Daily Papers

We explore the question: "How much prior art knowledge is needed to create art?" To investigate this, we propose a text-to-image generation model trained without access to art-related content. We then introduce a simple yet effective method to learn an art adapter using only a few examples of selected artistic styles. Our experiments show that art generated using our method is perceived by users as comparable to art produced by models trained on large, art-rich datasets. Finally, through data attribution techniques, we illustrate how examples from both artistic and non-artistic datasets contributed to the creation of new artistic styles.

This paper investigates whether large language models (LLMs) are state-of-the-art quality estimators for machine translation of user-generated content (UGC) that contains emotional expressions, without the use of reference translations. To achieve this, we employ an existing emotion-related dataset with human-annotated errors and calculate quality evaluation scores based on the Multi-dimensional Quality Metrics. We compare the accuracy of several LLMs with that of our fine-tuned baseline models, under in-context learning and parameter-efficient fine-tuning (PEFT) scenarios. We find that PEFT of LLMs leads to better performance in score prediction with human interpretable explanations than fine-tuned models. However, a manual analysis of LLM outputs reveals that they still have problems such as refusal to reply to a prompt and unstable output while evaluating machine translation of UGC.

Information retrieval in hour-long videos presents a significant challenge, even for state-of-the-art Vision-Language Models (VLMs), particularly when the desired information is localized within a small subset of frames. Long video data presents challenges for VLMs due to context window limitations and the difficulty of pinpointing frames containing the answer. Our novel video agent, FALCONEye, combines a VLM and a Large Language Model (LLM) to search relevant information along the video, and locate the frames with the answer. FALCONEye novelty relies on 1) the proposed meta-architecture, which is better suited to tackle hour-long videos compared to short video approaches in the state-of-the-art; 2) a new efficient exploration algorithm to locate the information using short clips, captions and answer confidence; and 3) our state-of-the-art VLMs calibration analysis for the answer confidence. Our agent is built over a small-size VLM and a medium-size LLM being accessible to run on standard computational resources. We also release FALCON-Bench, a benchmark to evaluate long (average > 1 hour) Video Answer Search challenges, highlighting the need for open-ended question evaluation. Our experiments show FALCONEye's superior performance than the state-of-the-art in FALCON-Bench, and similar or better performance in related benchmarks.

While recent advancements in large language model (LLM) alignment have enabled the effective identification of malicious objectives involving scene nesting and keyword rewriting, our study reveals that these methods remain inadequate at detecting malicious objectives expressed through context within nested harmless objectives. This study identifies a previously overlooked vulnerability, which we term Attack via Implicit Reference (AIR). AIR decomposes a malicious objective into permissible objectives and links them through implicit references within the context. This method employs multiple related harmless objectives to generate malicious content without triggering refusal responses, thereby effectively bypassing existing detection techniques.Our experiments demonstrate AIR's effectiveness across state-of-the-art LLMs, achieving an attack success rate (ASR) exceeding 90% on most models, including GPT-4o, Claude-3.5-Sonnet, and Qwen-2-72B. Notably, we observe an inverse scaling phenomenon, where larger models are more vulnerable to this attack method. These findings underscore the urgent need for defense mechanisms capable of understanding and preventing contextual attacks. Furthermore, we introduce a cross-model attack strategy that leverages less secure models to generate malicious contexts, thereby further increasing the ASR when targeting other models.Our code and jailbreak artifacts can be found at https://github.com/Lucas-TY/llm_Implicit_reference.

Training multi-billion to trillion-parameter language models efficiently on GPU clusters requires leveraging multiple parallelism strategies. We present Galvatron, a novel open-source framework (dubbed 'Optimus-Megatron' in the implementation) that dynamically combines data parallelism, tensor model parallelism, and pipeline parallelism to optimize training throughput. Built atop PyTorch and integrating NVIDIA's Megatron-LM and Microsoft's DeepSpeed, Galvatron automatically selects and adjusts parallelism strategies in real time based on model architecture, hardware, and training dynamics. This paper details Galvatron's key features -- automatic hybrid parallelism selection, layer-wise and phase-wise strategy optimization, and runtime adaptation -- and contrasts them with existing static frameworks. We describe the system's technical stack, including its use of DeepSpeed's ZeRO and NCCL communication, and provide an in-depth implementation overview of its core modules (profilers, strategy selector, parallelism manager). We then illustrate how Galvatron can be seamlessly integrated into existing training pipelines with minimal code modifications, providing companies a plug-and-play solution for efficient large-model training. Finally, we situate Galvatron in context with related efforts (NVIDIA Megatron-LM, Microsoft DeepSpeed, Google GShard, Meta FairScale, etc.), highlighting how it advances the state of the art in distributed deep learning. References to the GitHub repository and relevant literature are provided throughout.

The improved competence of generative models can help building multi-modal virtual assistants that leverage modalities beyond language. By observing humans performing multi-step tasks, one can build assistants that have situational awareness of actions and tasks being performed, enabling them to cater assistance based on this understanding. In this paper, we develop a Context-aware Instructional Task Assistant with Multi-modal Large Language Models (InsTALL) that leverages an online visual stream (e.g. a user's screen share or video recording) and responds in real-time to user queries related to the task at hand. To enable useful assistance, InsTALL 1) trains a multi-modal model on task videos and paired textual data, and 2) automatically extracts task graph from video data and leverages it at training and inference time. We show InsTALL achieves state-of-the-art performance across proposed sub-tasks considered for multimodal activity understanding -- task recognition (TR), action recognition (AR), next action prediction (AP), and plan prediction (PP) -- and outperforms existing baselines on two novel sub-tasks related to automatic error identification.

Entity representations are useful in natural language tasks involving entities. In this paper, we propose new pretrained contextualized representations of words and entities based on the bidirectional transformer. The proposed model treats words and entities in a given text as independent tokens, and outputs contextualized representations of them. Our model is trained using a new pretraining task based on the masked language model of BERT. The task involves predicting randomly masked words and entities in a large entity-annotated corpus retrieved from Wikipedia. We also propose an entity-aware self-attention mechanism that is an extension of the self-attention mechanism of the transformer, and considers the types of tokens (words or entities) when computing attention scores. The proposed model achieves impressive empirical performance on a wide range of entity-related tasks. In particular, it obtains state-of-the-art results on five well-known datasets: Open Entity (entity typing), TACRED (relation classification), CoNLL-2003 (named entity recognition), ReCoRD (cloze-style question answering), and SQuAD 1.1 (extractive question answering). Our source code and pretrained representations are available at https://github.com/studio-ousia/luke.

Analyzing digitized artworks presents unique challenges, requiring not only visual interpretation but also a deep understanding of rich artistic, contextual, and historical knowledge. We introduce ArtSeek, a multimodal framework for art analysis that combines multimodal large language models with retrieval-augmented generation. Unlike prior work, our pipeline relies only on image input, enabling applicability to artworks without links to Wikidata or Wikipedia-common in most digitized collections. ArtSeek integrates three key components: an intelligent multimodal retrieval module based on late interaction retrieval, a contrastive multitask classification network for predicting artist, genre, style, media, and tags, and an agentic reasoning strategy enabled through in-context examples for complex visual question answering and artwork explanation via Qwen2.5-VL. Central to this approach is WikiFragments, a Wikipedia-scale dataset of image-text fragments curated to support knowledge-grounded multimodal reasoning. Our framework achieves state-of-the-art results on multiple benchmarks, including a +8.4% F1 improvement in style classification over GraphCLIP and a +7.1 BLEU@1 gain in captioning on ArtPedia. Qualitative analyses show that ArtSeek can interpret visual motifs, infer historical context, and retrieve relevant knowledge, even for obscure works. Though focused on visual arts, our approach generalizes to other domains requiring external knowledge, supporting scalable multimodal AI research. Both the dataset and the source code will be made publicly available at https://github.com/cilabuniba/artseek.

The duality of content and style is inherent to the nature of art. For humans, these two elements are clearly different: content refers to the objects and concepts in the piece of art, and style to the way it is expressed. This duality poses an important challenge for computer vision. The visual appearance of objects and concepts is modulated by the style that may reflect the author's emotions, social trends, artistic movement, etc., and their deep comprehension undoubtfully requires to handle both. A promising step towards a general paradigm for art analysis is to disentangle content and style, whereas relying on human annotations to cull a single aspect of artworks has limitations in learning semantic concepts and the visual appearance of paintings. We thus present GOYA, a method that distills the artistic knowledge captured in a recent generative model to disentangle content and style. Experiments show that synthetically generated images sufficiently serve as a proxy of the real distribution of artworks, allowing GOYA to separately represent the two elements of art while keeping more information than existing methods.

In this paper, we address the task of utterance level emotion recognition in conversations using commonsense knowledge. We propose COSMIC, a new framework that incorporates different elements of commonsense such as mental states, events, and causal relations, and build upon them to learn interactions between interlocutors participating in a conversation. Current state-of-the-art methods often encounter difficulties in context propagation, emotion shift detection, and differentiating between related emotion classes. By learning distinct commonsense representations, COSMIC addresses these challenges and achieves new state-of-the-art results for emotion recognition on four different benchmark conversational datasets. Our code is available at https://github.com/declare-lab/conv-emotion.

Episodic memory -- the ability to recall specific events grounded in time and space -- is a cornerstone of human cognition, enabling not only coherent storytelling, but also planning and decision-making. Despite their remarkable capabilities, Large Language Models (LLMs) lack a robust mechanism for episodic memory: we argue that integrating episodic memory capabilities into LLM is essential for advancing AI towards human-like cognition, increasing their potential to reason consistently and ground their output in real-world episodic events, hence avoiding confabulations. To address this challenge, we introduce a comprehensive framework to model and evaluate LLM episodic memory capabilities. Drawing inspiration from cognitive science, we develop a structured approach to represent episodic events, encapsulating temporal and spatial contexts, involved entities, and detailed descriptions. We synthesize a unique episodic memory benchmark, free from contamination, and release open source code and datasets to assess LLM performance across various recall and episodic reasoning tasks. Our evaluation of state-of-the-art models, including GPT-4 and Claude variants, Llama 3.1, and o1-mini, reveals that even the most advanced LLMs struggle with episodic memory tasks, particularly when dealing with multiple related events or complex spatio-temporal relationships -- even in contexts as short as 10k-100k tokens.

Image-text matching remains a challenging task due to heterogeneous semantic diversity across modalities and insufficient distance separability within triplets. Different from previous approaches focusing on enhancing multi-modal representations or exploiting cross-modal correspondence for more accurate retrieval, in this paper we aim to leverage the knowledge transfer between peer branches in a boosting manner to seek a more powerful matching model. Specifically, we propose a brand-new Deep Boosting Learning (DBL) algorithm, where an anchor branch is first trained to provide insights into the data properties, with a target branch gaining more advanced knowledge to develop optimal features and distance metrics. Concretely, an anchor branch initially learns the absolute or relative distance between positive and negative pairs, providing a foundational understanding of the particular network and data distribution. Building upon this knowledge, a target branch is concurrently tasked with more adaptive margin constraints to further enlarge the relative distance between matched and unmatched samples. Extensive experiments validate that our DBL can achieve impressive and consistent improvements based on various recent state-of-the-art models in the image-text matching field, and outperform related popular cooperative strategies, e.g., Conventional Distillation, Mutual Learning, and Contrastive Learning. Beyond the above, we confirm that DBL can be seamlessly integrated into their training scenarios and achieve superior performance under the same computational costs, demonstrating the flexibility and broad applicability of our proposed method. Our code is publicly available at: https://github.com/Paranioar/DBL.

We present CoTexT, a pre-trained, transformer-based encoder-decoder model that learns the representative context between natural language (NL) and programming language (PL). Using self-supervision, CoTexT is pre-trained on large programming language corpora to learn a general understanding of language and code. CoTexT supports downstream NL-PL tasks such as code summarizing/documentation, code generation, defect detection, and code debugging. We train CoTexT on different combinations of available PL corpus including both "bimodal" and "unimodal" data. Here, bimodal data is the combination of text and corresponding code snippets, whereas unimodal data is merely code snippets. We first evaluate CoTexT with multi-task learning: we perform Code Summarization on 6 different programming languages and Code Refinement on both small and medium size featured in the CodeXGLUE dataset. We further conduct extensive experiments to investigate CoTexT on other tasks within the CodeXGlue dataset, including Code Generation and Defect Detection. We consistently achieve SOTA results in these tasks, demonstrating the versatility of our models.

