Draw · Paint · Carve · Animate

Paint with real materials.

Thick acrylic that keeps every bristle mark. Pigments that mix the way paint does. Glass that bends the light behind it. In FUSION: Canvas every stroke is a material, on any surface, even on a 3D object.

See what it can do Paint on objects

The FUSION: Canvas workspace: a brush and material library on the left, a painting of coral and teal acrylic with gold accents and a liquid-glass stroke in the centre, and the material inspector with layers on the right. — The FUSION: Canvas workspace. Every image on this page is a real capture or render from the app.

Final render

Render it for real.

While you paint, Canvas shows a fast, lit preview. When the piece is ready, press Render. Light is traced through every bead of glass and gathers where the glass focuses it, shadows soften, highlights glow, and the picture is rendered at high resolution and smoothed. Save it as a PNG, ready to print or share.

Final render of the painting: coral and teal acrylic with gold strokes and droplets on textured paper, and a thick loop of clear liquid glass that magnifies the paint beneath it and casts a soft shadow. — A final render from FUSION: Canvas.

Close-up of the liquid glass loop: the teal and coral bristle marks beneath it are magnified, light gathers on the paint under the glass, and the studio lights reflect as bright streaks.

Glass that bends the light

Clear glass magnifies the bristle marks beneath it, splits a hint of colour at its edges and gathers light onto the paint, the way a real glass rod does.

Final render of the painted vase on a dark studio backdrop, with coral and teal paint and liquid glass wrapped around its body.

Objects, studio-lit

Render a painted object from any angle you choose, on a studio backdrop with its own shadow.

Paint that behaves like paint

Mix pigments, not pixels.

Colours mix the way real pigments do. Ultramarine and cadmium yellow make green, not grey. A touch of titanium white lifts a colour the way it does on a real palette.

Two mixing ramps: ultramarine into cadmium yellow passing through greens, and ultramarine into titanium white turning sky blue, each shown above a flat colour blend that turns grey. — Pigment mixing (upper row of each pair) against a simple colour blend (lower row).

Wet paint stays wet

Paint into wet paint and the colours blend where they meet. The brush picks colour up and drags it along in streaks that follow its bristles. When you are happy, dry the painting and keep working on top.

Blue strokes dragged through wet yellow turning green and carrying streaks, the same stroke over dried yellow staying blue, and white dragged through wet blue.

Nine teal strokes from fine to coarse bristles and from soft to stiff bristles.

Brushes you can feel

Flat, round, filbert, rake, detail and dry brushes. Tune each one from fine to coarse bristles and from soft to stiff. Strokes taper and swell with your pen or your mouse.

A dry-brush stroke breaking up on the paper texture, a rake stroke, a loaded stroke, and copper, nickel, aluminium, brass and silver strokes.

Dry brush, splatter and metal

A dry brush skips across the paper's texture. Splatter flicks droplets off the end of a stroke. Copper, nickel, aluminium, brass, silver and gold catch the light like the real thing.

Choose what you paint on

Anything can be a canvas.

Paper, primed canvas, a wood panel, polished copper, brass, steel, aluminium, white plastic or glass. Each surface has its own texture and its own response to light, and your paint sits on top of it.

The same coral, teal and gold paint on nine surfaces: paper, primed canvas, wood panel, copper, brass, steel and aluminium plates, white plastic and glass. — The same three strokes on nine surfaces.

FUSION: Canvas with the painting on a brushed copper plate that reflects the studio light. — The same painting on a brushed copper plate.

Carve, engrave and etch

Cut into the surface.

Choose a V-bit, round-nose or flat bit and carve. Each material answers in its own way. Routed wood shows fresh, lighter fibres. A V-bit engraves bright lines into metal, while etching leaves a matte floor. Glass and plastic frost white.

Scratch through wet or dry paint to reveal the surface beneath, the classic sgraffito technique, or paint into a groove after you cut it.

Grooves carved with three bits into wood, copper, steel, glass and paper, with a scratch cut through teal paint on each. — Three bits on wood, copper, steel, glass and paper, with sgraffito through paint.

Final render of a leaded rose window: ruby and gold lancets with painted veins and emerald roundels on cobalt glass, a violet band and a ring of roundels, set among pale glass diamonds through which a garden, bare branches and the sun show blurred. — A rose window, final render.

Stained glass

Light from behind.

Put window glass behind your work and daylight shines through it: sky, sun and trees beyond, blurred and bent by the glass. Ruby, cobalt, emerald, amber, gold and violet glass glow with colour, lighter where the sheet is thin and deeper where it is thick. Lead came frames every piece, and dark glass paint adds veins and line work.

Choose a texture for each glass: hammered, seedy with tiny bubbles, rippled, reeded, granite, glue-chip or streaky. Each one bends the light coming through it.

Objects as canvases

Paint the vase, not a picture of it.

Wrap your painting around a vase, bottle, sphere, cylinder or box, then turn it and keep painting right on the object. Strokes follow its curves and carry on cleanly around the back.

Load your own 3D objects too. Their texture layout becomes your canvas, so every brush, material, surface and carving tool works on them.

FUSION: Canvas Object view showing the coral and teal painting wrapped around a vase. — The Object view: the painting wrapped on a vase.

Animate the material

Make the surface part of the motion.

Draw frame by frame, or animate what is already there. Let gold rise through a surface, change a glass stroke's thickness over time, and keep every change editable on an artist-friendly timeline.

Every stroke stays editable

Change a material after the paint is down, adjust thickness, rotate the grain or move a stroke. Shared materials update everywhere they are used.

Layers and history

Layers with live thumbnails, undo for every gesture, and recovery that keeps your work safe.

See it in depth

Switch between colour, height, surface normals, the lit material preview and the object view while you work.

Wherever you create

Windows, FUSION: OS and Android.

A native application built for drawing tablets, pens, fingers and mice, with an interface that adapts from a phone to a large studio display.

Pen pressure, finger painting with palm rejection, and mouse strokes that taper naturally
The same artwork files on every platform
Part of the Fusion creative world, alongside FUSION: Interact, the FUSION 3D Editor and FUSION: 3D Engine

FUSION: Canvas with the painting on a wood panel. — Painting on a wood panel.

On the horizon

Where FUSION: Canvas is heading.

We are building toward a studio where anything can be painted, printed and shared.

Printmaking

Carve a linocut or etch a copper plate, ink it and pull a print.

Time and patina

Watch copper turn green, steel rust and varnish age, then restore it.

Scripting and AI

Automate and generate artwork with Solerra, Fusion's language, with AI that writes scripts you can read and change.

Materials for 3D

Paint materials and objects for the FUSION 3D Editor and FUSION: Interact.

Real brushes and pens

Physical brush and felt-tip pen tools that tell Canvas how you hold and press them.

Made real

Send carvings to a router or laser, and print paintings with raised texture.