Paint — 3D texturing

Free 3D texturingsoftware, online.

Paint layered PBR materials straight onto your 3D model — brush the detail, isolate it with smart masks, drop on decals, and export 4K map sets for any engine. Nothing to download, on any machine with a modern browser.

Open Paint How it compares to Substance Painter

Free to use — texture as much as you like. Exporting the maps needs a paid plan.

Layers & masks
Smart materials
Decals
4K PBR export
Live 3D preview

A carved wooden elephant being hand-painted in Mixos Paint: a soft brush lays a green stroke across its flank, with the paint layer sitting above the base material in the stack and a panel exposing the brush's colour, opacity, flow and per-channel paint settings. — Colour, height, roughness & metallicPainted right on the mesh

The toolkit

Paint, layer, and mask — the way you texture.

Not a filter stack and not a preview — the tools a finished texture actually needs, every one of them non-destructive and every channel still editable at export.

Painting in Mixos: the brush rail beside a marble bust in the 3D view, with its UV sheet open alongside

Paint on the model

Brush detail straight onto the mesh — brush modes, alpha stamps and projection painting that carries across UV seams, for both the texture and the masks that place it.

The layer stack in Mixos, with a base material layer, its blend mode and opacity, and the UV sheet beside it

Stack blendable layers

Non-destructive layers with blend modes, opacity and per-channel toggles. Paint colour, height, roughness and metallic independently, and reorder or switch any layer off at any point.

The Masks tab of a material layer in Mixos, where the mask that carves the layer is built

Smart masks

Procedural generators place wear where wear happens — edge wear, curvature, grime and cavity masks driven by the geometry, with amount, edge size, contrast and chipping as sliders rather than brushwork.

The built-in PBR material catalogue in Mixos, browsable by category with live sphere previews

2600+ PBR materials

Drag a ready-made material onto the stack — metal, wood, stone, fabric, leather — then tune tiling and roughness. Import your own the same way: drop a folder, or a whole library, and the maps sort by filename.

The stamp tool selected in Mixos, ready to place a decal on the model

Decals & stencils

Drop logos, warning signs and stencils onto the surface and place them with an on-mesh gizmo — move, scale and rotate against the geometry rather than against a flat UV sheet.

The generate panel in Mixos, which makes a tiling PBR material from a written description

Generate what you need

Prompt for a complete tiling PBR material, a seamless texture, a weathering mask, a brush tip or a decal — every channel a real map you can edit, not a flat image baked into the colour.

Where the realism comes from

Wear that follows the geometry.

The difference between a flat material and a used object is where the edges have rubbed and where the grime has settled. Both are generators here, driven by the mesh itself — so they stay right when you change the model underneath.

A wooden table in Mixos Paint with a Brown Mud Rocks smart material masked to its worn edges: the Masks panel exposes an Edge Wear generator with amount, edge size, contrast, chipping and crevice controls, stacked over a hand-paint layer. — Edge wear, grime & curvature — procedural

A red barrel in Mixos Paint with a faded warning-sign decal being placed on its surface via an on-mesh transform gizmo, with the decal's size, source and colour controls in the panel and a community decal library on the left. — Decals, logos & stencils — placed on the mesh

The workflow

From bare mesh to exported maps

The Mixos editor before anything is loaded, offering an import or a ready-made surface to start from — Bring a model
Import GLB, glTF, FBX or OBJ, pull one from the free CC0 model library, or send a sculpt over from Mold with fresh UVs already on it.

A base material laid over the imported bust, showing as the bottom entry of the layer stack — Lay down a base
Drag a material onto the stack for an instant layered base, or auto-texture the whole mesh from a prompt and refine on top of the result.

Painting over the base layer on the model, with the brush tools in the rail alongside — Paint and mask
Brush in the detail that makes it yours, then isolate it — colour-ID selections for parts, procedural generators for wear, hand-painted masks for everything else.

The bake and unwrap pipeline in Mixos — unwrap UVs, choose a resolution, bake the map set — Export the maps
Organised PBR map sets up to 4K plus a .glb, named for the engine you are heading into. Painting is free; exporting the finished maps is on a paid plan.

Into your pipeline

Standard maps, named the way your engine wants them.

Base colour, normal, roughness, metallic, height and opacity, plus baked ambient occlusion and curvature, and a .glb with the materials already attached — up to 4K. Presets pack and name the channels for each target, so the set drops in without a rename pass.

The channel switcher under the Mixos viewport — base colour, normal, height, roughness and metallic, each previewable on the model on its own — Every channel previews on the model on its own, so you can see what each map is doing before it leaves.

BlenderUnrealUnityGodotCinema 4DMayaHoudiniglTF

On the free desktop app there is a Live Link that streams your maps into Blender, Cinema 4D or Unreal while you paint — no export loop at all.

Material library

Start from 2,669 ready-made PBR materials.

