Changelog
What’s new in Mixos
Mixos ships continuously. Here’s a running log of what’s changed.
New
Auto-rig a character from a T-pose
- One command fits a 21-joint humanoid skeleton to an unrigged mesh and solves the skin weights. The joints are MEASURED off the model — crown, arm span, shoulder height, crotch, ankles — and the ones a silhouette cannot show (elbow, knee, spine divisions) come from human proportion and are then recentered onto each limb's medial line. No markers to place: the fitter reads the mesh rather than a photo of it.
- It says what it could not measure. Arms hanging below horizontal, legs that never separate, a character lying on its side, a mesh that is not symmetric about its center — each is reported in the Rigging panel and stays there, with a button where there is one thing to press: stand the character upright, delete the skeleton it already had, bind the weights that did not solve.
- Hand it a group and the whole assembled character is rigged at once. The skeleton is measured from the largest mesh, which is the body, and every part under the group is bound against one shared solve so armor and hair move with the shoulder they sit on.
- The result is a skeleton the motion library recognizes by name, so a freshly auto-rigged character takes any of 2,546 motion-capture clips with no renaming step.
New
Rig a character, and give it motion
- Rigging is its own section in Studio. Drop a template skeleton onto an unrigged mesh — humanoid at 21 joints, quadruped at 18, or a plain chain — fitted to the model's bounds, move the joints until each sits inside the body part it should drive, then bind. The fit is a starting point, not an answer, and re-binding after moving a joint is the correction loop.
- Binding is built for characters that arrive in pieces. Hand it a group — body, armor, hat — and the whole thing is voxelized, and a watershed through the VOLUME decides which bone owns each vertex, so parts that touch agree with each other and nothing is left unable to see a bone. The falloff then runs across the mesh itself, at its own density, so thin features close together stay separate. Bind the parts one at a time instead and each is weighted in ignorance of the others, which is why they come apart when posed.
- A motion-capture library of 2,546 clips, searchable and sorted, previewed on your own character before you commit to one — the preview is deliberately not a clip in the document, so nothing is saved and nothing is autosaved until you accept it. 225 clips ship in the bundle, so the browser works before anything touches the network.
- IK chains and control rigs for posing, weights you can paint by hand, and an importer that decomposes an existing skeleton — so a rigged character you already have comes in with its bones and weights intact rather than as a static mesh.
Improved
Plan prices are going up
- Pro is $8.99/mo, or $5.99/mo billed yearly. Max is $17.99/mo, or $13.99/mo billed yearly. This reverses the reduction we made on 7 August.
- The $79 perpetual license is unchanged, and so is Team at $15 a seat. If you want export unlocked without a subscription, the license is now much closer to a single year of Pro than it was.
- Local prices in the other eight currencies moved with it, re-derived from the day's reference rates and rounded down, so no market pays more than the US price. Euro prices keep their standing premium, which covers EU VAT.
New
Share a project with someone else
- Invite a person to one project by email and give them edit or view access, the way a document works. It covers all five apps: a Paint, Blend, or Auto project, a Studio scene, and a Mold sculpt can each be shared on its own.
- This is a different thing from the two kinds of sharing that already existed. A share link publishes a snapshot the recipient opens or forks; a team shares an entire library behind per-seat billing. This shares one file with one person, and they work on your copy rather than starting theirs.
- An editor's saves land on your project rather than quietly forking into a copy of their own, which is the failure the whole design is arranged around.
- Invites open in the right app. Every invite link used to point at Paint no matter which app made the project; they now go through one claim page that sends each person where their file actually lives.
New
A published scene the page around it can drive
- Turn on Runtime API in Studio's export dialog and the page hosting your scene can address it: find an object by name and move it, fire an interaction as though the reader had clicked it, and listen for the clicks they actually make. A published scene used to be a one-way street — enough to decorate a page, not enough to build on.
- The same method names wherever it landed, and the one real difference is stated rather than papered over: an in-page export hands back the live three.js objects, so you change one and the next frame shows it, while an embed or a share link runs in a cross-origin frame that cannot hand out a live reference and returns a snapshot with its own set() instead.
- Variables are the other direction — named inputs the surrounding page sets, for the things that happen outside the scene: an item lands in the cart, someone signs in, a slider moves. Each one maps an input range onto an output range you can read off a panel, so one binding — 0 to 10 items in the cart, mapped onto 0 to 0.4 meters of lift — is the whole of the configuration. There is no expression language, deliberately.
