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Korean folk painting (minhwa) is built from a small vocabulary of auspicious symbols, a tiger for protection, a pair of birds for marital harmony, a peony for wealth, that recur across many of its painted genres. This suggests an obvious computational approach, identify which symbols appear in a painting and read the genre from the inventory. Working with a public corpus that pairs whole paintings, eight-field bilingual curatorial captions, and a separate set of expert object crops, we find that this approach does not work. A model given only a list of which symbols a painting contains predicts the genre far worse than a model that fuses the image with the curatorial text, and forcing the genre representation to be object-grounded actively hurts accuracy. The visual evidence on which the genre prediction rests is nonetheless localized and inspectable. A leakage-safe object evidence map projected from a part-level detector is spatially faithful to where curators isolated symbolic objects and to a patch-based surrogate's own gradient saliency. We name this configuration a faithful-but-insufficient dissociation. The part-level explanation is honest about what the part-level model sees

The binary paint shop problem (BPSP) is an APX-hard optimization problem in which, given n car models that occur twice in a sequence of length 2n, the goal is to find a colouring sequence such that the two occurrences of each model are painted differently, while minimizing the number of times the paint is swapped along the sequence. A recent classical heuristic, known as the recursive star greedy (RSG) algorithm, is conjectured to achieve an expected paint swap ratio of 0.361, thereby outperforming the QAOA with circuit depth p = 7. Since the performance of the QAOA with logarithmic circuit depth is instance independent, the average paint swap ratio is upper-bounded by the QAOA, which numerical evidence suggests is approximately between 0.255 and 0.283. To provide hardware-relevant comparisons, we additionally implement the BPSP on a D-Wave Quantum Annealer Advantage 2, obtaining a minimum paint swap ratio of 0.320. Given that the QAOA with logarithmic circuit depth does not exhibit quantum advantage for sparse optimization problems such as the BPSP, this implies the existence of a classical algorithm that surpasses both the RSG algorithm and logarithmic depth QAOA. We provide nume

We aim to apply a quantum computing technique to compose artworks. The main idea is to revisit three paintings of different styles and historical periods: ''Narciso'', painted circa 1597-1599 by Michelangelo Merisi (Caravaggio), ''Les fils de l'homme'', painted in 1964 by Rene Magritte and ''192 Farben'', painted in 1966 by Gerard Richter. We utilize the output of a quantum computation to change the composition in the paintings, leading to a paintings series titled ''Quantum Transformation I, II, III''. In particular, the figures are discretized into square lattices and the order of the pieces is changed according to the result of the quantum simulation. We consider an Ising Hamiltonian as the observable in the quantum computation and its time evolution as the final outcome. From a classical subject to abstract forms, we seek to combine classical and quantum aesthetics through these three art pieces. Besides experimenting with hardware runs and circuit noise, our goal is to reproduce these works as physical oil paintings on wooden panels. With this process, we complete a full circle between classical and quantum techniques and contribute to rethinking Art practice in the era of qua

The Binary Paint Shop Problem (BPSP) is an $\mathsf{APX}$-hard optimisation problem in automotive manufacturing: given a sequence of $2n$ cars, comprising $n$ distinct models each appearing twice, the task is to decide which of two colours to paint each car so that the two occurrences of each model are painted differently, while minimising consecutive colour swaps. The key performance metric is the paint swap ratio, the average number of colour changes per car, which directly impacts production efficiency and cost. Prior work showed that the Quantum Approximate Optimisation Algorithm (QAOA) at depth $p=7$ achieves a paint swap ratio of $0.393$, outperforming the classical Recursive Greedy (RG) heuristic with an expected ratio of $0.4$ [Phys. Rev. A 104, 012403 (2021)]. More recently, the classical Recursive Star Greedy (RSG) heuristic was conjectured to achieve an expected ratio of $0.361$. In this study, we develop the theoretical foundations for applying QAOA to BPSP through a reduction of BPSP to weighted MaxCut, and use this framework to benchmark two state-of-the-art low-depth QAOA variants, eXpressive QAOA (XQAOA) and Recursive QAOA (RQAOA), at $p=1$ (denoted XQAOA$_1$ and RQ

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 approa

Prior robot painting and drawing work, such as FRIDA, has focused on decreasing the sim-to-real gap and expanding input modalities for users, but the interaction with these systems generally exists only in the input stages. To support interactive, human-robot collaborative painting, we introduce the Collaborative FRIDA (CoFRIDA) robot painting framework, which can co-paint by modifying and engaging with content already painted by a human collaborator. To improve text-image alignment, FRIDA's major weakness, our system uses pre-trained text-to-image models; however, pre-trained models in the context of real-world co-painting do not perform well because they (1) do not understand the constraints and abilities of the robot and (2) cannot perform co-painting without making unrealistic edits to the canvas and overwriting content. We propose a self-supervised fine-tuning procedure that can tackle both issues, allowing the use of pre-trained state-of-the-art text-image alignment models with robots to enable co-painting in the physical world. Our open-source approach, CoFRIDA, creates paintings and drawings that match the input text prompt more clearly than FRIDA, both from a blank canvas