Bricks, concrete, metal, wood, stone, fabric, leather and more — each a full PBR set. Drag one onto the stack, dial in tiling and roughness, or use it as a base to paint and weather over. Bring your own the same way: drop in a material folder, or a whole library of them, and the base colour, normal, roughness, metallic and height maps are sorted by filename.

Wood377
Stone244
Metal229
Tiles228
Ground220
Paving205
Bricks202
Fabric147
Concrete132
Asphalt90
Leather54
+8 more

AI generation

Describe it. Get something you can actually edit.

Every generator hands back a working asset, not a picture of one — and everything below is a real, unretouched generation.

a weathered brass diving helmet with rivets and a cracked glass porthole — generated as a 3D model from that prompt and shown in the Mixos viewport with its generated PBR textures applied. — 3D model
a weathered brass diving helmet with rivets and a cracked glass porthole
A textured, UV-unwrapped .glb — paintable the moment it lands, its generated maps already broken out as editable layers. No re-unwrap, no blank canvas.
“High detail” tier (Pro) · 180s

The base color map of the generated material — PBR material
oxidised copper roof panel with green verdigris and rain streaks
One prompt, five real maps — not one image with the other four guessed from it. It exports as a standard map set for Blender, Unreal, Unity and C4D, and lands in the node editor as five wired nodes, so the roughness can go through a Levels or the albedo blend with grunge.
Five 1024² channels · 150s

The normal map of the generated material — PBR material
oxidised copper roof panel with green verdigris and rain streaks
One prompt, five real maps — not one image with the other four guessed from it. It exports as a standard map set for Blender, Unreal, Unity and C4D, and lands in the node editor as five wired nodes, so the roughness can go through a Levels or the albedo blend with grunge.
Five 1024² channels · 150s

Seamless texture generated in Mixos from the prompt “cracked desert clay with dried mud plates” — Also from a prompt
Textures tile on all four edges, masks drive where a layer shows through, and brush alphas and decals stamp straight onto the mesh — each from one prompt, each landing as something you keep editing rather than a flat picture.

Weathering mask generated in Mixos from the prompt “heavy edge grime and dust buildup” — Also from a prompt
Textures tile on all four edges, masks drive where a layer shows through, and brush alphas and decals stamp straight onto the mesh — each from one prompt, each landing as something you keep editing rather than a flat picture.

Only generation spends credits — painting, layering, masking, baking and live preview never touch them. Every plan can generate, and a free account starts with a trial pool; Pro and Max add 2K materials and the two highest-fidelity 3D engines.

Mold ↔ Paint

Change the sculpt after you've textured it.

Texture a model in Paint, send it back to Mold, reshape the base — and the texture comes back exactly where you left it. Mixos carries the UV mapping across instead of re-projecting the paint onto the new surface, so your layers are never resampled and never drift. The tenth trip costs what the first one did.

Layers return byte-identical
Nothing is reprojected
Full density comes home
Multi-part models too

A marble bust in Mixos Paint wearing a layered brick material, the brick courses running unbroken across its face, shoulders and plinth, with the layer stack showing the material above the mesh's own base material. — Paint — textured

The same bust in Mixos Mold after sculpting has reshaped its base geometry. The brick courses have deformed with the new surface rather than sliding across it — every brick still sits on the part of the face it started on. — Mold — base reshaped

Node materials

Build a material out of nodes.

Wire noise, warps, levels and blends into a graph and it authors every PBR channel at once, evaluated on your GPU as you drag a slider. Feed in your mesh's baked maps and the wear lands where the geometry says it should. Then publish the handful of parameters that matter as variables on the layer, so the finished material stays adjustable without reopening the graph.

~30 nodes
Mesh maps as inputs
Published settings
It's just a layer

The Mixos node editor: a searchable node library on the left, a graph wiring a Billow Noise generator through Normal from Height into the Material Output's Base Colour, Normal, Height and Roughness inputs, and the resulting concrete material previewed live on a 3D sphere beside the Published Settings panel.

Path-traced preview

Path-traced preview.

The Ray toggle switches the viewport to a progressive path-traced render of the frame you're editing — bounced light, soft shadows, and glossy reflections across your whole layer stack. It refines in place while you tune quality, exposure and depth of field.

Progressive — refines in place
Fast / Balanced / High quality
Physical depth of field

A brass oil lantern rendered live with the Mixos Ray path-traced preview — its glass, metal and inner glow lit entirely by the environment — beside the Ray Render panel with Fast, Balanced and High quality presets, sample count and denoise controls.

Live Link · desktop app only

Live Link to Blender, C4D and Unreal.

In the free desktop app, Live Link sends your maps to Blender, Cinema 4D, or Unreal each time they change — no export, no upload. With Blender it's two-way: send a model over, texture it, and the maps come back to the same object.

Desktop app only
One-click plugin install
Auto Sync on every change
Two-way with Blender

Desktop app · Live Link intoBlenderCinema 4DUnreal

Mixos

Blender

Synced

The whole pipeline

The rest of the suite works on the same model.