- Both are off unless you switch them on for that export, so a file somebody already reviewed keeps emitting exactly what it emitted before either feature existed.
Improved
Live Link runs in a browser tab
- Streaming maps into Blender, Cinema 4D, or Unreal while you paint was a desktop-app feature. It now runs from an ordinary browser tab, in both directions — the maps go out, and a mesh comes back the same way.
- It keeps running while the tab is in the background, which is the entire time you are in the other application. The poll that fetches work back used to be throttled to a crawl there; it now runs on a worker timer, which browsers do not throttle.
- Chromium browsers only: Chrome, Edge, Brave, Arc, and Opera can reach the plugin's local server, and Safari and Firefox block it outright. The panel says so before you try, rather than leaving you with a plugin-not-found error that was never your fault, and the plugin downloads still work there for use with the desktop app.
- Receiving a mesh back needs a paid plan, the same line the rest of the suite draws.
Improved
Studio: less chrome, and a library you can describe
- The three bars stacked across the top of Studio are now one. That is about 80 pixels of window, and the viewport gets all of it back.
- The create rail is drawn rather than written: cubes, spheres, tubes and knots, lights, cameras, curves, generators, cloners, effectors, and booleans each carry a rendered icon of the thing they make, so the rail can be read at a glance instead of parsed.
- Search the material library by describing what you want. Ask for worn kitchen tile and you get worn kitchen tile, across all 2,857 items in the catalog, whether or not those words appear in the name, and folders let you file what you keep.
- A legibility pass across the app. Several places drew label text in a color that was technically there and practically invisible — those are fixed, and a contrast audit now runs over the whole interface so they stay that way.
Fixed
Studio saves without an account
- Saving a scene used to require signing in, which meant an afternoon's modeling could end with nothing kept. The save now lands locally first and the account is offered on top of it, so the work is safe before anything touches the network.
- Signing in afterwards carries that local work up with it rather than replacing it, and reopening a scene whose assets never made it up says so plainly instead of quietly loading an imageless copy.
- A stalled upload can no longer hang a save. A fetch has no timeout of its own, so an upload that simply never answered used to sit there past every retry — each one is now bounded, and a texture that will not upload falls back to a reference to the catalog copy rather than failing the save.
- A scene too large to save is refused when you save it, with the reason, instead of saving cleanly and then refusing to reopen a week later as a file that may be damaged.
Fixed
The AI denoiser was on, and doing nothing
- The denoise pass in the path-traced preview silently refused to run at any normal pane size. The library it uses works in 704-pixel tiles, not the 256 we had assumed, so anything smaller on either side produced no image and no error — a 910 by 512 pane, which is to say the usual one, got nothing.
- Ray now runs the same pass on a finished render, not only on the live preview, so the image you keep is the clean one.
- Denoising discards the alpha channel, which turned a render with a transparent background black. The alpha is carried around the pass now and restored after it.
New
Text, painted onto the model
- Paint has a text layer. Type the words, choose a face, and place them on the mesh in the 3D view — labels, serial numbers, stencilled lettering, a wordmark — with the same drag, scale, and rotate handles a decal already had.
- Sixteen typefaces ship with it, from heavy display faces to a slab, a script, and a mono, and you can add a font file of your own — it stays on your machine, nothing is uploaded. The browser's own text engine does the drawing, so kerning, ligatures, and hinting are what you would expect from real type rather than what a contour tracer can manage.
- It stays editable after it is placed. Change the words and the text re-fits rather than stretching: a longer line keeps the area it had instead of squashing the letters to fit the old box.
- What lands is an ordinary layer, so masks, blend modes, per-part stacks, and export all work on it exactly as before.
New
Publish a scene as a web page
- Give a scene interactions — what happens when a reader clicks an object, hovers it, or scrolls it into view — then publish it and get a link you can send, an embed snippet for a page you already have, or one self-contained HTML file.
- The dialog says what it is about to publish before it publishes: how many objects, how many interactions. A scene published with no interactions is a turntable, and publishing before authoring anything is the commonest way to ship a dead embed.
- It also reports what got dropped — a row on a hidden object, or one playing a clip that animates nothing, does not survive the export. A button that silently did not ship is the worst outcome, because the page looks finished.