Artwork analysis is important and fundamental skill for art appreciation, which could enrich personal aesthetic sensibility and facilitate the critical thinking ability. Understanding artworks is challenging due to its subjective nature, diverse interpretations, and complex visual elements, requiring expertise in art history, cultural background, and aesthetic theory. However, limited by the data collection and model ability, previous works for automatically analyzing artworks mainly focus on classification, retrieval, and other simple tasks, which is far from the goal of AI. To facilitate the research progress, in this paper, we step further to compose comprehensive analysis inspired by the remarkable perception and generation ability of large multimodal models. Specifically, we first propose a task of composing paragraph analysis for artworks, i.e., painting in this paper, only focusing on visual characteristics to formulate more comprehensive understanding of artworks. To support the research on formal analysis, we collect a large dataset PaintingForm, with about 19k painting images and 50k analysis paragraphs. We further introduce a superior large multimodal model for painting analysis composing, dubbed GalleryGPT, which is slightly modified and fine-tuned based on LLaVA architecture leveraging our collected data. We conduct formal analysis generation and zero-shot experiments across several datasets to assess the capacity of our model. The results show remarkable performance improvements comparing with powerful baseline LMMs, demonstrating its superb ability of art analysis and generalization. blue{The codes and model are available at: https://github.com/steven640pixel/GalleryGPT.

The use of Deep Learning and Computer Vision in the Cultural Heritage domain is becoming highly relevant in the last few years with lots of applications about audio smart guides, interactive museums and augmented reality. All these technologies require lots of data to work effectively and be useful for the user. In the context of artworks, such data is annotated by experts in an expensive and time consuming process. In particular, for each artwork, an image of the artwork and a description sheet have to be collected in order to perform common tasks like Visual Question Answering. In this paper we propose a method for Visual Question Answering that allows to generate at runtime a description sheet that can be used for answering both visual and contextual questions about the artwork, avoiding completely the image and the annotation process. For this purpose, we investigate on the use of GPT-3 for generating descriptions for artworks analyzing the quality of generated descriptions through captioning metrics. Finally we evaluate the performance for Visual Question Answering and captioning tasks.

Large datasets that were made publicly available to the research community over the last 20 years have been a key enabling factor for the advances in deep learning algorithms for NLP or computer vision. These datasets are generally pairs of aligned image / manually annotated metadata, where images are photographs of everyday life. Scholarly and historical content, on the other hand, treat subjects that are not necessarily popular to a general audience, they may not always contain a large number of data points, and new data may be difficult or impossible to collect. Some exceptions do exist, for instance, scientific or health data, but this is not the case for cultural heritage (CH). The poor performance of the best models in computer vision - when tested over artworks - coupled with the lack of extensively annotated datasets for CH, and the fact that artwork images depict objects and actions not captured by photographs, indicate that a CH-specific dataset would be highly valuable for this community. We propose DEArt, at this point primarily an object detection and pose classification dataset meant to be a reference for paintings between the XIIth and the XVIIIth centuries. It contains more than 15000 images, about 80% non-iconic, aligned with manual annotations for the bounding boxes identifying all instances of 69 classes as well as 12 possible poses for boxes identifying human-like objects. Of these, more than 50 classes are CH-specific and thus do not appear in other datasets; these reflect imaginary beings, symbolic entities and other categories related to art. Additionally, existing datasets do not include pose annotations. Our results show that object detectors for the cultural heritage domain can achieve a level of precision comparable to state-of-art models for generic images via transfer learning.

Existing computer vision research in artwork struggles with artwork's fine-grained attributes recognition and lack of curated annotated datasets due to their costly creation. To the best of our knowledge, we are one of the first methods to use CLIP (Contrastive Language-Image Pre-Training) to train a neural network on a variety of artwork images and text descriptions pairs. CLIP is able to learn directly from free-form art descriptions, or, if available, curated fine-grained labels. Model's zero-shot capability allows predicting accurate natural language description for a given image, without directly optimizing for the task. Our approach aims to solve 2 challenges: instance retrieval and fine-grained artwork attribute recognition. We use the iMet Dataset, which we consider the largest annotated artwork dataset. In this benchmark we achieved competitive results using only self-supervision.

The attribution of artworks in general and of paintings in particular has always been an issue in art. The advent of powerful artificial intelligence models that can generate and analyze images creates new challenges for painting attribution. On the one hand, AI models can create images that mimic the style of a painter, which can be incorrectly attributed, for example, by other AI models. On the other hand, AI models may not be able to correctly identify the artist for real paintings, inducing users to incorrectly attribute paintings. In this paper, both problems are experimentally studied using state-of-the-art AI models for image generation and analysis on a large dataset with close to 40,000 paintings from 128 artists. The results show that vision language models have limited capabilities to: 1) perform canvas attribution and 2) to identify AI generated images. As users increasingly rely on queries to AI models to get information, these results show the need to improve the capabilities of VLMs to reliably perform artist attribution and detection of AI generated images to prevent the spread of incorrect information.

Text-to-image models are becoming increasingly popular, revolutionizing the landscape of digital art creation by enabling highly detailed and creative visual content generation. These models have been widely employed across various domains, particularly in art generation, where they facilitate a broad spectrum of creative expression and democratize access to artistic creation. In this paper, we introduce STYLEBREEDER, a comprehensive dataset of 6.8M images and 1.8M prompts generated by 95K users on Artbreeder, a platform that has emerged as a significant hub for creative exploration with over 13M users. We introduce a series of tasks with this dataset aimed at identifying diverse artistic styles, generating personalized content, and recommending styles based on user interests. By documenting unique, user-generated styles that transcend conventional categories like 'cyberpunk' or 'Picasso,' we explore the potential for unique, crowd-sourced styles that could provide deep insights into the collective creative psyche of users worldwide. We also evaluate different personalization methods to enhance artistic expression and introduce a style atlas, making these models available in LoRA format for public use. Our research demonstrates the potential of text-to-image diffusion models to uncover and promote unique artistic expressions, further democratizing AI in art and fostering a more diverse and inclusive artistic community. The dataset, code and models are available at https://stylebreeder.github.io under a Public Domain (CC0) license.

Humans have long been recorded in a variety of forms since antiquity. For example, sculptures and paintings were the primary media for depicting human beings before the invention of cameras. However, most current human-centric computer vision tasks like human pose estimation and human image generation focus exclusively on natural images in the real world. Artificial humans, such as those in sculptures, paintings, and cartoons, are commonly neglected, making existing models fail in these scenarios. As an abstraction of life, art incorporates humans in both natural and artificial scenes. We take advantage of it and introduce the Human-Art dataset to bridge related tasks in natural and artificial scenarios. Specifically, Human-Art contains 50k high-quality images with over 123k person instances from 5 natural and 15 artificial scenarios, which are annotated with bounding boxes, keypoints, self-contact points, and text information for humans represented in both 2D and 3D. It is, therefore, comprehensive and versatile for various downstream tasks. We also provide a rich set of baseline results and detailed analyses for related tasks, including human detection, 2D and 3D human pose estimation, image generation, and motion transfer. As a challenging dataset, we hope Human-Art can provide insights for relevant research and open up new research questions.

Text-to-image diffusion models have demonstrated remarkable capabilities in generating artistic content by learning from billions of images, including popular artworks. However, the fundamental question of how these models internally represent concepts, such as content and style in paintings, remains unexplored. Traditional computer vision assumes content and style are orthogonal, but diffusion models receive no explicit guidance about this distinction during training. In this work, we investigate how transformer-based text-to-image diffusion models encode content and style concepts when generating artworks. We leverage cross-attention heatmaps to attribute pixels in generated images to specific prompt tokens, enabling us to isolate image regions influenced by content-describing versus style-describing tokens. Our findings reveal that diffusion models demonstrate varying degrees of content-style separation depending on the specific artistic prompt and style requested. In many cases, content tokens primarily influence object-related regions while style tokens affect background and texture areas, suggesting an emergent understanding of the content-style distinction. These insights contribute to our understanding of how large-scale generative models internally represent complex artistic concepts without explicit supervision. We share the code and dataset, together with an exploratory tool for visualizing attention maps at https://github.com/umilISLab/artistic-prompt-interpretation.

Text-to-Image (T2I) diffusion models (DM) have garnered widespread adoption due to their capability in generating high-fidelity outputs and accessibility to anyone able to put imagination into words. However, DMs are often predisposed to generate unappealing outputs, much like the random images on the internet they were trained on. Existing approaches to address this are founded on the implicit premise that visual aesthetics is universal, which is limiting. Aesthetics in the T2I context should be about personalization and we propose the novel task of aesthetics alignment which seeks to align user-specified aesthetics with the T2I generation output. Inspired by how artworks provide an invaluable perspective to approach aesthetics, we codify visual aesthetics using the compositional framework artists employ, known as the Principles of Art (PoA). To facilitate this study, we introduce CompArt, a large-scale compositional art dataset building on top of WikiArt with PoA analysis annotated by a capable Multimodal LLM. Leveraging the expressive power of LLMs and training a lightweight and transferrable adapter, we demonstrate that T2I DMs can effectively offer 10 compositional controls through user-specified PoA conditions. Additionally, we design an appropriate evaluation framework to assess the efficacy of our approach.

Artificial Intelligence is present in the generation and distribution of culture. How do artists exploit neural networks? What impact do these algorithms have on artistic practice? Through a practice-based research methodology, this paper explores the potentials and limits of current AI technology, more precisely deep neural networks, in the context of image, text, form and translation of semiotic spaces. In a relatively short time, the generation of high-resolution images and 3D objects has been achieved. There are models, like CLIP and text2mesh, that do not need the same kind of media input as the output; we call them translation models. Such a twist contributes toward creativity arousal, which manifests itself in art practice and feeds back to the developers' pipeline. Yet again, we see how artworks act as catalysts for technology development. Those creative scenarios and processes are enabled not solely by AI models, but by the hard work behind implementing these new technologies. AI does not create a 'push-a-button' masterpiece but requires a deep understanding of the technology behind it, and a creative and critical mindset. Thus, AI opens new avenues for inspiration and offers novel tool sets, and yet again the question of authorship is asked.

Recently, the quality of artworks generated using Artificial Intelligence (AI) has increased significantly, resulting in growing difficulties in detecting synthetic artworks. However, limited studies have been conducted on identifying the authenticity of synthetic artworks and their source. This paper introduces AI-ArtBench, a dataset featuring 185,015 artistic images across 10 art styles. It includes 125,015 AI-generated images and 60,000 pieces of human-created artwork. This paper also outlines a method to accurately detect AI-generated images and trace them to their source model. This work proposes a novel Convolutional Neural Network model based on the ConvNeXt model called AttentionConvNeXt. AttentionConvNeXt was implemented and trained to differentiate between the source of the artwork and its style with an F1-Score of 0.869. The accuracy of attribution to the generative model reaches 0.999. To combine the scientific contributions arising from this study, a web-based application named ArtBrain was developed to enable both technical and non-technical users to interact with the model. Finally, this study presents the results of an Artistic Turing Test conducted with 50 participants. The findings reveal that humans could identify AI-generated images with an accuracy of approximately 58%, while the model itself achieved a significantly higher accuracy of around 99%.

The artistic style within a painting is the means of expression, which includes not only the painting material, colors, and brushstrokes, but also the high-level attributes including semantic elements, object shapes, etc. Previous arbitrary example-guided artistic image generation methods often fail to control shape changes or convey elements. The pre-trained text-to-image synthesis diffusion probabilistic models have achieved remarkable quality, but it often requires extensive textual descriptions to accurately portray attributes of a particular painting. We believe that the uniqueness of an artwork lies precisely in the fact that it cannot be adequately explained with normal language. Our key idea is to learn artistic style directly from a single painting and then guide the synthesis without providing complex textual descriptions. Specifically, we assume style as a learnable textual description of a painting. We propose an inversion-based style transfer method (InST), which can efficiently and accurately learn the key information of an image, thus capturing and transferring the artistic style of a painting. We demonstrate the quality and efficiency of our method on numerous paintings of various artists and styles. Code and models are available at https://github.com/zyxElsa/InST.

