Daily Papers

Digital art generation has undergone a massive paradigm shift, moving from static image synthesis to dynamic video generation that can mimic the human painting process. While existing models can synthesize visually stunning time-lapses of paintings being created or "unpainted," they largely treat the creative process as a black box. Current conditioning mechanisms are either too rigid, relying on static geometric cues like Canny edges or depth maps, or too holistic, utilizing simple scalar progress variables that offer no localized control. Consequently, users lack the agency to steer how a painting evolves over time. In this work, we argue that true control over the video generation of artwork requires a joint understanding of two fundamental dimensions: where an artist acts, and when those actions take place. To achieve this, we introduce the Painting Change Map, a novel spatio-temporal control mechanism that explicitly tracks normalized structural changes across a 1,000-timestep continuum, a resolution sufficient to capture fine-grained stroke-level changes while remaining computationally tractable. By mapping localized visual differences into an encoded RGB space, our representation enables fine-grained guidance for both the forward painting and reverse unpainting processes. Extensive benchmarking demonstrates the efficacy of our approach. We outperform existing control baselines and achieve competitive or superior results compared to state-of-the-art painting methods. Furthermore, under oracle conditions, our method surpasses all baselines by a significant margin. Code is available at https://github.com/Markus-Pobitzer/painting-change-map.

Given an input painting, we reconstruct a time-lapse video of how it may have been painted. We formulate this as an autoregressive image generation problem, in which an initially blank "canvas" is iteratively updated. The model learns from real artists by training on many painting videos. Our approach incorporates text and region understanding to define a set of painting "instructions" and updates the canvas with a novel diffusion-based renderer. The method extrapolates beyond the limited, acrylic style paintings on which it has been trained, showing plausible results for a wide range of artistic styles and genres.

Maintaining an up-to-date map that accurately reflects recent changes in the environment is crucial, especially for robots that repeatedly traverse the same space. Failing to promptly update the changed regions can degrade map quality, resulting in poor localization, inefficient operations, and even lost robots. 3D Gaussian Splatting (3DGS) has recently seen widespread adoption in online map reconstruction due to its dense, differentiable, and photorealistic properties, yet accurately and efficiently updating the regions of change remains a challenge. In this paper, we propose VG-Mapping, a novel online 3DGS-based mapping system tailored for such semi-static scenes. Our approach introduces a hybrid representation that augments 3DGS with a TSDF-based voxel map to efficiently identify changed regions in a scene, along with a variation-aware density control strategy that inserts or deletes Gaussian primitives in regions undergoing change. Furthermore, to address the absence of public benchmarks for this task, we construct a RGB-D dataset comprising both synthetic and real-world semi-static environments. Experimental results demonstrate that our method substantially improves the rendering quality and map update efficiency in semi-static scenes. The code and dataset are available at https://github.com/heyicheng-never/VG-Mapping.

Stroke-based rendering aims to recreate an image with a set of strokes. Most existing methods render complex images using an uniform-block-dividing strategy, which leads to boundary inconsistency artifacts. To solve the problem, we propose Compositional Neural Painter, a novel stroke-based rendering framework which dynamically predicts the next painting region based on the current canvas, instead of dividing the image plane uniformly into painting regions. We start from an empty canvas and divide the painting process into several steps. At each step, a compositor network trained with a phasic RL strategy first predicts the next painting region, then a painter network trained with a WGAN discriminator predicts stroke parameters, and a stroke renderer paints the strokes onto the painting region of the current canvas. Moreover, we extend our method to stroke-based style transfer with a novel differentiable distance transform loss, which helps preserve the structure of the input image during stroke-based stylization. Extensive experiments show our model outperforms the existing models in both stroke-based neural painting and stroke-based stylization. Code is available at https://github.com/sjtuplayer/Compositional_Neural_Painter