Fixed
Ray recovers instead of hanging
- A render stuck at compiling, and the crash that sometimes followed it, were one problem: the browser had taken the GPU context away. Ray now notices, says so, and rebuilds rather than sitting on a progress bar that will never move.
- On a phone the render settles instead of refining forever, and the pause and stop controls are on the pane where you can reach them rather than off the edge of it.
- Disposing the tracer while a shader was still compiling could take the viewport with it. It waits now.
New
AI credits without a subscription
- A one-time pack of 25 AI credits is $4.99, in your local currency like everything else. No plan, no renewal — buy it when you need a few generations and nothing happens after that.
- A pack is deliberately never cheaper per credit than subscribing is. If you generate regularly, Max annual is the better deal and stays the better deal; the pack is for the month you need more than you have.
- Credits from a pack sit alongside your monthly allowance and are spent the same way, on the same operations.
Improved
Area lights, and quieter renders
- An area light now casts a real soft shadow in the fast viewport, not only in the path-traced one — the shadow spreads with the size of the lamp, the way it already did in a render.
- The path tracer picks which light to sample by how much that light actually contributes, rather than picking uniformly at random. In a scene with one bright key and several dim fills, that is 2.4 times less noise for the same number of samples.
Improved
The animation timeline, in one dock
- The dopesheet and the graph editor were two stacked panels with two rulers. They are one dock sharing one slice of time now: zoom into frames 100 to 120 in the dopesheet, switch to curves, and you are still looking at frames 100 to 120.
- The dopesheet can pan and zoom at all, which it could not before. On a ten-second clip a twelve-frame overlap was four pixels wide, so the one thing a dopesheet is for — seeing and adjusting timing — could not be done at the scale timing is decided at.
- Easing per key, with the curve to go with it: ease in, ease out, hold, and hand-shaped tangents you drag in the graph. Hold Shift while dragging a key to constrain it to one axis.
- Scrubbing a value updates the viewport as you drag without filling the undo stack with every frame of the gesture — one entry lands when you let go.
- Phones and iPads get the timeline properly: the docks fold down, and the tracks stay usable at a thumb's width.
New
Mixos is on the App Store
- There's now a free Mixos app for iPhone and iPad. It carries all three apps — Paint, Mold and Studio — in one download, with the touch layout the browser version already had: a bottom dock instead of side rails, slide-up panels, and two fingers to orbit while a finger or an Apple Pencil does the work.
- Apple Pencil pressure and tilt drive brush size and depth in Mold, and opacity and flow in Paint. Nothing to set up — plug in or pair, and the pen is the pen.
- It's the same account and the same cloud library, so a sculpt started on an iPad opens on a Mac or a PC exactly as you left it, and a scene you were modeling at a desk is on the phone in your pocket.
- Free, and free to keep using: every app is free on every plan, and a subscription only buys AI credits and cloud storage. Requires iOS 26 or later — the 3D viewport draws with WebGPU, and that is the release where an iOS web view got it.
New
Studio: assemble, model, and animate a whole scene
- Mixos is now five apps. Studio joins Paint, Mold, Blend, and Auto, and it works on a scene rather than a single object: a hierarchy you can parent and transform, polygon modeling, materials, lights and cameras, and keyframe animation on a timeline. It's in beta, it's free, and it opens on any account — on phones and iPads too, where the docks fold down into a full-bleed viewport with one bottom bar.
- Model on a real half-edge core, in vertex, edge, or face mode: extrude, inset, bevel, bridge, connect, loop cut, poke, slide, fill holes, dissolve, and merge — with a soft-selection falloff so pulling one point carries the surrounding surface with it.
- Build things that stay editable. Draw a spline and hand it to an Extrude, Lathe, Sweep, or Loft generator, then stack modifiers on top — subdivide, array, radial, mirror, solidify, twist, bend, taper, wave, noise, spherify, smooth — reorder them freely, and Make Editable when you finally want the polygons.
- Cloners and effectors: copy an object along a line, over a grid, around a circle, along a curve, or across another object's surface, then push the whole array around with an effector whose own transform is its falloff.
- Light it and shoot it. Sun, sky, environment, and ground sit in the outliner as ordinary rows; cameras carry real lenses with focal length and depth of field, look-through, and frame guides; and a Render view path-traces the shot in place, accumulating samples over its own backdrop.