In fine art, especially painting, humans have mastered the skill to create unique visual experiences through composing a complex interplay between the content and style of an image. Thus far the algorithmic basis of this process is unknown and there exists no artificial system with similar capabilities. However, in other key areas of visual perception such as object and face recognition near-human performance was recently demonstrated by a class of biologically inspired vision models called Deep Neural Networks. Here we introduce an artificial system based on a Deep Neural Network that creates artistic images of high perceptual quality. The system uses neural representations to separate and recombine content and style of arbitrary images, providing a neural algorithm for the creation of artistic images. Moreover, in light of the striking similarities between performance-optimised artificial neural networks and biological vision, our work offers a path forward to an algorithmic understanding of how humans create and perceive artistic imagery.

In this paper, we propose a multi-modal search engine for interior design that combines visual and textual queries. The goal of our engine is to retrieve interior objects, e.g. furniture or wall clocks, that share visual and aesthetic similarities with the query. Our search engine allows the user to take a photo of a room and retrieve with a high recall a list of items identical or visually similar to those present in the photo. Additionally, it allows to return other items that aesthetically and stylistically fit well together. To achieve this goal, our system blends the results obtained using textual and visual modalities. Thanks to this blending strategy, we increase the average style similarity score of the retrieved items by 11%. Our work is implemented as a Web-based application and it is planned to be opened to the public.

With the advancement of deep learning, artificial intelligence (AI) has made many breakthroughs in recent years and achieved superhuman performance in various tasks such as object detection, reading comprehension, and video games. Generative Modeling, such as various Generative Adversarial Networks (GAN) models, has been applied to generate paintings and music. Research in Natural Language Processing (NLP) also had a leap forward in 2018 since the release of the pre-trained contextual neural language models such as BERT and recently released GPT3. Despite the exciting AI applications aforementioned, AI is still significantly lagging behind humans in creativity, which is often considered the ultimate moonshot for AI. Our work is inspired by Chinese calligraphy, which is a unique form of visual art where the character itself is an aesthetic painting. We also draw inspirations from paintings of the Abstract Expressionist movement in the 1940s and 1950s, such as the work by American painter Franz Kline. In this paper, we present a creative framework based on Conditional Generative Adversarial Networks and Contextual Neural Language Model to generate abstract artworks that have intrinsic meaning and aesthetic value, which is different from the existing work, such as image captioning and text-to-image generation, where the texts are the descriptions of the images. In addition, we have publicly released a Chinese calligraphy image dataset and demonstrate our framework using a prototype system and a user study.

This work introduces ArtAdapter, a transformative text-to-image (T2I) style transfer framework that transcends traditional limitations of color, brushstrokes, and object shape, capturing high-level style elements such as composition and distinctive artistic expression. The integration of a multi-level style encoder with our proposed explicit adaptation mechanism enables ArtAdapte to achieve unprecedented fidelity in style transfer, ensuring close alignment with textual descriptions. Additionally, the incorporation of an Auxiliary Content Adapter (ACA) effectively separates content from style, alleviating the borrowing of content from style references. Moreover, our novel fast finetuning approach could further enhance zero-shot style representation while mitigating the risk of overfitting. Comprehensive evaluations confirm that ArtAdapter surpasses current state-of-the-art methods.

Assessing the artness of AI-generated images continues to be a challenge within the realm of image generation. Most existing metrics cannot be used to perform instance-level and reference-free artness evaluation. This paper presents ArtScore, a metric designed to evaluate the degree to which an image resembles authentic artworks by artists (or conversely photographs), thereby offering a novel approach to artness assessment. We first blend pre-trained models for photo and artwork generation, resulting in a series of mixed models. Subsequently, we utilize these mixed models to generate images exhibiting varying degrees of artness with pseudo-annotations. Each photorealistic image has a corresponding artistic counterpart and a series of interpolated images that range from realistic to artistic. This dataset is then employed to train a neural network that learns to estimate quantized artness levels of arbitrary images. Extensive experiments reveal that the artness levels predicted by ArtScore align more closely with human artistic evaluation than existing evaluation metrics, such as Gram loss and ArtFID.

To deliver the artistic expression of the target style, recent studies exploit the attention mechanism owing to its ability to map the local patches of the style image to the corresponding patches of the content image. However, because of the low semantic correspondence between arbitrary content and artworks, the attention module repeatedly abuses specific local patches from the style image, resulting in disharmonious and evident repetitive artifacts. To overcome this limitation and accomplish impeccable artistic style transfer, we focus on enhancing the attention mechanism and capturing the rhythm of patterns that organize the style. In this paper, we introduce a novel metric, namely pattern repeatability, that quantifies the repetition of patterns in the style image. Based on the pattern repeatability, we propose Aesthetic Pattern-Aware style transfer Networks (AesPA-Net) that discover the sweet spot of local and global style expressions. In addition, we propose a novel self-supervisory task to encourage the attention mechanism to learn precise and meaningful semantic correspondence. Lastly, we introduce the patch-wise style loss to transfer the elaborate rhythm of local patterns. Through qualitative and quantitative evaluations, we verify the reliability of the proposed pattern repeatability that aligns with human perception, and demonstrate the superiority of the proposed framework.

Identifying sitters in historical paintings is a key task for art historians, offering insight into their lives and how they chose to be seen. However, the process is often subjective and limited by the lack of data and stylistic variations. Automated facial recognition is capable of handling challenging conditions and can assist, but while traditional facial recognition models perform well on photographs, they struggle with paintings due to domain shift and high intra-class variation. Artistic factors such as style, skill, intent, and influence from other works further complicate recognition. In this work, we investigate the potential of foundation models to improve facial recognition in artworks. By fine-tuning foundation models and integrating their embeddings with those from conventional facial recognition networks, we demonstrate notable improvements over current state-of-the-art methods. Our results show that foundation models can bridge the gap where traditional methods are ineffective. Paper page at https://www.idiap.ch/paper/artface/

Large-scale text-to-image generative models have made impressive strides, showcasing their ability to synthesize a vast array of high-quality images. However, adapting these models for artistic image editing presents two significant challenges. Firstly, users struggle to craft textual prompts that meticulously detail visual elements of the input image. Secondly, prevalent models, when effecting modifications in specific zones, frequently disrupt the overall artistic style, complicating the attainment of cohesive and aesthetically unified artworks. To surmount these obstacles, we build the innovative unified framework CreativeSynth, which is based on a diffusion model with the ability to coordinate multimodal inputs and multitask in the field of artistic image generation. By integrating multimodal features with customized attention mechanisms, CreativeSynth facilitates the importation of real-world semantic content into the domain of art through inversion and real-time style transfer. This allows for the precise manipulation of image style and content while maintaining the integrity of the original model parameters. Rigorous qualitative and quantitative evaluations underscore that CreativeSynth excels in enhancing artistic images' fidelity and preserves their innate aesthetic essence. By bridging the gap between generative models and artistic finesse, CreativeSynth becomes a custom digital palette.

Traditionally, style has been primarily considered in terms of artistic elements such as colors, brushstrokes, and lighting. However, identical semantic subjects, like people, boats, and houses, can vary significantly across different artistic traditions, indicating that style also encompasses the underlying semantics. Therefore, in this study, we propose a zero-shot scheme for image variation with coordinated semantics. Specifically, our scheme transforms the image-to-image problem into an image-to-text-to-image problem. The image-to-text operation employs vision-language models e.g., BLIP) to generate text describing the content of the input image, including the objects and their positions. Subsequently, the input style keyword is elaborated into a detailed description of this style and then merged with the content text using the reasoning capabilities of ChatGPT. Finally, the text-to-image operation utilizes a Diffusion model to generate images based on the text prompt. To enable the Diffusion model to accommodate more styles, we propose a fine-tuning strategy that injects text and style constraints into cross-attention. This ensures that the output image exhibits similar semantics in the desired style. To validate the performance of the proposed scheme, we constructed a benchmark comprising images of various styles and scenes and introduced two novel metrics. Despite its simplicity, our scheme yields highly plausible results in a zero-shot manner, particularly for generating stylized images with high-fidelity semantics.

CLIP has enabled new and exciting joint vision-language applications, one of which is open-vocabulary segmentation, which can locate any segment given an arbitrary text query. In our research, we ask whether it is possible to discover semantic segments without any user guidance in the form of text queries or predefined classes, and label them using natural language automatically? We propose a novel problem zero-guidance segmentation and the first baseline that leverages two pre-trained generalist models, DINO and CLIP, to solve this problem without any fine-tuning or segmentation dataset. The general idea is to first segment an image into small over-segments, encode them into CLIP's visual-language space, translate them into text labels, and merge semantically similar segments together. The key challenge, however, is how to encode a visual segment into a segment-specific embedding that balances global and local context information, both useful for recognition. Our main contribution is a novel attention-masking technique that balances the two contexts by analyzing the attention layers inside CLIP. We also introduce several metrics for the evaluation of this new task. With CLIP's innate knowledge, our method can precisely locate the Mona Lisa painting among a museum crowd. Project page: https://zero-guide-seg.github.io/.

Text-to-Music Retrieval, finding music based on a given natural language query, plays a pivotal role in content discovery within extensive music databases. To address this challenge, prior research has predominantly focused on a joint embedding of music audio and text, utilizing it to retrieve music tracks that exactly match descriptive queries related to musical attributes (i.e. genre, instrument) and contextual elements (i.e. mood, theme). However, users also articulate a need to explore music that shares similarities with their favorite tracks or artists, such as I need a similar track to Superstition by Stevie Wonder. To address these concerns, this paper proposes an improved Text-to-Music Retrieval model, denoted as TTMR++, which utilizes rich text descriptions generated with a finetuned large language model and metadata. To accomplish this, we obtained various types of seed text from several existing music tag and caption datasets and a knowledge graph dataset of artists and tracks. The experimental results show the effectiveness of TTMR++ in comparison to state-of-the-art music-text joint embedding models through a comprehensive evaluation involving various musical text queries.

Generative models are now widely used by graphic designers and artists. Prior works have shown that these models remember and often replicate content from their training data during generation. Hence as their proliferation increases, it has become important to perform a database search to determine whether the properties of the image are attributable to specific training data, every time before a generated image is used for professional purposes. Existing tools for this purpose focus on retrieving images of similar semantic content. Meanwhile, many artists are concerned with style replication in text-to-image models. We present a framework for understanding and extracting style descriptors from images. Our framework comprises a new dataset curated using the insight that style is a subjective property of an image that captures complex yet meaningful interactions of factors including but not limited to colors, textures, shapes, etc. We also propose a method to extract style descriptors that can be used to attribute style of a generated image to the images used in the training dataset of a text-to-image model. We showcase promising results in various style retrieval tasks. We also quantitatively and qualitatively analyze style attribution and matching in the Stable Diffusion model. Code and artifacts are available at https://github.com/learn2phoenix/CSD.

Content creators often draw inspiration from multiple visual sources, combining distinct elements to craft new compositions. Modern computational approaches now aim to emulate this fundamental creative process. Although recent diffusion models excel at text-guided compositional synthesis, text as a medium often lacks precise control over visual details. Image-based composition approaches can capture more nuanced features, but existing methods are typically limited in the range of concepts they can capture, and require expensive training procedures or specialized data. We present IP-Composer, a novel training-free approach for compositional image generation that leverages multiple image references simultaneously, while using natural language to describe the concept to be extracted from each image. Our method builds on IP-Adapter, which synthesizes novel images conditioned on an input image's CLIP embedding. We extend this approach to multiple visual inputs by crafting composite embeddings, stitched from the projections of multiple input images onto concept-specific CLIP-subspaces identified through text. Through comprehensive evaluation, we show that our approach enables more precise control over a larger range of visual concept compositions.