This work opens a new chapter in the 100,000 year-old concept of paint, by leveraging innovations in nano-technology in the sub-THz frequency range. More specifically, the groundbreaking concept of Internet of Paint (IoP) is introduced along with a comprehensive channel model and a capacity analysis for nano-scale radios embedded in paint and communicating through paint. Nano-network devices, integrated within a paint medium, communicate via a multipath strategy, encompassing direct waves, reflections from interfaces, and lateral wave propagation. The evaluation incorporates three distinct paint types to assess path losses, received powers, and channel capacity. Analysis of path loss indicates a slight non-linear increase with both frequency and Line of Sight (LoS) distance between transceivers. Notably, paints with high refractive indexes result in the highest path loss. Moreover, burying transceivers at similar depths near the Air-Paint interface showcases promising performance of lateral waves with increasing LoS distance. Increasing paint layer depth leads to amplified attenuation, while total received power exhibits promising results when in close proximity to the Air-Paint in

We introduce a training-free framework specifically designed to bring real-world static paintings to life through image-to-video (I2V) synthesis, addressing the persistent challenge of aligning these motions with textual guidance while preserving fidelity to the original artworks. Existing I2V methods, primarily trained on natural video datasets, often struggle to generate dynamic outputs from static paintings. It remains challenging to generate motion while maintaining visual consistency with real-world paintings. This results in two distinct failure modes: either static outputs due to limited text-based motion interpretation or distorted dynamics caused by inadequate alignment with real-world artistic styles. We leverage the advanced text-image alignment capabilities of pre-trained image models to guide the animation process. Our approach introduces synthetic proxy images through two key innovations: (1) Dual-path score distillation: We employ a dual-path architecture to distill motion priors from both real and synthetic data, preserving static details from the original painting while learning dynamic characteristics from synthetic frames. (2) Hybrid latent fusion: We integrate h

Speech in-painting is the task of regenerating missing audio contents using reliable context information. Despite various recent studies in multi-modal perception of audio in-painting, there is still a need for an effective infusion of visual and auditory information in speech in-painting. In this paper, we introduce a novel sequence-to-sequence model that leverages the visual information to in-paint audio signals via an encoder-decoder architecture. The encoder plays the role of a lip-reader for facial recordings and the decoder takes both encoder outputs as well as the distorted audio spectrograms to restore the original speech. Our model outperforms an audio-only speech in-painting model and has comparable results with a recent multi-modal speech in-painter in terms of speech quality and intelligibility metrics for distortions of 300 ms to 1500 ms duration, which proves the effectiveness of the introduced multi-modality in speech in-painting.

The paper introduces PaintSeg, a new unsupervised method for segmenting objects without any training. We propose an adversarial masked contrastive painting (AMCP) process, which creates a contrast between the original image and a painted image in which a masked area is painted using off-the-shelf generative models. During the painting process, inpainting and outpainting are alternated, with the former masking the foreground and filling in the background, and the latter masking the background while recovering the missing part of the foreground object. Inpainting and outpainting, also referred to as I-step and O-step, allow our method to gradually advance the target segmentation mask toward the ground truth without supervision or training. PaintSeg can be configured to work with a variety of prompts, e.g. coarse masks, boxes, scribbles, and points. Our experimental results demonstrate that PaintSeg outperforms existing approaches in coarse mask-prompt, box-prompt, and point-prompt segmentation tasks, providing a training-free solution suitable for unsupervised segmentation.

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.

The painting process of artists is inherently stepwise and varies significantly among different painters and styles. Generating detailed, step-by-step painting processes is essential for art education and research, yet remains largely underexplored. Traditional stroke-based rendering methods break down images into sequences of brushstrokes, yet they fall short of replicating the authentic processes of artists, with limitations confined to basic brushstroke modifications. Text-to-image models utilizing diffusion processes generate images through iterative denoising, also diverge substantially from artists' painting process. To address these challenges, we introduce ProcessPainter, a text-to-video model that is initially pre-trained on synthetic data and subsequently fine-tuned with a select set of artists' painting sequences using the LoRA model. This approach successfully generates painting processes from text prompts for the first time. Furthermore, we introduce an Artwork Replication Network capable of accepting arbitrary-frame input, which facilitates the controlled generation of painting processes, decomposing images into painting sequences, and completing semi-finished artwork

We introduce a novel image-to-painting method that facilitates the creation of large-scale, high-fidelity paintings with human-like quality and stylistic variation. To process large images and gain control over the painting process, we introduce a segmentation-based painting process and a dynamic attention map approach inspired by human painting strategies, allowing optimization of brush strokes to proceed in batches over different image regions, thereby capturing both large-scale structure and fine details, while also allowing stylistic control over detail. Our optimized batch processing and patch-based loss framework enable efficient handling of large canvases, ensuring our painted outputs are both aesthetically compelling and functionally superior as compared to previous methods, as confirmed by rigorous evaluations. Code available at: https://github.com/manuelladron/semantic\_based\_painting.git