The Mixos manual

Mixos is a 3D texturing studio that runs in a browser tab. You import a model, light it, paint and layer physically based materials in real time, and export clean map sets for Cinema 4D, Blender, Unity, Unreal, Arnold, V-Ray and more — no install, no drivers, no upload wait.

This manual covers the whole studio, chapter by chapter: the interface and viewport, then your model, layers, materials, painting, masks, decals and the AI tools, and finally exporting and sharing. Each section opens with the idea in plain language, shows you the actual panel you'll use, and calls out the smaller controls worth knowing. Read it top to bottom the first time; afterwards each section stands on its own.

Mixos renders on WebGPU, the modern graphics API built into up-to-date browsers. Any current Chromium browser — Chrome, Edge, Arc, Brave — on Windows, macOS or Linux works, as does recent Safari. There is nothing to install or keep updated by hand, and if your browser can't provide WebGPU the editor says so up front rather than failing quietly.

The same studio also ships as a native desktop app for macOS 12+ and Windows 10+, free from mixos.io/download. It is the identical live editor — same projects, credits and account — wrapped in a shell that lifts the browser's limits: bakes fan out across every CPU core, height-map inference runs on native ML hardware (the Neural Engine on Apple Silicon, DirectML on Windows), it works fully offline with an optional offline copy of the asset library, and it adds the Live Link that streams your material into Blender, Cinema 4D or Unreal as you paint (see Finish & share). The app updates itself in the background, so it is never a version behind the web.

The editor is a single screen. There are no separate windows or modes to switch between — everything you need is one click away, arranged around a live 3D viewport in the centre.

Top-left is the Layer stack, where every material, paint and adjustment pass lives. Below it, the dock switches between your Mesh (objects and the setup checklist) and the Library of materials, brushes and masks. The Properties panel on the right edits whatever is selected. Across the top runs the menu bar, and along the bottom, the status bar.

The status bar along the bottom reports the running state — your preview and export resolutions, the layer count, whether textures are procedural or AI, and a badge for the graphics backend in use.

The viewport is a live, physically based render. Orbit with a left-drag and zoom with the scroll wheel. By default the orbit pivot is locked to the model's centre, so press F to recentre on it at any time. Click the Pivot button to unlock the pivot: you can then pan with a right-drag (or middle-drag), the scroll wheel zooms toward your cursor, orbiting turns around whatever point you are inspecting, and a Frame button appears to snap back to the model.

Three display modes share the same scene. 3D is the lit model; 2D flattens the texture into its UV space so you can paint on it directly; Split shows both at once and keeps them in sync.

3D2DSplit

The lit, navigable model.

The channel strip beneath the viewport switches what you are looking at: the full PBR shade, or a single channel — Base Color, Normal, Height, Roughness or Metallic — on its own (keys 1–5; 0 returns to the full view). Any opt-in channels a layer has switched on (Emissive, Opacity, Transmission) join the strip too. It is a preview only and never paints; use it to inspect exactly what a map contains.

For a final-render look, click Ray in the view controls. The viewport switches to a progressive path-traced render of the current view — real bounced light, soft shadows and glossy reflections on the exact layer stack you are editing. It resolves from noisy to clean as samples accumulate, and any camera move restarts it. Because it reads the same material you're editing and changes nothing about your project, use it to judge roughness, metallic and height under true lighting, then toggle back to keep painting.

An HDRI environment lights the scene. Click the HDRI button (the globe icon) in the view controls to open the environment and display settings, then choose a preset to judge a material under the lighting it will ship in. Mixos ships around fifty HDRIs grouped into Studio & Indoor, Outdoor & Nature, Sunrise & Sunset, Night and Urban — with eight featured up front (Studio, Warehouse, Neutral, Outdoor, Golden Gate Hills, Sunset, Moonless Golf and Shanghai Bund) — or upload your own .hdr or .exr.

Exposure and environment intensity set how bright the lighting reads, Env Rotation spins the lighting and reflections around the model without swapping the HDRI, and you can show the HDRI as the background or keep a clean studio backdrop. The display sliders — brightness, contrast and saturation — tune the viewport only.

Mixos opens with a lit sphere and a default material, so you can start painting immediately. The Shape control in the view controls swaps the sphere for a cube, plane or cylinder when you just need a surface to test a material on. With the default material selected, its Properties include a Viewport Surface switch — a flat shaded colour or a UV checker, handy for judging a material's tiling and scale.