We present a novel framework for multi-domain synthesis of artwork from semantic layouts. One of the main limitations of this challenging task is the lack of publicly available segmentation datasets for art synthesis. To address this problem, we propose a dataset, which we call ArtSem, that contains 40,000 images of artwork from 4 different domains with their corresponding semantic label maps. We generate the dataset by first extracting semantic maps from landscape photography and then propose a conditional Generative Adversarial Network (GAN)-based approach to generate high-quality artwork from the semantic maps without necessitating paired training data. Furthermore, we propose an artwork synthesis model that uses domain-dependent variational encoders for high-quality multi-domain synthesis. The model is improved and complemented with a simple but effective normalization method, based on normalizing both the semantic and style jointly, which we call Spatially STyle-Adaptive Normalization (SSTAN). In contrast to previous methods that only take semantic layout as input, our model is able to learn a joint representation of both style and semantic information, which leads to better generation quality for synthesizing artistic images. Results indicate that our model learns to separate the domains in the latent space, and thus, by identifying the hyperplanes that separate the different domains, we can also perform fine-grained control of the synthesized artwork. By combining our proposed dataset and approach, we are able to generate user-controllable artwork that is of higher quality than existing

With the rapid advancement of diffusion models, text-to-image generation has achieved significant progress in image resolution, detail fidelity, and semantic alignment, particularly with models like Stable Diffusion 3.5, Stable Diffusion XL, and FLUX 1. However, generating emotionally expressive and abstract artistic images remains a major challenge, largely due to the lack of large-scale, fine-grained emotional datasets. To address this gap, we present the EmoArt Dataset -- one of the most comprehensive emotion-annotated art datasets to date. It contains 132,664 artworks across 56 painting styles (e.g., Impressionism, Expressionism, Abstract Art), offering rich stylistic and cultural diversity. Each image includes structured annotations: objective scene descriptions, five key visual attributes (brushwork, composition, color, line, light), binary arousal-valence labels, twelve emotion categories, and potential art therapy effects. Using EmoArt, we systematically evaluate popular text-to-image diffusion models for their ability to generate emotionally aligned images from text. Our work provides essential data and benchmarks for emotion-driven image synthesis and aims to advance fields such as affective computing, multimodal learning, and computational art, enabling applications in art therapy and creative design. The dataset and more details can be accessed via our project website.

While vision-language models (VLMs) have advanced into detailed image description, evaluation remains a challenge. Standard metrics (e.g. CIDEr, SPICE) were designed for short texts and tuned to recognize errors that are now uncommon, such as object misidentification. In contrast, long texts require sensitivity to attribute and relation attachments and scores that localize errors to particular text spans. In this work, we introduce PoSh, a metric for detailed image description that uses scene graphs as structured rubrics to guide LLMs-as-a-Judge, producing aggregate scores grounded in fine-grained errors (e.g. mistakes in compositional understanding). PoSh is replicable, interpretable and a better proxy for human raters than existing metrics (including GPT4o-as-a-Judge). To validate PoSh, we introduce a challenging new dataset, DOCENT. This novel benchmark contains artwork, paired with expert-written references, and model-generated descriptions, augmented with granular and coarse judgments of their quality from art history students. Thus, DOCENT enables evaluating both detailed image description metrics and detailed image description itself in a challenging new domain. We show that PoSh achieves stronger correlations (+0.05 Spearman rho) with the human judgments in DOCENT than the best open-weight alternatives, is robust to image type (using CapArena, an existing dataset of web imagery) and is a capable reward function, outperforming standard supervised fine-tuning. Then, using PoSh, we characterize the performance of open and closed models in describing the paintings, sketches and statues in DOCENT and find that foundation models struggle to achieve full, error-free coverage of images with rich scene dynamics, establishing a demanding new task to gauge VLM progress. Through both PoSh and DOCENT, we hope to enable advances in important areas such as assistive text generation.

Machine learning generated content such as image artworks, textual poems and music become prominent in recent years. These tools attract much attention from the media, artists, researchers, and investors. Because these tools are data-driven, they are inherently different than the traditional creative tools which arises the question - who may own the content that is generated by these tools? In this paper we aim to address this question, we start by providing a background to this problem, raising several candidates that may own the content and arguments for each one of them. Then we propose a possible algorithmic solution in the vision-based model's regime. Finally, we discuss the broader implications of this problem.

For an artist or a graphic designer, the spatial layout of a scene is a critical design choice. However, existing text-to-image diffusion models provide limited support for incorporating spatial information. This paper introduces Composite Diffusion as a means for artists to generate high-quality images by composing from the sub-scenes. The artists can specify the arrangement of these sub-scenes through a flexible free-form segment layout. They can describe the content of each sub-scene primarily using natural text and additionally by utilizing reference images or control inputs such as line art, scribbles, human pose, canny edges, and more. We provide a comprehensive and modular method for Composite Diffusion that enables alternative ways of generating, composing, and harmonizing sub-scenes. Further, we wish to evaluate the composite image for effectiveness in both image quality and achieving the artist's intent. We argue that existing image quality metrics lack a holistic evaluation of image composites. To address this, we propose novel quality criteria especially relevant to composite generation. We believe that our approach provides an intuitive method of art creation. Through extensive user surveys, quantitative and qualitative analysis, we show how it achieves greater spatial, semantic, and creative control over image generation. In addition, our methods do not need to retrain or modify the architecture of the base diffusion models and can work in a plug-and-play manner with the fine-tuned models.

The artistic style of a painting is a rich descriptor that reveals both visual and deep intrinsic knowledge about how an artist uniquely portrays and expresses their creative vision. Accurate categorization of paintings across different artistic movements and styles is critical for large-scale indexing of art databases. However, the automatic extraction and recognition of these highly dense artistic features has received little to no attention in the field of computer vision research. In this paper, we investigate the use of deep self-supervised learning methods to solve the problem of recognizing complex artistic styles with high intra-class and low inter-class variation. Further, we outperform existing approaches by almost 20% on a highly class imbalanced WikiArt dataset with 27 art categories. To achieve this, we train the EnAET semi-supervised learning model (Wang et al., 2019) with limited annotated data samples and supplement it with self-supervised representations learned from an ensemble of spatial and non-spatial transformations.

We propose a method for the weakly supervised detection of objects in paintings. At training time, only image-level annotations are needed. This, combined with the efficiency of our multiple-instance learning method, enables one to learn new classes on-the-fly from globally annotated databases, avoiding the tedious task of manually marking objects. We show on several databases that dropping the instance-level annotations only yields mild performance losses. We also introduce a new database, IconArt, on which we perform detection experiments on classes that could not be learned on photographs, such as Jesus Child or Saint Sebastian. To the best of our knowledge, these are the first experiments dealing with the automatic (and in our case weakly supervised) detection of iconographic elements in paintings. We believe that such a method is of great benefit for helping art historians to explore large digital databases.

In recent years, advancements in generative artificial intelligence have led to the development of sophisticated tools capable of mimicking diverse artistic styles, opening new possibilities for digital creativity and artistic expression. This paper presents a critical assessment of the style replication capabilities of contemporary generative models, evaluating their strengths and limitations across multiple dimensions. We examine how effectively these models reproduce traditional artistic styles while maintaining structural integrity and compositional balance in the generated images. The analysis is based on a new large dataset of AI-generated works imitating artistic styles of the past, holding potential for a wide range of applications: the "AI-pastiche" dataset. The study is supported by extensive user surveys, collecting diverse opinions on the dataset and investigation both technical and aesthetic challenges, including the ability to generate outputs that are realistic and visually convincing, the versatility of models in handling a wide range of artistic styles, and the extent to which they adhere to the content and stylistic specifications outlined in prompts. This paper aims to provide a comprehensive overview of the current state of generative tools in style replication, offering insights into their technical and artistic limitations, potential advancements in model design and training methodologies, and emerging opportunities for enhancing digital artistry, human-AI collaboration, and the broader creative landscape.

This paper introduces ArtELingo, a new benchmark and dataset, designed to encourage work on diversity across languages and cultures. Following ArtEmis, a collection of 80k artworks from WikiArt with 0.45M emotion labels and English-only captions, ArtELingo adds another 0.79M annotations in Arabic and Chinese, plus 4.8K in Spanish to evaluate "cultural-transfer" performance. More than 51K artworks have 5 annotations or more in 3 languages. This diversity makes it possible to study similarities and differences across languages and cultures. Further, we investigate captioning tasks, and find diversity improves the performance of baseline models. ArtELingo is publicly available at https://www.artelingo.org/ with standard splits and baseline models. We hope our work will help ease future research on multilinguality and culturally-aware AI.

Generating images that fit a given text description using machine learning has improved greatly with the release of technologies such as the CLIP image-text encoder model; however, current methods lack artistic control of the style of image to be generated. We present an approach for generating styled drawings for a given text description where a user can specify a desired drawing style using a sample image. Inspired by a theory in art that style and content are generally inseparable during the creative process, we propose a coupled approach, known here as StyleCLIPDraw, whereby the drawing is generated by optimizing for style and content simultaneously throughout the process as opposed to applying style transfer after creating content in a sequence. Based on human evaluation, the styles of images generated by StyleCLIPDraw are strongly preferred to those by the sequential approach. Although the quality of content generation degrades for certain styles, overall considering both content and style, StyleCLIPDraw is found far more preferred, indicating the importance of style, look, and feel of machine generated images to people as well as indicating that style is coupled in the drawing process itself. Our code (https://github.com/pschaldenbrand/StyleCLIPDraw), a demonstration (https://replicate.com/pschaldenbrand/style-clip-draw), and style evaluation data (https://www.kaggle.com/pittsburghskeet/drawings-with-style-evaluation-styleclipdraw) are publicly available.

Poster design is a critical medium for visual communication. Prior work has explored automatic poster design using deep learning techniques, but these approaches lack text accuracy, user customization, and aesthetic appeal, limiting their applicability in artistic domains such as movies and exhibitions, where both clear content delivery and visual impact are essential. To address these limitations, we present POSTA: a modular framework powered by diffusion models and multimodal large language models (MLLMs) for customized artistic poster generation. The framework consists of three modules. Background Diffusion creates a themed background based on user input. Design MLLM then generates layout and typography elements that align with and complement the background style. Finally, to enhance the poster's aesthetic appeal, ArtText Diffusion applies additional stylization to key text elements. The final result is a visually cohesive and appealing poster, with a fully modular process that allows for complete customization. To train our models, we develop the PosterArt dataset, comprising high-quality artistic posters annotated with layout, typography, and pixel-level stylized text segmentation. Our comprehensive experimental analysis demonstrates POSTA's exceptional controllability and design diversity, outperforming existing models in both text accuracy and aesthetic quality.

We present the first study on how Multimodal LLMs' (MLLMs) reasoning ability shall be elicited to evaluate the aesthetics of artworks. To facilitate this investigation, we construct MM-StyleBench, a novel high-quality dataset for benchmarking artistic stylization. We then develop a principled method for human preference modeling and perform a systematic correlation analysis between MLLMs' responses and human preference. Our experiments reveal an inherent hallucination issue of MLLMs in art evaluation, associated with response subjectivity. ArtCoT is proposed, demonstrating that art-specific task decomposition and the use of concrete language boost MLLMs' reasoning ability for aesthetics. Our findings offer valuable insights into MLLMs for art and can benefit a wide range of downstream applications, such as style transfer and artistic image generation. Code available at https://github.com/songrise/MLLM4Art.

The rapid advancement of educational applications, artistic creation, and AI-generated content (AIGC) technologies has substantially increased practical requirements for comprehensive Image Aesthetics Assessment (IAA), particularly demanding methods capable of delivering both quantitative scoring and professional understanding. Multimodal Large Language Model (MLLM)-based IAA methods demonstrate stronger perceptual and generalization capabilities compared to traditional approaches, yet they suffer from modality bias (score-only or text-only) and lack fine-grained attribute decomposition, thereby failing to support further aesthetic assessment. In this paper, we present:(1) ArtiMuse, an innovative MLLM-based IAA model with Joint Scoring and Expert-Level Understanding capabilities; (2) ArtiMuse-10K, the first expert-curated image aesthetic dataset comprising 10,000 images spanning 5 main categories and 15 subcategories, each annotated by professional experts with 8-dimensional attributes analysis and a holistic score. Both the model and dataset will be made public to advance the field.

