Paint-Anything introduces a unified hex-prompt interface that allows users to specify any 24‑bit hex color for both image generation and editing. The method trains on a new Paint‑500K dataset created from real images with object grounding, perceptual color labeling, and editing‑pair synthesis, and supplements this with pure‑color anchors to address shadow‑induced color inaccuracies. Evaluated on the newly proposed Any Color Benchmark (ACBench), Paint‑Anything achieves significant improvements over the base FLUX.2‑4B model, boosting T2I and editing scores by 85.3 % and 28.3 % respectively, and outperforms competing methods on the CompColor metric.
By Ji Xie, Dewei Zhou, Xinyu Huang, Zhennan Chen, Xun Wang
arXiv:2609.21169v1 Announce Type: cross
Abstract: Independent control of tonescale regions (e.g., shadows, highlights) is essential for painters, photographers and cinematographers to bring 2D images...
By Trevor D. Canham, Abhijith Punnappurath, Michael S. Brown
Personalized image enhancement should reflect individual aesthetic taste, yet learning such preferences commonly depends on private photos and ratings that are unsuitable for centralized collection. The task must infer preference from sparse, heterogeneous feedback and translate it into natural-looking color transformations on resource-constrained user devices.
The paper introduces "overpainting," a localized, context-aware image editing technique that allows users to specify precise or loose editing regions via a trimap. The method adapts a pretrained diffusion model with joint attention and low‑rank adaptation, incorporating attention‑dropout to balance noise, source, and mask inputs. An automated pipeline generates training data by pairing images from language‑based editing models, curating them, and extracting trimaps, enabling the model to perform a wide range of editing tasks.
By Sam Sartor, Iliyan Georgiev, Michael Fischer, Valentin Deschaintre, Pieter Peers
The demand for image manipulation has seen a significant increase recently. Traditional tools like Photoshop and Capture One, while powerful, require considerable expertise to use effectively.
arXiv:2608. 10798v1 Announce Type: cross Abstract: Most image colorization systems operate in $Lab$ space by predicting chroma ($ab$) while preserving an input-derived luminance channel ($L$).
By Swarnim Maheshwari, Syed Imam Ali, Vineeth N. Balasubramanian