SphereCubePlaneCylinder

Start on a primitive to test a material, or import your own mesh. (Shown with a UV checker.)

To texture your own asset, open the Mesh tab and drag in a model, or click to browse. Mixos accepts GLB, GLTF, FBX and OBJ files up to 150 MB. If the file carries its own PBR textures, they come in too, as ordinary editable layers — a single base material when the object has one material, a masked layer per material slot when it has several, and a stack per part for a multi-part model — so you refine an existing look rather than start from zero.

Once a model is imported, the Mesh tab shows a guided Texture Setup checklist that walks you through preparing it: unwrap its UVs, bake its shape maps, then texture. Each step unlocks the next, and the following sections take them in order.

A texture needs a UV layout — a flat, non-overlapping map of the surface to paint onto. Mixos reuses the UVs already on your model when they are clean, and generates a fresh layout in one click when they are not. You don't unwrap by hand.

Unwrap to UV layout

Unwrapping lays the surface flat into non-overlapping islands — the map you paint onto. Mixos does it in one click.

For a multi-part model, a Texture layout choice appears: Combined packs every part into one shared atlas — a single texture set for the whole model — while Per-object gives each part its own 0–1 layout, baked and exported separately.

Baking reads the model's geometry into a set of maps — curvature, ambient occlusion, thickness and edge wear among them. These describe where edges, cavities and thin areas are, and they are what let smart materials and geometry masks place wear on edges and grime in crevices automatically.

Set the bake Resolution — 512 up to 4096, 2048 by default — to match your texture target, and pick a Quality preset: Preview for a fast look, Balanced for everyday work, or Final for the cleanest result before export. An Advanced panel fine-tunes how pronounced the wear and cavity detail are: AO Distance sets how far ambient occlusion reaches into recesses, Edge Width and Edge Scale control the spread and intensity of edge wear, and Curvature sets how sharply edges and creases read.

A model built from several parts keeps those parts separate. The Mesh panel's Parts tab lists every object; click one to make it active — the viewport outlines it and the Layer stack switches to that part's own layers, so each part is textured independently. A badge beside each name counts the layers it carries, and painting always lands on the active part.

Each row has an eye to hide the part, a solo button to isolate it while you work, a flip-normals toggle for parts that import inside-out (it reverses that part's surface normals so it shades and paints the right way round), and a frame button to zoom the viewport to it; Show All brings everything back, and the selection outline can be toggled from the panel header. If you'd rather treat the whole model as one surface, Combine fuses the parts into a single mesh with one unified unwrap — but it's destructive: it resets every part's layers to a fresh material and clears the baked maps, and it can't be undone, so Mixos asks first.

Texturing in Mixos is non-destructive: everything stacks as layers, top to bottom, and each one blends over the ones beneath. The add menu (the + at the top of the Layer stack, or the bar at its foot) offers every layer type.

A Material (fill) layer is a whole PBR material. A Paint layer is hand-painted strokes. Clone stamps pixels sampled from one part of the surface onto another. A Blank layer is an empty canvas to build up. Image to Material turns a photo into a material. A Decal stamps an image onto the surface. An Adjustment layer retunes everything below it. And a Group folds related layers together so you can move, blend and mask them as one.

Double-click a layer's name to rename it, and the ⋯ menu on each row holds Duplicate, Delete and, for groups, Ungroup, Flatten and Save as Smart Material — which snapshots the whole group into a reusable material in your library.

Every layer carries a blend mode and an opacity. Drag to reorder — higher layers cover lower ones — hide a layer with its eye while you work, and fold passes that belong together into a group with its own blend and opacity.

The blend mode sets how a layer combines with everything beneath it. Mixos offers the full set — twenty-six modes grouped as Normal, Darken, Lighten, Contrast, Comparative and Component — the same families you'd find in a 2D image editor. In practice a handful do most of the work: Multiply for dirt and shadow, Screen for dust and worn highlights, Overlay for punchy contrast.

Because nothing is flattened until export, you can return to any layer at any time and retune it without redoing the work above it.

When you stack two materials, switch on Height Blend on the upper one for a far more convincing seam. Instead of a flat crossfade, the layers interlock by their height maps — the taller material shows and the lower one fills its low spots, so gravel beds down into sand and worn paint breaks along a surface's relief. The Contrast slider sets how sharp that seam is; opacity stays a separate, overall fade, so the two controls never fight.