We propose LiteReality, a novel pipeline that converts RGB-D scans of indoor environments into compact, realistic, and interactive 3D virtual replicas. LiteReality not only reconstructs scenes that visually resemble reality but also supports key features essential for graphics pipelines -- such as object individuality, articulation, high-quality physically based rendering materials, and physically based interaction. At its core, LiteReality first performs scene understanding and parses the results into a coherent 3D layout and objects with the help of a structured scene graph. It then reconstructs the scene by retrieving the most visually similar 3D artist-crafted models from a curated asset database. Next, the Material Painting module enhances realism by recovering high-quality, spatially varying materials. Finally, the reconstructed scene is integrated into a simulation engine with basic physical properties to enable interactive behavior. The resulting scenes are compact, editable, and fully compatible with standard graphics pipelines, making them suitable for applications in AR/VR, gaming, robotics, and digital twins. In addition, LiteReality introduces a training-free object retrieval module that achieves state-of-the-art similarity performance on the Scan2CAD benchmark, along with a robust material painting module capable of transferring appearances from images of any style to 3D assets -- even under severe misalignment, occlusion, and poor lighting. We demonstrate the effectiveness of LiteReality on both real-life scans and public datasets. Project page: https://litereality.github.io; Video: https://www.youtube.com/watch?v=ecK9m3LXg2c

Vision-language models have recently evolved into versatile systems capable of high performance across a range of tasks, such as document understanding, visual question answering, and grounding, often in zero-shot settings. Comics Understanding, a complex and multifaceted field, stands to greatly benefit from these advances. Comics, as a medium, combine rich visual and textual narratives, challenging AI models with tasks that span image classification, object detection, instance segmentation, and deeper narrative comprehension through sequential panels. However, the unique structure of comics -- characterized by creative variations in style, reading order, and non-linear storytelling -- presents a set of challenges distinct from those in other visual-language domains. In this survey, we present a comprehensive review of Comics Understanding from both dataset and task perspectives. Our contributions are fivefold: (1) We analyze the structure of the comics medium, detailing its distinctive compositional elements; (2) We survey the widely used datasets and tasks in comics research, emphasizing their role in advancing the field; (3) We introduce the Layer of Comics Understanding (LoCU) framework, a novel taxonomy that redefines vision-language tasks within comics and lays the foundation for future work; (4) We provide a detailed review and categorization of existing methods following the LoCU framework; (5) Finally, we highlight current research challenges and propose directions for future exploration, particularly in the context of vision-language models applied to comics. This survey is the first to propose a task-oriented framework for comics intelligence and aims to guide future research by addressing critical gaps in data availability and task definition. A project associated with this survey is available at https://github.com/emanuelevivoli/awesome-comics-understanding.

Accurately detecting and classifying damage in analogue media such as paintings, photographs, textiles, mosaics, and frescoes is essential for cultural heritage preservation. While machine learning models excel in correcting degradation if the damage operator is known a priori, we show that they fail to robustly predict where the damage is even after supervised training; thus, reliable damage detection remains a challenge. Motivated by this, we introduce ARTeFACT, a dataset for damage detection in diverse types analogue media, with over 11,000 annotations covering 15 kinds of damage across various subjects, media, and historical provenance. Furthermore, we contribute human-verified text prompts describing the semantic contents of the images, and derive additional textual descriptions of the annotated damage. We evaluate CNN, Transformer, diffusion-based segmentation models, and foundation vision models in zero-shot, supervised, unsupervised and text-guided settings, revealing their limitations in generalising across media types. Our dataset is available at https://daniela997.github.io/ARTeFACT/{https://daniela997.github.io/ARTeFACT/} as the first-of-its-kind benchmark for analogue media damage detection and restoration.

Museums serve as vital repositories of cultural heritage and historical artifacts spanning diverse epochs, civilizations, and regions, preserving well-documented collections. Data reveal key attributes such as age, origin, material, and cultural significance. Understanding museum exhibits from their images requires reasoning beyond visual features. In this work, we facilitate such reasoning by (a) collecting and curating a large-scale dataset of 65M images and 200M question-answer pairs in the standard museum catalog format for exhibits from all around the world; (b) training large vision-language models on the collected dataset; (c) benchmarking their ability on five visual question answering tasks. The complete dataset is labeled by museum experts, ensuring the quality as well as the practical significance of the labels. We train two VLMs from different categories: the BLIP model, with vision-language aligned embeddings, but lacking the expressive power of large language models, and the LLaVA model, a powerful instruction-tuned LLM enriched with vision-language reasoning capabilities. Through exhaustive experiments, we provide several insights on the complex and fine-grained understanding of museum exhibits. In particular, we show that some questions whose answers can often be derived directly from visual features are well answered by both types of models. On the other hand, questions that require the grounding of the visual features in repositories of human knowledge are better answered by the large vision-language models, thus demonstrating their superior capacity to perform the desired reasoning. Find our dataset, benchmarks, and source code at: https://github.com/insait-institute/Museum-65

Large-scale text-to-image diffusion models can generate high-fidelity images with powerful compositional ability. However, these models are typically trained on an enormous amount of Internet data, often containing copyrighted material, licensed images, and personal photos. Furthermore, they have been found to replicate the style of various living artists or memorize exact training samples. How can we remove such copyrighted concepts or images without retraining the model from scratch? To achieve this goal, we propose an efficient method of ablating concepts in the pretrained model, i.e., preventing the generation of a target concept. Our algorithm learns to match the image distribution for a target style, instance, or text prompt we wish to ablate to the distribution corresponding to an anchor concept. This prevents the model from generating target concepts given its text condition. Extensive experiments show that our method can successfully prevent the generation of the ablated concept while preserving closely related concepts in the model.

Accurate text segmentation results are crucial for text-related generative tasks, such as text image generation, text editing, text removal, and text style transfer. Recently, some scene text segmentation methods have made significant progress in segmenting regular text. However, these methods perform poorly in scenarios containing artistic text. Therefore, this paper focuses on the more challenging task of artistic text segmentation and constructs a real artistic text segmentation dataset. One challenge of the task is that the local stroke shapes of artistic text are changeable with diversity and complexity. We propose a decoder with the layer-wise momentum query to prevent the model from ignoring stroke regions of special shapes. Another challenge is the complexity of the global topological structure. We further design a skeleton-assisted head to guide the model to focus on the global structure. Additionally, to enhance the generalization performance of the text segmentation model, we propose a strategy for training data synthesis, based on the large multi-modal model and the diffusion model. Experimental results show that our proposed method and synthetic dataset can significantly enhance the performance of artistic text segmentation and achieve state-of-the-art results on other public datasets.

Recent advancements in text-to-image models, such as Stable Diffusion, have demonstrated their ability to synthesize visual images through natural language prompts. One approach of personalizing text-to-image models, exemplified by DreamBooth, fine-tunes the pre-trained model by binding unique text identifiers with a few images of a specific subject. Although existing fine-tuning methods have demonstrated competence in rendering images according to the styles of famous painters, it is still challenging to learn to produce images encapsulating distinct art styles due to abstract and broad visual perceptions of stylistic attributes such as lines, shapes, textures, and colors. In this paper, we introduce a new method, Single-StyleForge, for personalization. It fine-tunes pre-trained text-to-image diffusion models to generate diverse images in specified styles from text prompts. By using around 15-20 images of the target style, the approach establishes a foundational binding of a unique token identifier with a broad range of the target style. It also utilizes auxiliary images to strengthen this binding, resulting in offering specific guidance on representing elements such as persons in a target style-consistent manner. In addition, we present ways to improve the quality of style and text-image alignment through a method called Multi-StyleForge, which inherits the strategy used in StyleForge and learns tokens in multiple. Experimental evaluation conducted on six distinct artistic styles demonstrates substantial improvements in both the quality of generated images and the perceptual fidelity metrics, such as FID, KID, and CLIP scores.

Art style classification remains a formidable challenge in computational aesthetics due to the scarcity of expertly labeled datasets and the intricate, often nonlinear interplay of stylistic elements. While recent dual-teacher self-supervised frameworks reduce reliance on labeled data, their linear projection layers and localized focus struggle to model global compositional context and complex style-feature interactions. We enhance the dual-teacher knowledge distillation framework to address these limitations by replacing conventional MLP projection and prediction heads with Kolmogorov-Arnold Networks (KANs). Our approach retains complementary guidance from two teacher networks, one emphasizing localized texture and brushstroke patterns, the other capturing broader stylistic hierarchies while leveraging KANs' spline-based activations to model nonlinear feature correlations with mathematical precision. Experiments on WikiArt and Pandora18k demonstrate that our approach outperforms the base dual teacher architecture in Top-1 accuracy. Our findings highlight the importance of KANs in disentangling complex style manifolds, leading to better linear probe accuracy than MLP projections.

Image style transfer has attracted widespread attention in the past few years. Despite its remarkable results, it requires additional style images available as references, making it less flexible and inconvenient. Using text is the most natural way to describe the style. More importantly, text can describe implicit abstract styles, like styles of specific artists or art movements. In this paper, we propose a Contrastive Learning for Artistic Style Transfer (CLAST) that leverages advanced image-text encoders to control arbitrary style transfer. We introduce a supervised contrastive training strategy to effectively extract style descriptions from the image-text model (i.e., CLIP), which aligns stylization with the text description. To this end, we also propose a novel and efficient adaLN based state space models that explore style-content fusion. Finally, we achieve a text-driven image style transfer. Extensive experiments demonstrate that our approach outperforms the state-of-the-art methods in artistic style transfer. More importantly, it does not require online fine-tuning and can render a 512x512 image in 0.03s.

Hand-drawn cartoon animation employs sketches and flat-color segments to create the illusion of motion. While recent advancements like CLIP, SVD, and Sora show impressive results in understanding and generating natural video by scaling large models with extensive datasets, they are not as effective for cartoons. Through our empirical experiments, we argue that this ineffectiveness stems from a notable bias in hand-drawn cartoons that diverges from the distribution of natural videos. Can we harness the success of the scaling paradigm to benefit cartoon research? Unfortunately, until now, there has not been a sizable cartoon dataset available for exploration. In this research, we propose the Sakuga-42M Dataset, the first large-scale cartoon animation dataset. Sakuga-42M comprises 42 million keyframes covering various artistic styles, regions, and years, with comprehensive semantic annotations including video-text description pairs, anime tags, content taxonomies, etc. We pioneer the benefits of such a large-scale cartoon dataset on comprehension and generation tasks by finetuning contemporary foundation models like Video CLIP, Video Mamba, and SVD, achieving outstanding performance on cartoon-related tasks. Our motivation is to introduce large-scaling to cartoon research and foster generalization and robustness in future cartoon applications. Dataset, Code, and Pretrained Models will be publicly available.

Composed Image Retrieval (CIR) is an emerging yet challenging task that allows users to search for target images using a multimodal query, comprising a reference image and a modification text specifying the user's desired changes to the reference image. Given its significant academic and practical value, CIR has become a rapidly growing area of interest in the computer vision and machine learning communities, particularly with the advances in deep learning. To the best of our knowledge, there is currently no comprehensive review of CIR to provide a timely overview of this field. Therefore, we synthesize insights from over 120 publications in top conferences and journals, including ACM TOIS, SIGIR, and CVPR In particular, we systematically categorize existing supervised CIR and zero-shot CIR models using a fine-grained taxonomy. For a comprehensive review, we also briefly discuss approaches for tasks closely related to CIR, such as attribute-based CIR and dialog-based CIR. Additionally, we summarize benchmark datasets for evaluation and analyze existing supervised and zero-shot CIR methods by comparing experimental results across multiple datasets. Furthermore, we present promising future directions in this field, offering practical insights for researchers interested in further exploration. The curated collection of related works is maintained and continuously updated in https://github.com/haokunwen/Awesome-Composed-Image-Retrieval.