- Animate on a timeline that holds keys and curves in one dock, with procedural drivers for the motion you'd rather not keyframe by hand.
- Take it out as GLB, glTF, or USDZ, or publish it to the web — one self-contained HTML file you can email, an embed snippet, or a react-three-fiber or three.js component. Send a mesh to Paint to texture it, or bring a sculpt across from Mold. Export is the paid step here, the same as everywhere else in the suite.
- An assistant sits in the corner and can drive the app through the same commands the menus use — add your own Anthropic key and nothing is metered against your credits.
Fixed
Painting in the 2D view, properly
- Strokes in the 2D texture view now appear as you draw them. They used to surface only when you lifted the pen — the view never asked for a fresh composite mid-stroke, so a whole drag went by with nothing on screen.
- Paint in either view and the other keeps up. Work could be lost outright when a stroke landed while the two were re-syncing; they now share one path in and one path out, so a stroke can't be dropped between them.
- The 2D view takes touch: one finger paints, two fingers pan and zoom, and a pinch that hits the zoom limit no longer walks the canvas off-center.
- Drop or paste an image straight into the 2D view and it places onto the texture — position, scale, and rotate it before you commit.
- Brush and eraser now behave identically in both views. Two separate copies of that routing had drifted apart, and each was wrong in its own way.
New
Pay once, or pay less
- A perpetual license: $79, one payment, no renewal, no expiry. Export stays unlocked across every app at 4K and watermark-free, with 20 GB of cloud storage and twelve months of updates included. No AI credits — that's the trade, and it's what keeps it a one-time price.
- Subscriptions came down. Pro went to $6.99/mo, or $4.99/mo billed yearly; Max to $13.99/mo, or $9.99/mo billed yearly. (Both were repriced again on 28 August — see that entry for the current figures.)
- Teams are self-serve: buy seats from the pricing page, then invite members, set roles, add or drop seats, and open billing from your own team page. Each seat carries 150 AI credits a month.
- Local prices in nine currencies — euros, pounds, yen, Canadian and Australian dollars, reais, won, and pesos — hand-picked rather than converted at checkout, and rounded so no market pays more than the US price. If we guess your region wrong, the currency picker on the pricing page overrides it, and it carries through to checkout.
New
Mold: brush presets, and 22 new alphas
- Named brush presets: save a tool, its settings, its stamp tip, and how the stroke is delivered as one named brush, and pick it back out of a list. They persist, so a brush you tuned once is still there tomorrow.
- Twenty-two new sculpt alphas join the procedural tips — skin pores, wrinkles, leather, scales, fur, veins, bark, chainmail, rivets, greeble, hammered and tread plate, cracked earth, stone, cobble, weave, knit, quilting, filigree, and interlace. They double as paint stencils.
- Bring your own: drop in a grayscale image and it becomes a tip you can stamp, keep, and delete like any other.
New
Mixos for classrooms
- A classroom grant makes the paid features free for a whole roster for the term — 4K watermark-free export, a shared class library, and the assignment tools — with no cost, no card, and nothing to buy per student. One grant covers a named course and up to 200 students.
- Assignments are built in rather than bolted on. Post a brief with a due date and an optional starter model, and it appears for everyone on the roster. Students hand in from the editor, which freezes a snapshot of exactly what they submitted, so the deadline means something even though they keep working afterwards.
- Your class page shows the roster at a glance — who's handed in, who hasn't, who was late. Open any submission in a 3D viewer, spin the model, and return written feedback and a grade.
- Every project belongs to the student, not the class. When the term ends their account drops back to the free plan: nothing is deleted, nothing is locked, and the work is theirs to keep and to put in a portfolio.
- Apply from the Education page — it's a short form, and renewals are one reply to the approval email.
Improved
Make anything free; pay to take the files out
- One line now, and it's the same in every app: painting, sculpting, generating, baking, and saving are free on any account with no time limit — taking the files out is what Pro, Max, and the license are for.
- A free account still exports a 512px watermarked preview, so you can see exactly what you'd be getting before you pay for it.
- If you only need one job's worth of files, a single export unlock is $4, with no subscription.
Improved
Sharper paint, and a stencil brush
- Paint now authors at 2048 by default instead of 1024, scaled to the model, so strokes hold their edge when you zoom in. It's a setting — 1024, 2048, or 4096 — for machines that want more or less.
- A stencil brush: pin an image over the viewport and paint through it in screen space, the direct way to lay grime, panel lines, or lettering onto a surface.
