A painting is more than just a picture on a wall; a painting is a process comprised of many intentional brush strokes, the shapes of which are an important component of a painting's overall style and message. Prior work in modeling brush stroke trajectories either does not work with real-world robotics or is not flexible enough to capture the complexity of human-made brush strokes. In this work, we introduce Spline-FRIDA which can model complex human brush stroke trajectories. This is achieved by recording artists drawing using motion capture, modeling the extracted trajectories with an autoencoder, and introducing a novel brush stroke dynamics model to the existing robotic painting platform FRIDA. We conducted a survey and found that our open-source Spline-FRIDA approach successfully captures the stroke styles in human drawings and that Spline-FRIDA's brush strokes are more human-like, improve semantic planning, and are more artistic compared to existing robot painting systems with restrictive B\'ezier curve strokes.

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 and one with human created work. More generally, our fine-tuning procedure successfully encodes the robot's constraints and abilities into a foundation model, showcasing promising results as an effective method for reducing sim-to-real gaps.

The objective of most Reinforcement Learning painting agents is to minimize the loss between a target image and the paint canvas. Human painter artistry emphasizes important features of the target image rather than simply reproducing it (DiPaola 2007). Using adversarial or L2 losses in the RL painting models, although its final output is generally a work of finesse, produces a stroke sequence that is vastly different from that which a human would produce since the model does not have knowledge about the abstract features in the target image. In order to increase the human-like planning of the model without the use of expensive human data, we introduce a new loss function for use with the model's reward function: Content Masked Loss. In the context of robot painting, Content Masked Loss employs an object detection model to extract features which are used to assign higher weight to regions of the canvas that a human would find important for recognizing content. The results, based on 332 human evaluators, show that the digital paintings produced by our Content Masked model show detectable subject matter earlier in the stroke sequence than existing methods without compromising on the quality of the final painting.