The process of painting fosters creativity and rational planning. However, existing generative AI mostly focuses on producing visually pleasant artworks, without emphasizing the painting process. We introduce a novel task, Collaborative Neural Painting (CNP), to facilitate collaborative art painting generation between humans and machines. Given any number of user-input brushstrokes as the context or just the desired object class, CNP should produce a sequence of strokes supporting the completion of a coherent painting. Importantly, the process can be gradual and iterative, so allowing users' modifications at any phase until the completion. Moreover, we propose to solve this task using a painting representation based on a sequence of parametrized strokes, which makes it easy both editing and composition operations. These parametrized strokes are processed by a Transformer-based architecture with a novel attention mechanism to model the relationship between the input strokes and the strokes to complete. We also propose a new masking scheme to reflect the interactive nature of CNP and adopt diffusion models as the basic learning process for its effectiveness and diversity in the generative field. Finally, to develop and validate methods on the novel task, we introduce a new dataset of painted objects and an evaluation protocol to benchmark CNP both quantitatively and qualitatively. We demonstrate the effectiveness of our approach and the potential of the CNP task as a promising avenue for future research.

Neural painting refers to the procedure of producing a series of strokes for a given image and non-photo-realistically recreating it using neural networks. While reinforcement learning (RL) based agents can generate a stroke sequence step by step for this task, it is not easy to train a stable RL agent. On the other hand, stroke optimization methods search for a set of stroke parameters iteratively in a large search space; such low efficiency significantly limits their prevalence and practicality. Different from previous methods, in this paper, we formulate the task as a set prediction problem and propose a novel Transformer-based framework, dubbed Paint Transformer, to predict the parameters of a stroke set with a feed forward network. This way, our model can generate a set of strokes in parallel and obtain the final painting of size 512 * 512 in near real time. More importantly, since there is no dataset available for training the Paint Transformer, we devise a self-training pipeline such that it can be trained without any off-the-shelf dataset while still achieving excellent generalization capability. Experiments demonstrate that our method achieves better painting performance than previous ones with cheaper training and inference costs. Codes and models are available.

In this work, we aim to reconstruct a time-varying 3D model, capable of rendering photo-realistic renderings with independent control of viewpoint, illumination, and time, from Internet photos of large-scale landmarks. The core challenges are twofold. First, different types of temporal changes, such as illumination and changes to the underlying scene itself (such as replacing one graffiti artwork with another) are entangled together in the imagery. Second, scene-level temporal changes are often discrete and sporadic over time, rather than continuous. To tackle these problems, we propose a new scene representation equipped with a novel temporal step function encoding method that can model discrete scene-level content changes as piece-wise constant functions over time. Specifically, we represent the scene as a space-time radiance field with a per-image illumination embedding, where temporally-varying scene changes are encoded using a set of learned step functions. To facilitate our task of chronology reconstruction from Internet imagery, we also collect a new dataset of four scenes that exhibit various changes over time. We demonstrate that our method exhibits state-of-the-art view synthesis results on this dataset, while achieving independent control of viewpoint, time, and illumination.

Colorizing line art is a pivotal task in the production of hand-drawn cel animation. This typically involves digital painters using a paint bucket tool to manually color each segment enclosed by lines, based on RGB values predetermined by a color designer. This frame-by-frame process is both arduous and time-intensive. Current automated methods mainly focus on segment matching. This technique migrates colors from a reference to the target frame by aligning features within line-enclosed segments across frames. However, issues like occlusion and wrinkles in animations often disrupt these direct correspondences, leading to mismatches. In this work, we introduce a new learning-based inclusion matching pipeline, which directs the network to comprehend the inclusion relationships between segments rather than relying solely on direct visual correspondences. Our method features a two-stage pipeline that integrates a coarse color warping module with an inclusion matching module, enabling more nuanced and accurate colorization. To facilitate the training of our network, we also develope a unique dataset, referred to as PaintBucket-Character. This dataset includes rendered line arts alongside their colorized counterparts, featuring various 3D characters. Extensive experiments demonstrate the effectiveness and superiority of our method over existing techniques.

Painting embodies a unique form of visual storytelling, where the creation process is as significant as the final artwork. Although recent advances in generative models have enabled visually compelling painting synthesis, most existing methods focus solely on final image generation or patch-based process simulation, lacking explicit stroke structure and failing to produce smooth, realistic shading. In this work, we present a differentiable stroke reconstruction framework that unifies painting, stylized texturing, and smudging to faithfully reproduce the human painting-smudging loop. Given an input image, our framework first optimizes single- and dual-color Bezier strokes through a parallel differentiable paint renderer, followed by a style generation module that synthesizes geometry-conditioned textures across diverse painting styles. We further introduce a differentiable smudge operator to enable natural color blending and shading. Coupled with a coarse-to-fine optimization strategy, our method jointly optimizes stroke geometry, color, and texture under geometric and semantic guidance. Extensive experiments on oil, watercolor, ink, and digital paintings demonstrate that our approach produces realistic and expressive stroke reconstructions, smooth tonal transitions, and richly stylized appearances, offering a unified model for expressive digital painting creation. See our project page for more demos: https://yingjiang96.github.io/DiffPaintWebsite/.

