves it onto the outer layer, painted or not. It's a drawing aid only, and never appears in the downloaded skin. The 2D view has its own Grid, Faces and Names toggles.

Use the Studio. The editor exports the one thing that is its own, the 64×64 skin file, and the Studio button hands your texture, edits and all, to Crafty's Skin & Cape Studio, which is built for the picture: poses and animations, a full lighting rig, backgrounds including green screen and transparent, and a screenshot button that saves the frame at full resolution. That's the route for a Discord avatar or a forum post. The editor's Download Skin is the file you give to Minecraft.

Yes. The skin you're editing is written to this browser's local storage as you draw, and Recent skins in the Source card holds the last eight files you've had open. It's per-browser and per-profile, though, and clearing site data removes it, so download the PNG for anything you want to keep. Saved colour palettes live in the same place.

It opens the skin in Crafty's Skin & Cape Studio with your edits carried over, for posing, lighting, rendering and screenshotting it. The texture is handed across as it stands, so you don't have to download and re-upload. Middle-clicking it for a new tab falls back to the unedited skin, since only a real navigation can carry the pixels over.

Yes. The studio's editor link hands its working texture over the same way, filters and part rotations included. Anything with a texture hash also works as a plain link: /editor?skin=<hash>.

You're on the overlay layer. The overlay box renders larger than the base one, so it's what a click on the model meets first. Switch to Base in the Source card, or press L.

The stroke missed the model, and a press that hits nothing is handed to the camera. Zoom in a little, or use the 2D view for edge pixels. The reverse is worth knowing too: to rotate deliberately while the cursor is over the skin, drag with the middle button.

The model and the texture disagree on arm width. Switch between Classic and Slim in the Source card. The faces and their UVs are rebuilt straight away, and nothing you've painted is lost.

Cube mode follows the part across its seams, and Replace recolours that colour everywhere on the model. Drop to Face to keep it on the one face you clicked, and Ctrl+Z takes any fill straight back off.

Reload and try again first, since nothing is stored server-side and a reload starts clean. If it's repeatable, tell us on Discord. Bug reports on the editor are very welcome.