- Re-sending a sculpt from Mold to Paint updates the project you already textured instead of starting a new one, even after you've revised the mesh.
New
Mold is free for everyone
- Sculpting is no longer a paid perk. Mold opens on any Mixos account — every brush, every subdivision level, dynamic topology, voxel and quad remeshing, masking, symmetry, multi-object scenes, and rigging — with no time limit and no watermark on your work.
- Send to Paint stays free too, so a sculpt can go all the way from blockout to textured without a subscription.
- Exporting the mesh — GLB, OBJ, or STL — is the paid step, on Pro, Max, and Team. It's the same line the rest of Mixos draws: make anything for free, pay when you need the file.
New
Node materials: build a surface from a graph
- A node editor now opens over the workspace: wire generators, filters, and blends together and the graph authors a layer's channels — the node way of building a material, without leaving Paint. Add a Node Material from the + menu, or pick Edit as Nodes on a material layer you already have.
- Around thirty nodes to start — noise and gradient generators, blur, levels, curves, hue/saturation, warps and mirrors, blend and height blend, normal-map tools, channel split and combine, and plain math — plus your mesh's own bakes (ambient occlusion, curvature, cavity, edge wear, slope) as inputs, so a graph can respond to the model it's sitting on.
- It stays live while you work: the preview refines as you drag a slider, settles to full resolution when you stop, and every node runs on the GPU.
- Publish the few knobs that matter — scale, wear amount, a color — as variables on the material: name them, group them into sections, set their order and narrow their range, and they appear on the layer's own panel, so a finished material can be retuned later without reopening the graph. Save any layer as a reusable material with its recipe kept (it reopens editable) or dropped (it ships as flat maps).
- What comes out is an ordinary layer: masks, blend modes, height blend, per-part stacks, and export all work on it exactly as before. Node materials are free, on every account.
New
Emissive, opacity, and transmission channels
- Three new channels join base color, normal, height, roughness, and metallic. They're switched on per layer, so a project only carries — and only exports — what it actually uses.
- Emissive makes a surface glow on its own. Paint it, or set one flat color for the whole layer, and stack it with Add or Screen like any other blend.
- Opacity cuts holes: leaves, grates, chain-link, torn edges. Exporting to glTF or GLB packs it into the base color's alpha, where the format expects to find it.
- Transmission carries light through glass and thin leaves. It shows in the Ray preview and travels with your exported map set — the fast raster viewport doesn't render it, so the per-part Glass toggle is still what previews live.
- Importing a texture set picks all three up from the filenames — emissive, emission, opacity, alpha, transmission, and the usual variants — the same way base color and roughness already worked.
Fixed
Steadier opens
- Opening a model that needs its UVs unwrapped now shows real progress instead of an unexplained wait.
- Fixed the intermittent black viewport — the 3D view could come up empty, with no error, on any of the apps.
- Bake settings lost their advanced panel: the maps bake at the settings that were right anyway, with one less screen between you and the result.
New
Mold: sculpt in the browser
- Mixos is now four apps — Mold joins Paint, Blend, and Auto. Push, pull, smooth, pinch, and crease a mesh on the GPU, with multiresolution subdivision, dynamic topology, and voxel or quad remeshing when the surface needs fresh topology.
- Build a scene, not one blob: multiple objects, primitives to start from, mirror and radial symmetry, masking, decimate, per-object materials, matcaps and cavity shading, and reference images pinned per view.
- Rig it in place — set bones on the sculpt, bind, pose, and refine the result by painting weights.
- Send to Paint hands the sculpt straight to the texture painter, and re-sending updates that same project instead of piling up copies.
- It runs on iPad and phones with a touch-first layout and Apple Pencil pressure. Mold is in early access, included with Pro, Max, and Team.
New
Mixos on your phone and iPad
- The Paint editor now opens on phones and iPads — pick a material and paint right from your pocket. It's rebuilt for touch, with a bottom dock and slide-up panels in place of the desktop side rails.
- Paint with one finger and rotate or zoom the model with two — direct and physical, no tool juggling.
- It loads faster: the 3D viewport and its GPU engine warm up while the workspace opens, heavy panels load only when you tap into them, and the huge material catalog streams in a screen at a time so browsing never stalls.
- Tuned to stay well within a phone's memory so long sessions stay stable, with menus that open and scroll smoothly instead of stuttering.