An adjustment layer corrects everything beneath it without touching those layers directly. It carries a stack of filters — fourteen in all — each present and neutral until you change it: Exposure, Brightness / Contrast, Levels, Curves, Color Balance, Hue / Saturation, Vibrance, Gradient Map, Invert, Posterize, Threshold, Blur, Sharpen and Warp. Enable the ones you want with the eye on each; the rest stay out of the way.

Filters can target specific channels — base color, roughness, metallic or height — so you can lift only the roughness or shift only the base-color hue; colour-only filters like Hue / Saturation and Gradient Map affect base color alone. Add a mask to the adjustment to confine the correction to part of the model.

Open the Library — the dock below the Layer stack switches between Mesh and Library, and the add-layer menu's Material entry lands there too — for a deep catalog of ready-made PBR materials: brick, concrete, stone, marble, tile, wood, metal, fabric, leather and more. Hover to preview, click to apply. Applied materials join your layer stack, where you can re-tint, rescale, reorder and blend them.

The three tabs at the top set what you're doing: Assets browses the catalog, Import brings in your own maps, and Generate makes new assets with AI. Within Assets, the source row switches between the built-in materials, CC0 Models, Smart materials, Masks, Decals, Brushes and HDRIs, plus Saved for your uploads and team-shared materials, Community for AI materials shared by other users, and Generated for everything you've made.

Every material layer can be retuned from its Properties without touching the source maps. In the Look section, per-channel sliders offset the Roughness and Metallic and scale the Normal strength, while the colour controls — brightness, contrast, saturation and a hue shift — re-tint the base colour. A library material turns glossier, more matte, flatter or warmer in seconds.

Every material layer has a Tiling control in its Properties. Raise it to repeat the material more times across the surface, lower it to make the detail larger — it is the quickest way to get the scale of a brick, weave or grain reading right for your model.

For finer control, open the UV Transform popover (in the 2D view's bottom bar, and in the layer's Look section). It flips the layer across U or V, rotates it — with 90° snap buttons — sets independent tiling on U and V, and nudges it with an X / Y offset, so you can line a pattern up exactly where you want it.

By default a material follows the model's UV layout. When the UVs are messy, or you simply want to drape a material over the surface without unwrapping, switch the layer's Projection mode. Planar lays it flat along one axis, Triplanar blends it from all three (ideal for rock, terrain and architecture), and Cubic, Cylinder and Sphere wrap it to those shapes. Triplanar adds a Blend Sharpness control for how tightly the three projections meet, and every projected mode has its own Projection Scale.

Smart materials are layered presets that read your baked maps, so edge wear lands on edges and grime gathers in crevices automatically — rusted iron, weathered steel, mossy stone, aged wood and dozens more, all under the Library's Smart tab. Applying one adds a group to your stack that you can open up and retune like any other layer.

A Color ID map splits the model into flat, distinct colour regions so you can mask by part — all the metal trim, all the rubber, all the glass — in one click. Generate an ID map from the model's own material slots or object groups (or upload your own), assign a material to each region, and Mixos builds a masked layer for each one. The Color ID controls live in the Mesh tab's Texture step, beside AI Auto-Texture.

Have a photo of a surface? Image to Material turns a single picture into a full, tiling PBR material — estimating base color, normal, roughness, metallic and height — and drops it onto your stack as a material layer. Find it in the add-layer menu, or press ⌘⇧I. It is the fastest way to match a real-world surface you have a reference for.

Generate maps

One photo becomes a full PBR set — base color, normal, roughness and height — ready to tile and edit.

A material is a stack of channels, each describing one physical property of the surface. Five are always present on every project: Base Color (the surface's plain colour), Normal (fine bumps that catch the light), Height (depth), Roughness (matte versus glossy) and Metallic (non-metal versus metal). These five are what the viewport shades with and what every export preset expects.

Three more are opt-in, switched on per layer in the Properties panel. Emissive makes a surface give off its own light — paint it, or set one flat colour for the whole layer — and it honours blend modes, so stacking a glow with Add or Screen works as you'd expect. Opacity marks where the surface is solid or see-through, for leaves, grates and torn edges. Transmission carries light through the surface, for glass and thin foliage.