Arbitrary Style Transfer (AST) aims to transform images by adopting the style from any selected artwork. Nonetheless, the need to accommodate diverse and subjective user preferences poses a significant challenge. While some users wish to preserve distinct content structures, others might favor a more pronounced stylization. Despite advances in feed-forward AST methods, their limited customizability hinders their practical application. We propose a new approach, ArtFusion, which provides a flexible balance between content and style. In contrast to traditional methods reliant on biased similarity losses, ArtFusion utilizes our innovative Dual Conditional Latent Diffusion Probabilistic Models (Dual-cLDM). This approach mitigates repetitive patterns and enhances subtle artistic aspects like brush strokes and genre-specific features. Despite the promising results of conditional diffusion probabilistic models (cDM) in various generative tasks, their introduction to style transfer is challenging due to the requirement for paired training data. ArtFusion successfully navigates this issue, offering more practical and controllable stylization. A key element of our approach involves using a single image for both content and style during model training, all the while maintaining effective stylization during inference. ArtFusion outperforms existing approaches on outstanding controllability and faithful presentation of artistic details, providing evidence of its superior style transfer capabilities. Furthermore, the Dual-cLDM utilized in ArtFusion carries the potential for a variety of complex multi-condition generative tasks, thus greatly broadening the impact of our research.

Content creators often aim to create personalized images using personal subjects that go beyond the capabilities of conventional text-to-image models. Additionally, they may want the resulting image to encompass a specific location, style, ambiance, and more. Existing personalization methods may compromise personalization ability or the alignment to complex textual prompts. This trade-off can impede the fulfillment of user prompts and subject fidelity. We propose a new approach focusing on personalization methods for a single prompt to address this issue. We term our approach prompt-aligned personalization. While this may seem restrictive, our method excels in improving text alignment, enabling the creation of images with complex and intricate prompts, which may pose a challenge for current techniques. In particular, our method keeps the personalized model aligned with a target prompt using an additional score distillation sampling term. We demonstrate the versatility of our method in multi- and single-shot settings and further show that it can compose multiple subjects or use inspiration from reference images, such as artworks. We compare our approach quantitatively and qualitatively with existing baselines and state-of-the-art techniques.

A common and controversial use of text-to-image models is to generate pictures by explicitly naming artists, such as "in the style of Greg Rutkowski". We introduce a benchmark for prompted-artist recognition: predicting which artist names were invoked in the prompt from the image alone. The dataset contains 1.95M images covering 110 artists and spans four generalization settings: held-out artists, increasing prompt complexity, multiple-artist prompts, and different text-to-image models. We evaluate feature similarity baselines, contrastive style descriptors, data attribution methods, supervised classifiers, and few-shot prototypical networks. Generalization patterns vary: supervised and few-shot models excel on seen artists and complex prompts, whereas style descriptors transfer better when the artist's style is pronounced; multi-artist prompts remain the most challenging. Our benchmark reveals substantial headroom and provides a public testbed to advance the responsible moderation of text-to-image models. We release the dataset and benchmark to foster further research: https://graceduansu.github.io/IdentifyingPromptedArtists/

Text-to-image generative models have enabled high-resolution image synthesis across different domains, but require users to specify the content they wish to generate. In this paper, we consider the inverse problem -- given a collection of different images, can we discover the generative concepts that represent each image? We present an unsupervised approach to discover generative concepts from a collection of images, disentangling different art styles in paintings, objects, and lighting from kitchen scenes, and discovering image classes given ImageNet images. We show how such generative concepts can accurately represent the content of images, be recombined and composed to generate new artistic and hybrid images, and be further used as a representation for downstream classification tasks.

Ancient artifacts are an important medium for cultural preservation and restoration. However, many physical copies of artifacts are either damaged or lost, leaving a blank space in archaeological and historical studies that calls for artifact image generation techniques. Despite the significant advancements in open-domain text-to-image synthesis, existing approaches fail to capture the important domain knowledge presented in the textual description, resulting in errors in recreated images such as incorrect shapes and patterns. In this paper, we propose a novel knowledge-aware artifact image synthesis approach that brings lost historical objects accurately into their visual forms. We use a pretrained diffusion model as backbone and introduce three key techniques to enhance the text-to-image generation framework: 1) we construct prompts with explicit archaeological knowledge elicited from large language models (LLMs); 2) we incorporate additional textual guidance to correlated historical expertise in a contrastive manner; 3) we introduce further visual-semantic constraints on edge and perceptual features that enable our model to learn more intricate visual details of the artifacts. Compared to existing approaches, our proposed model produces higher-quality artifact images that align better with the implicit details and historical knowledge contained within written documents, thus achieving significant improvements across automatic metrics and in human evaluation. Our code and data are available at https://github.com/danielwusg/artifact_diffusion.

Our understanding of the visual world is centered around various concept axes, characterizing different aspects of visual entities. While different concept axes can be easily specified by language, e.g. color, the exact visual nuances along each axis often exceed the limitations of linguistic articulations, e.g. a particular style of painting. In this work, our goal is to learn a language-informed visual concept representation, by simply distilling large pre-trained vision-language models. Specifically, we train a set of concept encoders to encode the information pertinent to a set of language-informed concept axes, with an objective of reproducing the input image through a pre-trained Text-to-Image (T2I) model. To encourage better disentanglement of different concept encoders, we anchor the concept embeddings to a set of text embeddings obtained from a pre-trained Visual Question Answering (VQA) model. At inference time, the model extracts concept embeddings along various axes from new test images, which can be remixed to generate images with novel compositions of visual concepts. With a lightweight test-time finetuning procedure, it can also generalize to novel concepts unseen at training.

We challenge AI models to "demonstrate understanding" of the sophisticated multimodal humor of The New Yorker Caption Contest. Concretely, we develop three carefully circumscribed tasks for which it suffices (but is not necessary) to grasp potentially complex and unexpected relationships between image and caption, and similarly complex and unexpected allusions to the wide varieties of human experience; these are the hallmarks of a New Yorker-caliber cartoon. We investigate vision-and-language models that take as input the cartoon pixels and caption directly, as well as language-only models for which we circumvent image-processing by providing textual descriptions of the image. Even with the rich multifaceted annotations we provide for the cartoon images, we identify performance gaps between high-quality machine learning models (e.g., a fine-tuned, 175B parameter language model) and humans. We publicly release our corpora including annotations describing the image's locations/entities, what's unusual about the scene, and an explanation of the joke.

In the realm of vision models, the primary mode of representation is using pixels to rasterize the visual world. Yet this is not always the best or unique way to represent visual content, especially for designers and artists who depict the world using geometry primitives such as polygons. Vector graphics (VG), on the other hand, offer a textual representation of visual content, which can be more concise and powerful for content like cartoons or sketches. Recent studies have shown promising results on processing vector graphics with capable Large Language Models (LLMs). However, such works focus solely on qualitative results, understanding, or a specific type of vector graphics. We propose VGBench, a comprehensive benchmark for LLMs on handling vector graphics through diverse aspects, including (a) both visual understanding and generation, (b) evaluation of various vector graphics formats, (c) diverse question types, (d) wide range of prompting techniques, (e) under multiple LLMs. Evaluating on our collected 4279 understanding and 5845 generation samples, we find that LLMs show strong capability on both aspects while exhibiting less desirable performance on low-level formats (SVG). Both data and evaluation pipeline will be open-sourced at https://vgbench.github.io.

Comics, as a medium, uniquely combine text and images in styles often distinct from real-world visuals. For the past three decades, computational research on comics has evolved from basic object detection to more sophisticated tasks. However, the field faces persistent challenges such as small datasets, inconsistent annotations, inaccessible model weights, and results that cannot be directly compared due to varying train/test splits and metrics. To address these issues, we aim to standardize annotations across datasets, introduce a variety of comic styles into the datasets, and establish benchmark results with clear, replicable settings. Our proposed Comics Datasets Framework standardizes dataset annotations into a common format and addresses the overrepresentation of manga by introducing Comics100, a curated collection of 100 books from the Digital Comics Museum, annotated for detection in our uniform format. We have benchmarked a variety of detection architectures using the Comics Datasets Framework. All related code, model weights, and detailed evaluation processes are available at https://github.com/emanuelevivoli/cdf, ensuring transparency and facilitating replication. This initiative is a significant advancement towards improving object detection in comics, laying the groundwork for more complex computational tasks dependent on precise object recognition.

In recent years, large language models (LLMs) have made significant progress in natural language processing (NLP), with models like ChatGPT and GPT-4 achieving impressive capabilities in various linguistic tasks. However, training models on such a large scale is challenging, and finding datasets that match the model's scale is often difficult. Fine-tuning and training models with fewer parameters using novel methods have emerged as promising approaches to overcome these challenges. One such model is MiniGPT-4, which achieves comparable vision-language understanding to GPT-4 by leveraging novel pre-training models and innovative training strategies. However, the model still faces some challenges in image understanding, particularly in artistic pictures. A novel multimodal model called ArtGPT-4 has been proposed to address these limitations. ArtGPT-4 was trained on image-text pairs using a Tesla A100 device in just 2 hours, using only about 200 GB of data. The model can depict images with an artistic flair and generate visual code, including aesthetically pleasing HTML/CSS web pages. Furthermore, the article proposes novel benchmarks for evaluating the performance of vision-language models. In the subsequent evaluation methods, ArtGPT-4 scored more than 1 point higher than the current state-of-the-art model and was only 0.25 points lower than artists on a 6-point scale. Our code and pre-trained model are available at https://huggingface.co/Tyrannosaurus/ArtGPT-4.

Recent progresses in large-scale text-to-image models have yielded remarkable accomplishments, finding various applications in art domain. However, expressing unique characteristics of an artwork (e.g. brushwork, colortone, or composition) with text prompts alone may encounter limitations due to the inherent constraints of verbal description. To this end, we introduce DreamStyler, a novel framework designed for artistic image synthesis, proficient in both text-to-image synthesis and style transfer. DreamStyler optimizes a multi-stage textual embedding with a context-aware text prompt, resulting in prominent image quality. In addition, with content and style guidance, DreamStyler exhibits flexibility to accommodate a range of style references. Experimental results demonstrate its superior performance across multiple scenarios, suggesting its promising potential in artistic product creation.

Music induced painting is a unique artistic practice, where visual artworks are created under the influence of music. Evaluating whether a painting faithfully reflects the music that inspired it poses a challenging perceptual assessment task. Existing methods primarily rely on emotion recognition models to assess the similarity between music and painting, but such models introduce considerable noise and overlook broader perceptual cues beyond emotion. To address these limitations, we propose a novel framework for music induced painting assessment that directly models perceptual coherence between music and visual art. We introduce MPD, the first large scale dataset of music painting pairs annotated by domain experts based on perceptual coherence. To better handle ambiguous cases, we further collect pairwise preference annotations. Building on this dataset, we present MPJudge, a model that integrates music features into a visual encoder via a modulation based fusion mechanism. To effectively learn from ambiguous cases, we adopt Direct Preference Optimization for training. Extensive experiments demonstrate that our method outperforms existing approaches. Qualitative results further show that our model more accurately identifies music relevant regions in paintings.

We present an algorithm for searching image collections using free-hand sketches that describe the appearance and relative positions of multiple objects. Sketch based image retrieval (SBIR) methods predominantly match queries containing a single, dominant object invariant to its position within an image. Our work exploits drawings as a concise and intuitive representation for specifying entire scene compositions. We train a convolutional neural network (CNN) to encode masked visual features from sketched objects, pooling these into a spatial descriptor encoding the spatial relationships and appearances of objects in the composition. Training the CNN backbone as a Siamese network under triplet loss yields a metric search embedding for measuring compositional similarity which may be efficiently leveraged for visual search by applying product quantization.