A sculpt from Mold arrives here with fresh UVs. A scene assembled in Studio comes back textured. Blend authors the tiling materials you stack, and Auto lays down a first pass for you to paint over.

The Sculpt in Mold button in the Mixos editor's top bar, beside a layer stack holding a paint layer over a base material — The handoff is a button, not an export dance — the model goes across with its layers intact and comes back changed.

Mold — 3D sculpting Studio — modeling & animation Blend — material mixer Auto — AI auto-texture

Any device

Texture on the machine you already have.

Paint’s engine is the browser’s, so there is no build to pick, no installer to run and no minimum spec beyond a browser that provides WebGPU. Save once and the project syncs to your account, so the same texture opens everywhere you sign in.

Mixos painting on a phone: a full-bleed 3D view of a marble bust with the channel switcher and a Layers / Assets / Mesh / Properties / View dock along the bottom

Mac, Windows, Linux

Chrome, Edge, Arc or Brave, plus recent Safari. A mouse and keyboard, or a Wacom tablet for pressure-sensitive brushes.

iPad

A touch-first layout where the panels reflow into slide-up sheets, with Apple Pencil pressure and tilt driving the brush.

Android

Phones and tablets on a current Chrome. No sideloading, no separate build — the same tab and the same project.

Chromebook

Texturing on hardware that cannot run desktop packages at all, as long as ChromeOS provides WebGPU.

On iPhone and iPad, there’s an app now.

Paint ships inside the free Mixos app, with a touch and Apple Pencil layout — and the browser still needs nothing installed. iOS 18 or later.

Download on the App Store

Common questions

What do I need to run Paint?

A browser with WebGPU — current Chrome, Edge or Safari on Mac, Windows or Linux. There is nothing to download, no plugin and no license server. Paint also runs on iPad and phones with a touch-first layout, including Apple Pencil pressure.

Is Mixos Paint a Substance Painter alternative?

For the fundamentals, yes — painting straight onto the mesh, non-destructive layers, blend modes, colour-ID and procedural masks, smart materials, decals, baked mesh maps and 4K PBR export, all in a browser tab. Substance Painter goes deeper for large studio pipelines; Paint trades that depth for zero install, a free tier that actually textures, and a lossless round trip back to sculpting that Substance Painter cannot do at all.

Which texture maps does it export?

Base colour, normal, roughness, metallic, height and opacity, plus baked maps like ambient occlusion and curvature, and a glTF (.glb) with the materials already attached. Presets name and pack the channels the way Blender, Unreal, Unity, Godot, Cinema 4D, Maya and Houdini each expect, so the set drops straight in.

Can I bring my own models and images?

Yes. Import your mesh as GLB, glTF, FBX or OBJ to paint and bake on it, and bring photos or scans in as material sources. You can also drop in an entire existing PBR material library and Paint sorts the maps by filename.

What happens to my texture if I change the model after painting it?

It survives. Send a textured project back to Mold, reshape the base, and the texture returns byte-identical — Mixos carries the UV mapping across the trip rather than re-projecting your paint onto the new surface, so nothing is resampled however many times you go back and forth. If you re-unwrap the model while the sculpt is out, or change the topology so far that the old mapping no longer describes it, Paint rebuilds the project instead — and duplicates your original first, so the texturing is never lost either way.

Do I need clean UVs before I start?

No. Triplanar projection lays materials down seamlessly on a mesh with no usable UVs at all, so you can start painting the moment the model loads. When you do want proper UVs, Paint unwraps the mesh for you and has a UV editor for tuning the islands.

Is Mixos Paint free?

Painting is free. Open the editor and texture as much as you like — every brush, layer, mask, smart material and the whole material library, with no time limit and no watermark on the work in your viewport. A free account also includes a one-time pool of trial credits for the AI generators. Exporting the finished texture maps is part of a paid plan.

What are AI credits used for?

Only AI generation spends credits, and what each one costs tracks what it costs us to run. A decal, weathering mask or brush tip is 1 credit; a seamless texture or a full PBR material is a few, and native 2K materials a little more. An auto-texture pass and 3D model generation are the priciest — 4–16 credits for a model depending on the generator. Everything else — painting, layering, masking, baking and live preview — is always free and never touches your credits.

Is there a desktop app?

Yes — Mixos for Mac is a free download, with Windows coming. It is the same editor in a native shell that lifts the browser's limits: bakes on every core, native ML inference, full offline support, and a Live Link that streams your maps into Blender, Cinema 4D or Unreal while you paint, with no export loop at all. One account covers the app and any browser.

Keep exploring

The getting-started manual Online texture painter Substance Painter alternative Paint vs Substance Painter PBR texture generator PBR material editor Texturing for Blender Unreal Engine textures Unity textures Texturing on iPad Free PBR textures Free CC0 3D models Pricing

Start texturing

Paint opens on a WebGPU-capable browser with nothing to install. Bring your own mesh, or start from a free CC0 model.

Open Paint Get the desktop app