Each opt-in channel can hold a full map or a single flat value. A layer that just needs to be forty percent see-through takes the flat Opacity slider; a leaf that needs a cut-out shape takes a map. A channel no layer has enabled costs nothing — no texture is allocated and it appears nowhere in the interface — so leaving all three off is the same as them not existing.

Importing a texture set picks the opt-in channels up automatically from file names — emissive, emission, opacity, alpha, transmission and the usual variants — the same way base colour and roughness are matched. On export they are written as their own maps, and Opacity is additionally packed into the base colour's alpha for glTF and GLB, which is where those formats expect to find it.

A node material builds a surface from a graph instead of a picture. Generator nodes make patterns, filter nodes shape them, blend nodes combine them, and the result drives every PBR channel at once. Because each step stays live, changing one number re-derives the whole material — which is what makes procedural surfaces worth building: brick whose grout darkens with occlusion, paint that chips along edges, rust that pools in the low spots.

Open one in two ways. Add Layer → Node Material starts a fresh graph, and any existing material layer offers Edit as Nodes in its ⋯ menu, which rebuilds that layer as a graph you can take further. Either way the editor opens full-screen over the workspace, with the node canvas in the middle, the library of nodes on one side and the selected node's parameters on the other.

The library covers the working set: fractal noise, cell patterns and gradients to generate from; blur, levels, curves and hue/saturation to shape; directional and domain warps to break up regularity; mirrors, blends and height blend to combine; normal-map tools, channel split and combine, and plain arithmetic. Wire any output into any compatible input and the preview updates as you go — it refines while you drag a slider and settles to full resolution when you stop.

The nodes that make a material feel like it belongs on your model are the mesh maps. Once the model is baked, its ambient occlusion, curvature, cavity, edge wear, slope, world position and world normal are all available as graph inputs — so 'dirt in the crevices' is a blend masked by occlusion, and 'worn along the edges' is a blend masked by curvature, placed automatically wherever those features fall on that particular mesh.

Published settings are the material's variables — the few knobs someone should be able to turn without opening the graph at all. Select a node and every setting in the inspector gains a small slider glyph in the gutter beside it; click one and that parameter is published. Published settings collect in their own panel under the inspector, where you can rename them to something a stranger would understand, group them into sections, drag them into the order you want, and narrow the range to the values that make sense for this material — a tile count that stops at 8 rather than 64. All of that is metadata: renaming a knob or reordering the list never changes a pixel, so nothing has to re-evaluate.

Back in the main editor, the layer's own panel shows those variables and nothing else — so a finished material reads as a handful of deliberate controls rather than a graph. Numbers, colours, toggles and dropdowns can all be published; curve and ramp editors stay inside the graph, since they're editors rather than single rows.

What comes out is an ordinary layer. It takes masks and blend modes, sits in the stack with your painted and library layers, participates in height blend, and exports in the same map set — there is no separate publish step. Save it to your library from the editor's header and the recipe travels with it, so it reopens as an editable graph on the next model rather than as flat baked maps.

Already have a PBR set from another tool or a marketplace? The Library's Import tab loads your own texture maps — base color, normal, roughness, metallic and height — as a material layer. Bring them in one at a time, or point at a folder and Mixos matches the maps by name.

When you want hand control, paint straight onto the model. A vertical tool rail down the left edge of the viewport holds the three brush tools — Paint, Clone and Mask — and stays visible the whole session. Select is the default tool: it orbits the camera and picks parts.

Add a paint layer and the brush toolbar appears across the top of the viewport. Size, Flow, Opacity and Hardness shape every stroke; the eraser (or the Paint / Erase switch) removes paint from the active layer. Strokes wrap around the surface in real time, and you can paint in 2D or Split mode to reach awkward spots.

The dynamics menu goes further. Smoothing steadies a shaky stroke, Spacing sets how densely the tip repeats, Scatter jitters it for organic speckle, and Angle and Size jitter randomise each stamp's rotation and scale for a more hand-varied result.

On a tablet, the pen-pressure toggle drives brush size and opacity together. Lock transparency confines strokes to what is already painted on the layer — shade a shape you have laid down without spilling over its edges. And the eyedropper picks up any colour on screen to paint with.