- Desktop is still where the finest mouse-precise work happens — a light in-app note points you there — but the whole editor now travels with you.
New
Path-traced preview: see your material in true light
- A new Ray toggle in the viewport switches to a progressive path-traced render of the current view — real bounced light, soft shadows, and glossy reflections on the exact material you're editing, no export needed.
- It refines in place: the image sharpens as samples accumulate, and any camera move restarts it instantly. Pick Fast, Balanced, or High quality to match your GPU.
- Optional depth of field with a physical thin-lens camera — set the f-stop and focus for product-shot style close-ups.
- Painting metallic without a roughness map now reads as polished metal, and switching roughness on later keeps that look — the polish is baked into the new channel instead of snapping away.
New
Live Link: paint straight into Blender, Cinema 4D & Unreal
- The desktop app now streams your material into Blender, Cinema 4D, or Unreal while you paint — a Live Link button sits right in the toolbar, and Auto Sync re-sends whenever the material changes.
- Setup is one click: the app finds your Blender or Cinema 4D install and drops the plugin in place — restart the DCC and the link connects itself. (Cinema 4D users installing by hand get a one-file installer that runs from the Script Manager.)
- Blender is fully two-way: press Send to Mixos in Blender's sidebar to texture a model here, and your maps land back on the same object.
- Built-in primitives now arrive in your DCC with the exact UVs the maps were painted on — no more flipped textures on spheres and cubes.
New
Clone tool
- A clone stamp for textures: Alt-click a source point on the mesh and paint — pixels copy from there, following the surface. Press S to pick up the tool.
- It copies the full material, not just color: roughness, metallic, and height come across from the source too, with per-channel toggles for what the stamp carries.
- Great for erasing seams, logos, and scan artifacts, or repeating detail across a surface without retiling.
Improved
Faster bakes, smoother strokes
- The heavy bakes — ambient occlusion, curvature, and edge wear — now spread across every core on your machine instead of grinding through one at a time.
- Brush strokes hold on to the composited result underneath the layer you're painting, so deep layer stacks stay responsive mid-stroke.
- Fixed the stall at the end of a paint stroke: saving the stroke now waits for a pause in what you're doing instead of landing mid-orbit.
New
Mixos for Mac
- Mixos is now a native Mac app — the same live editor, without the browser's ceilings. Bakes use every core, caches can run to gigabytes, and height-map inference runs on the Neural Engine at around 7× the in-browser speed on Apple Silicon.
- It works offline: keep painting with no connection, and optionally download the whole material and model catalog so browsing assets never waits on the network. Projects sync back to your cloud library once you're online again.
- The app updates itself in the background, and one account covers both — your projects, credits, and libraries are the same in the app and in any browser.
- Head to the Download page to install it. A Windows build is coming soon.
Improved
Blend modes on paint layers, and a real base color
- Paint layers now get the same blend-mode control as material and decal layers, and the mode list grows from 4 to 14 — Darken, Lighten, Add, Subtract, Difference, Exclusion, Color Dodge, Color Burn, Soft Light, and Hard Light join the originals.
- Base color now sets the actual albedo rather than just tinting the viewport clay — pick a color and it composites and exports like any other base.
- Flip normals per object, for imported meshes that arrive inside-out and render dark or see-through.
- Importing a model now shows real progress while its embedded textures load, instead of sitting at 100% until they're done.
Improved
Drag and drop, everywhere you'd reach for it
- Drop a library material or mask straight onto a specific layer row, instead of onto the viewport and hoping the right layer was selected.
- Drop image files directly onto a channel slot — base color, normal, roughness — or onto the mask panel to become the mask.
- Drag an HDRI onto the viewport to light the scene, and reorder Blend's layer rows by dragging, the same as the main layer stack.
New
Decals: drop a logo onto the surface
- Place an image — a logo, label, sticker, or a bit of text — straight onto the model, and it projects onto the surface, wrapping to the geometry instead of floating over it.
- Position, rotate, and scale it live in the viewport. It bakes into the exported map set like everything else, so the decal travels with the material.
- Dragging a decal around now stays smooth on dense meshes — it previews as you move and settles to a crisp result the moment you let go.
New
Community library
- AI generations from free accounts now publish anonymously to a shared Community library — materials, textures, decals, and weathering masks that everyone can browse and apply without spending credits.