Recent text-to-image diffusion models such as MidJourney and Stable Diffusion threaten to displace many in the professional artist community. In particular, models can learn to mimic the artistic style of specific artists after "fine-tuning" on samples of their art. In this paper, we describe the design, implementation and evaluation of Glaze, a tool that enables artists to apply "style cloaks" to their art before sharing online. These cloaks apply barely perceptible perturbations to images, and when used as training data, mislead generative models that try to mimic a specific artist. In coordination with the professional artist community, we deploy user studies to more than 1000 artists, assessing their views of AI art, as well as the efficacy of our tool, its usability and tolerability of perturbations, and robustness across different scenarios and against adaptive countermeasures. Both surveyed artists and empirical CLIP-based scores show that even at low perturbation levels (p=0.05), Glaze is highly successful at disrupting mimicry under normal conditions (>92%) and against adaptive countermeasures (>85%).

Text-to-image models offer unprecedented freedom to guide creation through natural language. Yet, it is unclear how such freedom can be exercised to generate images of specific unique concepts, modify their appearance, or compose them in new roles and novel scenes. In other words, we ask: how can we use language-guided models to turn our cat into a painting, or imagine a new product based on our favorite toy? Here we present a simple approach that allows such creative freedom. Using only 3-5 images of a user-provided concept, like an object or a style, we learn to represent it through new "words" in the embedding space of a frozen text-to-image model. These "words" can be composed into natural language sentences, guiding personalized creation in an intuitive way. Notably, we find evidence that a single word embedding is sufficient for capturing unique and varied concepts. We compare our approach to a wide range of baselines, and demonstrate that it can more faithfully portray the concepts across a range of applications and tasks. Our code, data and new words will be available at: https://textual-inversion.github.io

We introduce Artistic Cinemagraph, a fully automated method for creating cinemagraphs from text descriptions - an especially challenging task when prompts feature imaginary elements and artistic styles, given the complexity of interpreting the semantics and motions of these images. Existing single-image animation methods fall short on artistic inputs, and recent text-based video methods frequently introduce temporal inconsistencies, struggling to keep certain regions static. To address these challenges, we propose an idea of synthesizing image twins from a single text prompt - a pair of an artistic image and its pixel-aligned corresponding natural-looking twin. While the artistic image depicts the style and appearance detailed in our text prompt, the realistic counterpart greatly simplifies layout and motion analysis. Leveraging existing natural image and video datasets, we can accurately segment the realistic image and predict plausible motion given the semantic information. The predicted motion can then be transferred to the artistic image to create the final cinemagraph. Our method outperforms existing approaches in creating cinemagraphs for natural landscapes as well as artistic and other-worldly scenes, as validated by automated metrics and user studies. Finally, we demonstrate two extensions: animating existing paintings and controlling motion directions using text.

Diffusion-based text-to-image generation models like GLIDE and DALLE-2 have gained wide success recently for their superior performance in turning complex text inputs into images of high quality and wide diversity. In particular, they are proven to be very powerful in creating graphic arts of various formats and styles. Although current models supported specifying style formats like oil painting or pencil drawing, fine-grained style features like color distributions and brush strokes are hard to specify as they are randomly picked from a conditional distribution based on the given text input. Here we propose a novel style guidance method to support generating images using arbitrary style guided by a reference image. The generation method does not require a separate style transfer model to generate desired styles while maintaining image quality in generated content as controlled by the text input. Additionally, the guidance method can be applied without a style reference, denoted as self style guidance, to generate images of more diverse styles. Comprehensive experiments prove that the proposed method remains robust and effective in a wide range of conditions, including diverse graphic art forms, image content types and diffusion models.

Image retrieval, i.e., finding desired images given a reference image, inherently encompasses rich, multi-faceted search intents that are difficult to capture solely using image-based measures. Recent work leverages text instructions to allow users to more freely express their search intents. However, existing work primarily focuses on image pairs that are visually similar and/or can be characterized by a small set of pre-defined relations. The core thesis of this paper is that text instructions can enable retrieving images with richer relations beyond visual similarity. To show this, we introduce MagicLens, a series of self-supervised image retrieval models that support open-ended instructions. MagicLens is built on a key novel insight: image pairs that naturally occur on the same web pages contain a wide range of implicit relations (e.g., inside view of), and we can bring those implicit relations explicit by synthesizing instructions via large multimodal models (LMMs) and large language models (LLMs). Trained on 36.7M (query image, instruction, target image) triplets with rich semantic relations mined from the web, MagicLens achieves comparable or better results on eight benchmarks of various image retrieval tasks than prior state-of-the-art (SOTA) methods. Remarkably, it outperforms previous SOTA but with a 50X smaller model size on multiple benchmarks. Additional human analyses on a 1.4M-image unseen corpus further demonstrate the diversity of search intents supported by MagicLens.

Chronicling America is a product of the National Digital Newspaper Program, a partnership between the Library of Congress and the National Endowment for the Humanities to digitize historic newspapers. Over 16 million pages of historic American newspapers have been digitized for Chronicling America to date, complete with high-resolution images and machine-readable METS/ALTO OCR. Of considerable interest to Chronicling America users is a semantified corpus, complete with extracted visual content and headlines. To accomplish this, we introduce a visual content recognition model trained on bounding box annotations of photographs, illustrations, maps, comics, and editorial cartoons collected as part of the Library of Congress's Beyond Words crowdsourcing initiative and augmented with additional annotations including those of headlines and advertisements. We describe our pipeline that utilizes this deep learning model to extract 7 classes of visual content: headlines, photographs, illustrations, maps, comics, editorial cartoons, and advertisements, complete with textual content such as captions derived from the METS/ALTO OCR, as well as image embeddings for fast image similarity querying. We report the results of running the pipeline on 16.3 million pages from the Chronicling America corpus and describe the resulting Newspaper Navigator dataset, the largest dataset of extracted visual content from historic newspapers ever produced. The Newspaper Navigator dataset, finetuned visual content recognition model, and all source code are placed in the public domain for unrestricted re-use.

Despite the progress made in the style transfer task, most previous work focus on transferring only relatively simple features like color or texture, while missing more abstract concepts such as overall art expression or painter-specific traits. However, these abstract semantics can be captured by models like DALL-E or CLIP, which have been trained using huge datasets of images and textual documents. In this paper, we propose StylerDALLE, a style transfer method that exploits both of these models and uses natural language to describe abstract art styles. Specifically, we formulate the language-guided style transfer task as a non-autoregressive token sequence translation, i.e., from input content image to output stylized image, in the discrete latent space of a large-scale pretrained vector-quantized tokenizer. To incorporate style information, we propose a Reinforcement Learning strategy with CLIP-based language supervision that ensures stylization and content preservation simultaneously. Experimental results demonstrate the superiority of our method, which can effectively transfer art styles using language instructions at different granularities. Code is available at https://github.com/zipengxuc/StylerDALLE.

In this paper, we present a method which combines the flexibility of the neural algorithm of artistic style with the speed of fast style transfer networks to allow real-time stylization using any content/style image pair. We build upon recent work leveraging conditional instance normalization for multi-style transfer networks by learning to predict the conditional instance normalization parameters directly from a style image. The model is successfully trained on a corpus of roughly 80,000 paintings and is able to generalize to paintings previously unobserved. We demonstrate that the learned embedding space is smooth and contains a rich structure and organizes semantic information associated with paintings in an entirely unsupervised manner.

We introduce ArtBench-10, the first class-balanced, high-quality, cleanly annotated, and standardized dataset for benchmarking artwork generation. It comprises 60,000 images of artwork from 10 distinctive artistic styles, with 5,000 training images and 1,000 testing images per style. ArtBench-10 has several advantages over previous artwork datasets. Firstly, it is class-balanced while most previous artwork datasets suffer from the long tail class distributions. Secondly, the images are of high quality with clean annotations. Thirdly, ArtBench-10 is created with standardized data collection, annotation, filtering, and preprocessing procedures. We provide three versions of the dataset with different resolutions (32times32, 256times256, and original image size), formatted in a way that is easy to be incorporated by popular machine learning frameworks. We also conduct extensive benchmarking experiments using representative image synthesis models with ArtBench-10 and present in-depth analysis. The dataset is available at https://github.com/liaopeiyuan/artbench under a Fair Use license.

Recent advances in diffusion models and parameter-efficient fine-tuning (PEFT) have made text-to-image generation and customization widely accessible, with Low Rank Adaptation (LoRA) able to replicate an artist's style or subject using minimal data and computation. In this paper, we examine the relationship between LoRA weights and artistic styles, demonstrating that LoRA weights alone can serve as an effective descriptor of style, without the need for additional image generation or knowledge of the original training set. Our findings show that LoRA weights yield better performance in clustering of artistic styles compared to traditional pre-trained features, such as CLIP and DINO, with strong structural similarities between LoRA-based and conventional image-based embeddings observed both qualitatively and quantitatively. We identify various retrieval scenarios for the growing collection of customized models and show that our approach enables more accurate retrieval in real-world settings where knowledge of the training images is unavailable and additional generation is required. We conclude with a discussion on potential future applications, such as zero-shot LoRA fine-tuning and model attribution.

This Research through Design paper explores how object detection may be applied to a large digital art museum collection to facilitate new ways of encountering and experiencing art. We present the design and evaluation of an interactive application called SMKExplore, which allows users to explore a museum's digital collection of paintings by browsing through objects detected in the images, as a novel form of open-ended exploration. We provide three contributions. First, we show how an object detection pipeline can be integrated into a design process for visual exploration. Second, we present the design and development of an app that enables exploration of an art museum's collection. Third, we offer reflections on future possibilities for museums and HCI researchers to incorporate object detection techniques into the digitalization of museums.

Creating meaningful art is often viewed as a uniquely human endeavor. A human artist needs a combination of unique skills, understanding, and genuine intention to create artworks that evoke deep feelings and emotions. In this paper, we introduce a multi-conditional Generative Adversarial Network (GAN) approach trained on large amounts of human paintings to synthesize realistic-looking paintings that emulate human art. Our approach is based on the StyleGAN neural network architecture, but incorporates a custom multi-conditional control mechanism that provides fine-granular control over characteristics of the generated paintings, e.g., with regard to the perceived emotion evoked in a spectator. For better control, we introduce the conditional truncation trick, which adapts the standard truncation trick for the conditional setting and diverse datasets. Finally, we develop a diverse set of evaluation techniques tailored to multi-conditional generation.

Humanities scholars commonly provide evidence for claims that they make about a work of literature (e.g., a novel) in the form of quotations from the work. We collect a large-scale dataset (RELiC) of 78K literary quotations and surrounding critical analysis and use it to formulate the novel task of literary evidence retrieval, in which models are given an excerpt of literary analysis surrounding a masked quotation and asked to retrieve the quoted passage from the set of all passages in the work. Solving this retrieval task requires a deep understanding of complex literary and linguistic phenomena, which proves challenging to methods that overwhelmingly rely on lexical and semantic similarity matching. We implement a RoBERTa-based dense passage retriever for this task that outperforms existing pretrained information retrieval baselines; however, experiments and analysis by human domain experts indicate that there is substantial room for improvement over our dense retriever.

Diffusion models have demonstrated exceptional capabilities in generating a broad spectrum of visual content, yet their proficiency in rendering text is still limited: they often generate inaccurate characters or words that fail to blend well with the underlying image. To address these shortcomings, we introduce a new framework named ARTIST. This framework incorporates a dedicated textual diffusion model to specifically focus on the learning of text structures. Initially, we pretrain this textual model to capture the intricacies of text representation. Subsequently, we finetune a visual diffusion model, enabling it to assimilate textual structure information from the pretrained textual model. This disentangled architecture design and the training strategy significantly enhance the text rendering ability of the diffusion models for text-rich image generation. Additionally, we leverage the capabilities of pretrained large language models to better interpret user intentions, contributing to improved generation quality. Empirical results on the MARIO-Eval benchmark underscore the effectiveness of the proposed method, showing an improvement of up to 15\% in various metrics.