In this work we develop 3D Paintbrush, a technique for automatically texturing local semantic regions on meshes via text descriptions. Our method is designed to operate directly on meshes, producing texture maps which seamlessly integrate into standard graphics pipelines. We opt to simultaneously produce a localization map (to specify the edit region) and a texture map which conforms to it. This synergistic approach improves the quality of both the localization and the stylization. To enhance the details and resolution of the textured area, we leverage multiple stages of a cascaded diffusion model to supervise our local editing technique with generative priors learned from images at different resolutions. Our technique, referred to as Cascaded Score Distillation (CSD), simultaneously distills scores at multiple resolutions in a cascaded fashion, enabling control over both the granularity and global understanding of the supervision. We demonstrate the effectiveness of 3D Paintbrush to locally texture a variety of shapes within different semantic regions. Project page: https://threedle.github.io/3d-paintbrush

Step-by-step painting tutorials are vital for learning artistic techniques, but existing video resources (e.g., YouTube) lack interactivity and personalization. While recent generative models have advanced artistic image synthesis, they struggle to generalize across media and often show temporal or structural inconsistencies, hindering faithful reproduction of human creative workflows. To address this, we propose a unified framework for multi-media painting process generation with a semantics-driven style control mechanism that embeds multiple media into a diffusion models conditional space and uses cross-medium style augmentation. This enables consistent texture evolution and process transfer across styles. A reverse-painting training strategy further ensures smooth, human-aligned generation. We also build a large-scale dataset of real painting processes and evaluate cross-media consistency, temporal coherence, and final-image fidelity, achieving strong results on LPIPS, DINO, and CLIP metrics. Finally, our Perceptual Distance Profile (PDP) curve quantitatively models the creative sequence, i.e., composition, color blocking, and detail refinement, mirroring human artistic progression.

While current multimodal models are proficient at open-ended visual editing, executing precise single-answer edits remains an important obstacle. To probe this challenge, we introduce PaintBench, a dynamically scalable benchmark targeting 20 fundamental precise visual editing operations across four categories: geometric transformation, structural manipulation, color change, and symbolic reasoning. Procedural generation with configurable complexity enables an effectively infinite, contamination-resistant evaluation suite, and deterministic pixel-level evaluation eliminates reliance on bias-prone judge models. Across 11 image editing models, we find overall low performance, with the current highest-performing industry leader scoring only 17.1% (mIoU). Task decomposition reveals especially challenging operation types (geometric transformation, most structural manipulation, formula-based color change) and model-specific specializations. Fine-grained benchmark diagnostics further show performance degradations induced by scene variations in object count, background complexity, color scheme, and edit-region size. To test generalization of PaintBench scores to applied task performance, we create a procedural, deterministic evaluation for data visualization editing (TinyGrafixBench) and find strong linear correlation with PaintBench scores (R^2 = 0.91, p < 0.001). Altogether, PaintBench provides a rigorous foundation for measuring and driving progress in precise multimodal visual editing.

Line art colorization plays a crucial role in hand-drawn animation production, where digital artists manually colorize segments using a paint bucket tool, guided by RGB values from character color design sheets. This process, often called paint bucket colorization, involves two main tasks: keyframe colorization, where colors are applied according to the character's color design sheet, and consecutive frame colorization, where these colors are replicated across adjacent frames. Current automated colorization methods primarily focus on reference-based and segment-matching approaches. However, reference-based methods often fail to accurately assign specific colors to each region, while matching-based methods are limited to consecutive frame colorization and struggle with issues like significant deformation and occlusion. In this work, we introduce inclusion matching, which allows the network to understand the inclusion relationships between segments, rather than relying solely on direct visual correspondences. By integrating this approach with segment parsing and color warping modules, our inclusion matching pipeline significantly improves performance in both keyframe colorization and consecutive frame colorization. To support our network's training, we have developed a unique dataset named PaintBucket-Character, which includes rendered line arts alongside their colorized versions and shading annotations for various 3D characters. To replicate industry animation data formats, we also created color design sheets for each character, with semantic information for each color and standard pose reference images. Experiments highlight the superiority of our method, demonstrating accurate and consistent colorization across both our proposed benchmarks and hand-drawn animations.