Choose which channels a stroke writes to — base color, roughness, metallic and height — so one pass can be just colour, just a roughness change, or all of them at once. Each enabled channel gets its own amount, and height is bipolar: paint it positive to raise the surface, negative to carve into it. Set the colour and a blend mode for the paint layer, and mask the layer to confine your work to part of the surface.

Turn on mirror painting to texture symmetrical models in half the time: press M to mirror your strokes across the X axis, or Shift+M for the Y axis, and every dab is echoed on the opposite side. It works for painting colour and for painting masks.

Most brush settings have a key, so you needn't leave the model. Use [ and ] to resize the brush and Shift+[ / Shift+] for hardness. Hold B (size) or O (opacity) and drag left or right in the viewport to scrub either one live. Press P to pick up the paint tool; once painting, B returns the brush to paint mode, E switches to the eraser, and X swaps between the two.

Beyond a round brush, Mixos has texture brushes and custom brush tips — stamp grime, scratches, fibres, lettering or any shape as you paint. Pick from the built-in tips in the brush toolbar (there are around twenty — edge scuffs, fine scratches, fingerprints, rain streaks and more), upload your own image as a tip, or generate a new brush tip or texture brush from a prompt in the Library's Generate tab. Anything you add joins your library, ready to reuse across projects.

The clone tool is a stamp for textures: it copies the surface from one place on the model to another, following the geometry as you paint. Pick it from the tool rail (or press S), Alt-click the model to anchor a source point, then paint — every dab samples from the source, offset by the same distance as your stroke, exactly like a clone stamp in a 2D image editor but wrapped around the mesh.

It copies the full material, not just colour: roughness, metallic and height come across from the source too, with per-channel toggles for what the stamp carries. Because every pixel is sampled rather than painted, there is no colour to set — just the usual brush controls and the channels you want the stamp to carry. Clone strokes land on their own Retouch layer, created automatically, so the fixes stay separate and can be masked, reordered or thrown away like any other layer.

A mask decides where a layer shows. White reveals, black hides, grey partially blends. Add a mask to any layer — material, paint or adjustment — and only the masked areas of that layer affect the surface. Masks are the key to a believable, layered surface rather than one flat texture.

A mask isn't a single image but a small stack of its own: each entry in the stack combines with the ones below by Multiply (keeps the overlap), Add (combines coverage) or Subtract (cuts it out), and each can be inverted. The preview shows the composited result, black-and-white, so you always know exactly where the layer will show.

Open a layer's Masks tab and pick a mask type. There are eleven to choose from, and they fall into three groups: hand-driven (Paint and Image), procedural (Noise, Gradient, Slope, Cavity and Curvature), and geometry-aware (Edge Wear, Mesh AO, Exposed Edges and Mesh Curvature) — the last group reads your baked maps, so it stays locked until you bake.

Whatever type you pick, a common set of edit controls keeps it in check: Invert flips what shows, Brightness and Contrast tighten or loosen the pattern, and a Levels panel sets its black and white points — so a mask rarely needs repainting to fit your model. Geometry masks add a Blur to soften their edges.

For full control, paint a mask by hand: brush white where you want the layer to show and black where you want it hidden, with the same size, flow and hardness controls as painting colour. Paint masks combine with the rest — start from a noise mask, then paint parts in or out.

The procedural types generate resolution-independent patterns you can dial in. Noise offers ten flavours — fBM, Voronoi, marble, wood rings and more — with scale, octaves and a seed. A Gradient mask is a directional ramp you shape with a multi-stop editor: click the bar to add a stop, drag it off to remove it, and set each stop's brightness.

Drive a mask straight from the geometry. Because Mixos baked curvature and ambient-occlusion maps, it can place a layer exactly on the model's edges (Edge Wear and Exposed Edges, for paint chipping and wear) or in its cavities (Mesh AO, for dirt and grime) — the same technique smart materials use, available on any layer you like. Edge Wear even has an Amount macro and a Chipping control to break the wear up naturally.

The mask library is full of ready-made grunge and weathering masks — dirt, grime, soot, dust, rust, scratches, scuff marks, fingerprints, moss and more — grouped by what they do: Dirt & Grime, Rust & Wear, Edges & Paint, Water & Stains and Organic. Drop one onto a layer and it instantly confines that layer to a believable, irregular pattern; tweak its scale and contrast to taste.