- Nothing identifying travels with them: no account, no prompt.
- Generations on Pro and Max stay private — private generations are now part of the paid plans.
New
Three apps, one studio
- Mixos is now a suite of three apps: Paint (the full 3D texture-painting editor), Blend (the material mixer), and Auto (AI auto-texture) — each with its own home, sharing one document format.
- The top plan formerly called Studio is now Max. Same price, same credits, same features — only the name changed.
New
Smart masks, generated from the mesh
- New mask generators read the geometry itself — ambient occlusion settling into crevices, curvature riding the edges, and a top-down gradient — so wear and dirt land where they naturally would, without hand-painting.
- A gradient-ramp editor shapes any of them into exactly the falloff you want: drag stops to run rust along an edge or push grime into the cracks, then feed the result straight into a layer's mask.
- Drop a mask from the library onto a layer to blend two materials by shape, no manual selection needed.
New
Export plans now in effect
- The beta's free full-resolution export has wrapped up. Free accounts now export a 512px, watermarked preview — enough to check how a material reads.
- Full-resolution (4K), watermark-free PBR map sets are part of Pro and Studio.
- The full editor — paint, mask, bake, and live preview — stays free forever.
New
Paint in 2D, side by side with 3D
- A new 2D view flattens your model into its UV layout and lets you paint straight onto it — perfect for the precise edges, text, and seam cleanup that are fiddly on the curved 3D surface.
- Work split-screen: paint in either view and the other updates live, so you can rough a stroke in 3D and refine it flat, or the other way around.
- Masks paint in 2D too — the same brushes and the same layer stack, with no separate mode to learn.
New
Team plans
- Mixos now has team plans: add seats for your studio and bill them together, with everyone working under one subscription.
- Credits are pooled — the whole team draws AI generations from a single shared allowance instead of juggling separate per-person limits.
- Share one library across the team, so materials, models, and projects live in a place everyone can reach.
New
Bring your own 3D models
- Drop a .glb or .gltf onto the viewport and texture it like any built-in model — your mesh, your UVs, painted and baked right here.
- Models that arrive already textured come in as editable layers, split per part, so you can keep the original look and paint over it or peel it back a channel at a time.
- Compressed geometry is handled natively — Draco and meshopt meshes decode on load, so scans and game assets import without a converter.
- Very heavy meshes get an optional one-click optimize on import, so a multi-million-triangle model still paints smoothly.
New
Height Blend for stacked materials
- Switch on Height Blend for a material layer and it interlocks with the layer below by their height maps — the taller material shows, the lower one settles into its low spots (gravel into sand, worn paint breaking along edges).
- Contrast sets how sharp the seam is; Opacity stays a separate, overall fade.
- Works at any opacity, on any material layer with a height map stacked over another.
New
Mixos is in beta — full-res export is free
- Mixos is now in public beta.
- For the beta, full-resolution (4K), watermark-free PBR map export is free for everyone — no subscription needed.
- AI generation still runs on credits; Pro and Studio raise your monthly allowance.
New
Free browser tools for PBR maps
- A set of free, no-signup tools that run entirely in your browser: make a texture seamless, generate a normal map from a photo, and check any tile for visible repeats.
- Pack and unpack texture channels, preview a full PBR set on a lit sphere, flip a normal map's green channel, and turn a single image into a starter material.
- Nothing uploads — every tool processes on your own machine, so it's instant and your images never leave the page.
New
Plans, pricing, and cloud projects
- Introduced Free, Pro, and Studio plans — the full editor stays free forever.
- Pro and Studio unlock 4K export, more AI credits, higher-resolution material generation, and cloud storage.
- Sign in with Google or an emailed link to sync projects across devices.
New
One-click Auto-Texture
- Auto-Texture analyzes your mesh and applies a complete, editable PBR look in a single click.
- Every result lands as real layers and masks, so you can keep painting from there.
New
AI material generation
- Turn a text prompt into a tileable PBR material — base color, normal, roughness, and more.
- Generated materials drop straight into the layer stack alongside the library.
New
Free CC0 texture library
- Browse and use a growing library of free, commercially usable PBR materials.
- Filter by category — bricks, wood, stone, metal, fabric, and more.
Improved
Faster WebGPU viewport
- Reworked the render path for smoother 60fps painting on large meshes.
- Lower memory use when working with 4K texture sets.