Change detection in remote sensing imagery is essential for a variety of applications such as urban planning, disaster management, and climate research. However, existing methods for identifying semantically changed areas overlook the availability of semantic information in the form of existing maps describing features of the earth's surface. In this paper, we leverage this information for change detection in bi-temporal images. We show that the simple integration of the additional information via concatenation of latent representations suffices to significantly outperform state-of-the-art change detection methods. Motivated by this observation, we propose the new task of *Conditional Change Detection*, where pre-change semantic information is used as input next to bi-temporal images. To fully exploit the extra information, we propose *MapFormer*, a novel architecture based on a multi-modal feature fusion module that allows for feature processing conditioned on the available semantic information. We further employ a supervised, cross-modal contrastive loss to guide the learning of visual representations. Our approach outperforms existing change detection methods by an absolute 11.7\% and 18.4\% in terms of binary change IoU on DynamicEarthNet and HRSCD, respectively. Furthermore, we demonstrate the robustness of our approach to the quality of the pre-change semantic information and the absence pre-change imagery. The code is available at https://github.com/mxbh/mapformer.

In web data, product images are central to boosting user engagement and advertising efficacy on e-commerce platforms, yet the intrusive elements such as watermarks and promotional text remain major obstacles to delivering clear and appealing product visuals. Although diffusion-based inpainting methods have advanced, they still face challenges in commercial settings due to unreliable object removal and limited domain-specific adaptation. To tackle these challenges, we propose Repainter, a reinforcement learning framework that integrates spatial-matting trajectory refinement with Group Relative Policy Optimization (GRPO). Our approach modulates attention mechanisms to emphasize background context, generating higher-reward samples and reducing unwanted object insertion. We also introduce a composite reward mechanism that balances global, local, and semantic constraints, effectively reducing visual artifacts and reward hacking. Additionally, we contribute EcomPaint-100K, a high-quality, large-scale e-commerce inpainting dataset, and a standardized benchmark EcomPaint-Bench for fair evaluation. Extensive experiments demonstrate that Repainter significantly outperforms state-of-the-art methods, especially in challenging scenes with intricate compositions. We will release our code and weights upon acceptance.

Recent advances in text-to-image diffusion models have demonstrated impressive capabilities in image quality. However, complex scene generation remains relatively unexplored, and even the definition of `complex scene' itself remains unclear. In this paper, we address this gap by providing a precise definition of complex scenes and introducing a set of Complex Decomposition Criteria (CDC) based on this definition. Inspired by the artists painting process, we propose a training-free diffusion framework called Complex Diffusion (CxD), which divides the process into three stages: composition, painting, and retouching. Our method leverages the powerful chain-of-thought capabilities of large language models (LLMs) to decompose complex prompts based on CDC and to manage composition and layout. We then develop an attention modulation method that guides simple prompts to specific regions to complete the complex scene painting. Finally, we inject the detailed output of the LLM into a retouching model to enhance the image details, thus implementing the retouching stage. Extensive experiments demonstrate that our method outperforms previous SOTA approaches, significantly improving the generation of high-quality, semantically consistent, and visually diverse images for complex scenes, even with intricate prompts.

We demonstrate two novel editing procedures in the context of fantasy card art. Palette transfer applies a specified reference palette to a given card. For fantasy art, the desired change in palette can be very large, leading to huge changes in the "look" of the art. We demonstrate that a pipeline of vector quantization; matching; and "vector dequantization" (using a diffusion model) produces successful extreme palette transfers. Segment control allows an artist to move one or more image segments, and to optionally specify the desired color of the result. The combination of these two types of edit yields valuable workflows, including: move a segment, then recolor; recolor, then force some segments to take a prescribed color. We demonstrate our methods on the challenging Yu-Gi-Oh card art dataset.