Need a specific pattern? Describe it and generate a black-and-white mask — a weathering pass, a splatter, a custom wear pattern — straight from a prompt, either from the box at the top of the mask library or from the Library's Generate tab. It saves to your library and applies to the selected layer, ready to scale and refine. Generating a mask costs one AI credit and needs you to be signed in.

Decals stamp an image — a logo, a sticker, a sign, a label — onto the surface without committing it to the texture. Choose Decal from the add-layer menu (or press D) and pick your own image, or generate one from a prompt in the Library's Generate tab; then move, rotate and scale it on the model with the on-mesh handles until it sits right. A small toolbar lets you lock the aspect ratio while scaling, restore the image's ratio, or reset the transform.

A decal is not limited to colour. In its Properties, Generate Maps derives normal, roughness, metallic and height from the decal's own image in one pass, so the sticker also embosses and glosses the surface — or swap in your own map for any channel for full control. A fresh decal starts as colour only, so a channel does nothing until it has a map.

Short on time, or after a starting point? Describe a look in plain language and AI Auto-Texture paints the whole model in a single pass. The result lands as ordinary layers you can keep editing by hand. You'll find it in the Mesh tab, as the Texture step of the setup checklist — it unwraps and bakes the model for you first if needed, so a freshly imported mesh is one prompt away from textured.

Open the Library and switch to its Generate tab to turn a prompt into reusable assets: a full PBR material, a texture brush, a decal, a weathering mask, a custom brush tip — or a variation of a material you already have. Pick what to create at the top of the panel, type a prompt, and generate; the result saves to your library for reuse across projects.

When the look is right, click Export at the top right of the menu bar to export a clean PBR map set. Pick your target and Mixos sets the correct normal-map convention and packing for you, then bundles everything into a ZIP that drops straight into your scene.

1. 1
   Choose a target — Renderers (Arnold, V-Ray, Octane, Corona), DCC & engines (Cinema 4D / Redshift, Blender / Unity, Unreal Engine) or Generic PBR for everything else. Unreal writes a packed ORM map (occlusion, roughness and metallic in one texture) and uses the DirectX normal convention; the rest use OpenGL.
2. 2
   Set format & resolution — 8-bit PNG for everyday use, 16-bit PNG, or floating-point EXR when height and normal need real precision — and 1024, 2048 or 4096. These pickers appear on a paid plan; the free plan exports a watermarked 512px preview.
3. 3
   Pick channels & options — Under “More export options”, tick exactly which channels to include, add a .glb of the mesh, and override the normal convention if your engine expects the other one.

For a model made of several parts, you can export one independent texture set per part or pack them into a single combined atlas with the UVs remapped into a grid — the choice appears automatically once Mixos detects a multi-part mesh in per-object mode.

Instead of sending files, share a link. From the export dialog, create a review link and anyone who opens it sees your textured model in their browser — spinning, lit, no account and no install required. It's the quickest way to get sign-off from a client or art director without an export-and-email round trip.

On the desktop app, you can skip the export loop entirely. The Live Link button in the toolbar streams your material straight into Blender, Cinema 4D or Unreal Engine while you paint: with Auto Sync on, your base color, roughness, metallic, normal and height maps land on the linked object a moment after every change — wired into a Principled BSDF in Blender, a Redshift Standard material in Cinema 4D, and a ready-made material graph in Unreal.

Setup is one click for Blender and Cinema 4D: open Live Link, click Install, and Mixos finds the install and places the plugin — restart the app and the link connects itself. Blender is fully two-way: press Send to Mixos in Blender's sidebar to bring a model over for texturing, and synced maps land back on that same object. For Unreal, drop the plugin folder into your project's Plugins directory once.

Editing never needs an account. Sign in with Google or an email magic link to save your project to the cloud, reopen it on any device, and unlock full-resolution export and the AI features.

You don't have to remember to save. Mixos autosaves your work to the browser a few seconds after you stop editing — kept separately from your named projects so it can never overwrite an explicit save — and if a tab closes unexpectedly it offers to recover the draft when you return. Press ⌘S (Ctrl+S) to save at any time; while you're signed in, your projects sync to the cloud so they follow you between devices.

Saved projects live in the dashboard, where each one can be renamed or duplicated. Duplicate before a risky experiment and the original stays untouched — a cheap way to branch a look and compare.

Mixos is quick once the keys are in your hands. These work whenever the editor — not a text field — has focus. On Windows and Linux use Ctrl where ⌘ is shown.