This work introduces a new approach to automatic oil painting that emphasizes the creation of dynamic and expressive brushstrokes. A pivotal challenge lies in mitigating the duplicate and common-place strokes, which often lead to less aesthetic outcomes. Inspired by the human painting process, \ie, observing, comparing, and drawing, we incorporate differential image analysis into a neural oil painting model, allowing the model to effectively concentrate on the incremental impact of successive brushstrokes. To operationalize this concept, we propose the Differential Query Transformer (DQ-Transformer), a new architecture that leverages differentially derived image representations enriched with positional encoding to guide the stroke prediction process. This integration enables the model to maintain heightened sensitivity to local details, resulting in more refined and nuanced stroke generation. Furthermore, we incorporate adversarial training into our framework, enhancing the accuracy of stroke prediction and thereby improving the overall realism and fidelity of the synthesized paintings. Extensive qualitative evaluations, complemented by a controlled user study, validate that our DQ-Transformer surpasses existing methods in both visual realism and artistic authenticity, typically achieving these results with fewer strokes. The stroke-by-stroke painting animations are available on our project website.

Recent progress in text-guided image inpainting, based on the unprecedented success of text-to-image diffusion models, has led to exceptionally realistic and visually plausible results. However, there is still significant potential for improvement in current text-to-image inpainting models, particularly in better aligning the inpainted area with user prompts and performing high-resolution inpainting. Therefore, in this paper we introduce HD-Painter, a completely training-free approach that accurately follows to prompts and coherently scales to high-resolution image inpainting. To this end, we design the Prompt-Aware Introverted Attention (PAIntA) layer enhancing self-attention scores by prompt information and resulting in better text alignment generations. To further improve the prompt coherence we introduce the Reweighting Attention Score Guidance (RASG) mechanism seamlessly integrating a post-hoc sampling strategy into general form of DDIM to prevent out-of-distribution latent shifts. Moreover, HD-Painter allows extension to larger scales by introducing a specialized super-resolution technique customized for inpainting, enabling the completion of missing regions in images of up to 2K resolution. Our experiments demonstrate that HD-Painter surpasses existing state-of-the-art approaches qualitatively and quantitatively, achieving an impressive generation accuracy improvement of 61.4% vs 51.9%. We will make the codes publicly available at: https://github.com/Picsart-AI-Research/HD-Painter

Stable Diffusion and ControlNet have achieved excellent results in the field of image generation and synthesis. However, due to the granularity and method of its control, the efficiency improvement is limited for professional artistic creations such as comics and animation production whose main work is secondary painting. In the current workflow, fixing characters and image styles often need lengthy text prompts, and even requires further training through TextualInversion, DreamBooth or other methods, which is very complicated and expensive for painters. Therefore, we present a new method in this paper, Stable Diffusion Reference Only, a images-to-image self-supervised model that uses only two types of conditional images for precise control generation to accelerate secondary painting. The first type of conditional image serves as an image prompt, supplying the necessary conceptual and color information for generation. The second type is blueprint image, which controls the visual structure of the generated image. It is natively embedded into the original UNet, eliminating the need for ControlNet. We released all the code for the module and pipeline, and trained a controllable character line art coloring model at https://github.com/aihao2000/stable-diffusion-reference-only, that achieved state-of-the-art results in this field. This verifies the effectiveness of the structure and greatly improves the production efficiency of animations, comics, and fanworks.

Generative 3D Painting is among the top productivity boosters in high-resolution 3D asset management and recycling. Ever since text-to-image models became accessible for inference on consumer hardware, the performance of 3D Painting methods has consistently improved and is currently close to plateauing. At the core of most such models lies denoising diffusion in the latent space, an inherently time-consuming iterative process. Multiple techniques have been developed recently to accelerate generation and reduce sampling iterations by orders of magnitude. Designed for 2D generative imaging, these techniques do not come with recipes for lifting them into 3D. In this paper, we address this shortcoming by proposing a Latent Consistency Model (LCM) adaptation for the task at hand. We analyze the strengths and weaknesses of the proposed model and evaluate it quantitatively and qualitatively. Based on the Objaverse dataset samples study, our 3D painting method attains strong preference in all evaluations. Source code is available at https://github.com/kongdai123/consistency2.