Recent advances in text-to-image generation have enabled the creation of high-quality images with diverse applications. However, accurately describing desired visual attributes can be challenging, especially for non-experts in art and photography. An intuitive solution involves adopting favorable attributes from the source images. Current methods attempt to distill identity and style from source images. However, "style" is a broad concept that includes texture, color, and artistic elements, but does not cover other important attributes such as lighting and dynamics. Additionally, a simplified "style" adaptation prevents combining multiple attributes from different sources into one generated image. In this work, we formulate a more effective approach to decompose the aesthetics of a picture into specific visual attributes, allowing users to apply characteristics such as lighting, texture, and dynamics from different images. To achieve this goal, we constructed the first fine-grained visual attributes dataset (FiVA) to the best of our knowledge. This FiVA dataset features a well-organized taxonomy for visual attributes and includes around 1 M high-quality generated images with visual attribute annotations. Leveraging this dataset, we propose a fine-grained visual attribute adaptation framework (FiVA-Adapter), which decouples and adapts visual attributes from one or more source images into a generated one. This approach enhances user-friendly customization, allowing users to selectively apply desired attributes to create images that meet their unique preferences and specific content requirements.

Visual storytelling often uses nontypical aspect-ratio images like scroll paintings, comic strips, and panoramas to create an expressive and compelling narrative. While generative AI has achieved great success and shown the potential to reshape the creative industry, it remains a challenge to generate coherent and engaging content with arbitrary size and controllable style, concept, and layout, all of which are essential for visual storytelling. To overcome the shortcomings of previous methods including repetitive content, style inconsistency, and lack of controllability, we propose MagicScroll, a multi-layered, progressive diffusion-based image generation framework with a novel semantic-aware denoising process. The model enables fine-grained control over the generated image on object, scene, and background levels with text, image, and layout conditions. We also establish the first benchmark for nontypical aspect-ratio image generation for visual storytelling including mediums like paintings, comics, and cinematic panoramas, with customized metrics for systematic evaluation. Through comparative and ablation studies, MagicScroll showcases promising results in aligning with the narrative text, improving visual coherence, and engaging the audience. We plan to release the code and benchmark in the hope of a better collaboration between AI researchers and creative practitioners involving visual storytelling.

We present TALE, a novel training-free framework harnessing the generative capabilities of text-to-image diffusion models to address the cross-domain image composition task that focuses on flawlessly incorporating user-specified objects into a designated visual contexts regardless of domain disparity. Previous methods often involve either training auxiliary networks or finetuning diffusion models on customized datasets, which are expensive and may undermine the robust textual and visual priors of pre-trained diffusion models. Some recent works attempt to break the barrier by proposing training-free workarounds that rely on manipulating attention maps to tame the denoising process implicitly. However, composing via attention maps does not necessarily yield desired compositional outcomes. These approaches could only retain some semantic information and usually fall short in preserving identity characteristics of input objects or exhibit limited background-object style adaptation in generated images. In contrast, TALE is a novel method that operates directly on latent space to provide explicit and effective guidance for the composition process to resolve these problems. Specifically, we equip TALE with two mechanisms dubbed Adaptive Latent Manipulation and Energy-guided Latent Optimization. The former formulates noisy latents conducive to initiating and steering the composition process by directly leveraging background and foreground latents at corresponding timesteps, and the latter exploits designated energy functions to further optimize intermediate latents conforming to specific conditions that complement the former to generate desired final results. Our experiments demonstrate that TALE surpasses prior baselines and attains state-of-the-art performance in image-guided composition across various photorealistic and artistic domains.

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.

Multimodal LLMs are the natural evolution of LLMs, and enlarge their capabilities so as to work beyond the pure textual modality. As research is being carried out to design novel architectures and vision-and-language adapters, in this paper we concentrate on endowing such models with the capability of answering questions that require external knowledge. Our approach, termed Wiki-LLaVA, aims at integrating an external knowledge source of multimodal documents, which is accessed through a hierarchical retrieval pipeline. Relevant passages, using this approach, are retrieved from the external knowledge source and employed as additional context for the LLM, augmenting the effectiveness and precision of generated dialogues. We conduct extensive experiments on datasets tailored for visual question answering with external data and demonstrate the appropriateness of our approach.

Archaeology is an intriguing domain for computer vision. It suffers not only from shortage in (labeled) data, but also from highly-challenging data, which is often extremely abraded and damaged. This paper proposes a novel semi-supervised model for classification and retrieval of images of archaeological artifacts. This model utilizes unique data that exists in the domain -- manual drawings made by special artists. These are used during training to implicitly transfer the domain knowledge from the drawings to their corresponding images, improving their classification results. We show that while learning how to classify, our model also learns how to generate drawings of the artifacts, an important documentation task, which is currently performed manually. Last but not least, we collected a new dataset of stamp-seals of the Southern Levant. The dataset and the code will be released upon acceptance.

Large Multimodal Models (LMMs) have achieved remarkable progress in generating photorealistic and prompt-aligned images, but they often produce outputs that contradict verifiable knowledge, especially when prompts involve fine-grained attributes or time-sensitive events. Conventional retrieval-augmented approaches attempt to address this issue by introducing external information, yet they are fundamentally incapable of grounding generation in accurate and evolving knowledge due to their reliance on static sources and shallow evidence integration. To bridge this gap, we introduce ORIG, an agentic open multimodal retrieval-augmented framework for Factual Image Generation (FIG), a new task that requires both visual realism and factual grounding. ORIG iteratively retrieves and filters multimodal evidence from the web and incrementally integrates the refined knowledge into enriched prompts to guide generation. To support systematic evaluation, we build FIG-Eval, a benchmark spanning ten categories across perceptual, compositional, and temporal dimensions. Experiments demonstrate that ORIG substantially improves factual consistency and overall image quality over strong baselines, highlighting the potential of open multimodal retrieval for factual image generation.

Generative AI based art has proliferated in the past year, with increasingly impressive use cases from generating fake human faces to the creation of systems that can generate thousands of artistic images from text prompts - some of these images have even been "good" enough to win accolades from qualified judges. In this paper, we explore how Generative Models have impacted artistry, not only from a qualitative point of view, but also from an angle of exploitation of artists -- both via plagiarism, where models are trained on their artwork without permission, and via profit shifting, where profits in the art market have shifted from art creators to model owners. However, we posit that if deployed responsibly, AI generative models have the possibility of being a positive, new modality in art that does not displace or harm existing artists.

Current text detection datasets primarily target natural or document scenes, where text typically appear in regular font and shapes, monotonous colors, and orderly layouts. The text usually arranged along straight or curved lines. However, these characteristics differ significantly from anime scenes, where text is often diverse in style, irregularly arranged, and easily confused with complex visual elements such as symbols and decorative patterns. Text in anime scene also includes a large number of handwritten and stylized fonts. Motivated by this gap, we introduce AnimeText, a large-scale dataset containing 735K images and 4.2M annotated text blocks. It features hierarchical annotations and hard negative samples tailored for anime scenarios. %Cross-dataset evaluations using state-of-the-art methods demonstrate that models trained on AnimeText achieve superior performance in anime text detection tasks compared to existing datasets. To evaluate the robustness of AnimeText in complex anime scenes, we conducted cross-dataset benchmarking using state-of-the-art text detection methods. Experimental results demonstrate that models trained on AnimeText outperform those trained on existing datasets in anime scene text detection tasks. AnimeText on HuggingFace: https://huggingface.co/datasets/deepghs/AnimeText

Designing 3D scenes is traditionally a challenging task that demands both artistic expertise and proficiency with complex software. Recent advances in text-to-3D generation have greatly simplified this process by letting users create scenes based on simple text descriptions. However, as these methods generally require extra training or in-context learning, their performance is often hindered by the limited availability of high-quality 3D data. In contrast, modern text-to-image models learned from web-scale images can generate scenes with diverse, reliable spatial layouts and consistent, visually appealing styles. Our key insight is that instead of learning directly from 3D scenes, we can leverage generated 2D images as an intermediary to guide 3D synthesis. In light of this, we introduce ArtiScene, a training-free automated pipeline for scene design that integrates the flexibility of free-form text-to-image generation with the diversity and reliability of 2D intermediary layouts. First, we generate 2D images from a scene description, then extract the shape and appearance of objects to create 3D models. These models are assembled into the final scene using geometry, position, and pose information derived from the same intermediary image. Being generalizable to a wide range of scenes and styles, ArtiScene outperforms state-of-the-art benchmarks by a large margin in layout and aesthetic quality by quantitative metrics. It also averages a 74.89% winning rate in extensive user studies and 95.07% in GPT-4o evaluation. Project page: https://artiscene-cvpr.github.io/

One characteristic that makes humans superior to modern artificially intelligent models is the ability to interpret images beyond what is visually apparent. Consider the following two natural language search queries - (i) "a queue of customers patiently waiting to buy ice cream" and (ii) "a queue of tourists going to see a famous Mughal architecture in India." Interpreting these queries requires one to reason with (i) Commonsense such as interpreting people as customers or tourists, actions as waiting to buy or going to see; and (ii) Fact or world knowledge associated with named visual entities, for example, whether the store in the image sells ice cream or whether the landmark in the image is a Mughal architecture located in India. Such reasoning goes beyond just visual recognition. To enable both commonsense and factual reasoning in the image search, we present a unified framework, namely Knowledge Retrieval-Augmented Multimodal Transformer (KRAMT), that treats the named visual entities in an image as a gateway to encyclopedic knowledge and leverages them along with natural language query to ground relevant knowledge. Further, KRAMT seamlessly integrates visual content and grounded knowledge to learn alignment between images and search queries. This unified framework is then used to perform image search requiring commonsense and factual reasoning. The retrieval performance of KRAMT is evaluated and compared with related approaches on a new dataset we introduce - namely COFAR. We make our code and dataset available at https://vl2g.github.io/projects/cofar

We introduce PhotoDoodle, a novel image editing framework designed to facilitate photo doodling by enabling artists to overlay decorative elements onto photographs. Photo doodling is challenging because the inserted elements must appear seamlessly integrated with the background, requiring realistic blending, perspective alignment, and contextual coherence. Additionally, the background must be preserved without distortion, and the artist's unique style must be captured efficiently from limited training data. These requirements are not addressed by previous methods that primarily focus on global style transfer or regional inpainting. The proposed method, PhotoDoodle, employs a two-stage training strategy. Initially, we train a general-purpose image editing model, OmniEditor, using large-scale data. Subsequently, we fine-tune this model with EditLoRA using a small, artist-curated dataset of before-and-after image pairs to capture distinct editing styles and techniques. To enhance consistency in the generated results, we introduce a positional encoding reuse mechanism. Additionally, we release a PhotoDoodle dataset featuring six high-quality styles. Extensive experiments demonstrate the advanced performance and robustness of our method in customized image editing, opening new possibilities for artistic creation.

Visual contents, such as illustrations and images, play a big role in product manual understanding. Existing Product Manual Question Answering (PMQA) datasets tend to ignore visual contents and only retain textual parts. In this work, to emphasize the importance of multimodal contents, we propose a Multimodal Product Manual Question Answering (MPMQA) task. For each question, MPMQA requires the model not only to process multimodal contents but also to provide multimodal answers. To support MPMQA, a large-scale dataset PM209 is constructed with human annotations, which contains 209 product manuals from 27 well-known consumer electronic brands. Human annotations include 6 types of semantic regions for manual contents and 22,021 pairs of question and answer. Especially, each answer consists of a textual sentence and related visual regions from manuals. Taking into account the length of product manuals and the fact that a question is always related to a small number of pages, MPMQA can be naturally split into two subtasks: retrieving most related pages and then generating multimodal answers. We further propose a unified model that can perform these two subtasks all together and achieve comparable performance with multiple task-specific models. The PM209 dataset is available at https://github.com/AIM3-RUC/MPMQA.

Social reward as a form of community recognition provides a strong source of motivation for users of online platforms to engage and contribute with content. The recent progress of text-conditioned image synthesis has ushered in a collaborative era where AI empowers users to craft original visual artworks seeking community validation. Nevertheless, assessing these models in the context of collective community preference introduces distinct challenges. Existing evaluation methods predominantly center on limited size user studies guided by image quality and prompt alignment. This work pioneers a paradigm shift, unveiling Social Reward - an innovative reward modeling framework that leverages implicit feedback from social network users engaged in creative editing of generated images. We embark on an extensive journey of dataset curation and refinement, drawing from Picsart: an online visual creation and editing platform, yielding a first million-user-scale dataset of implicit human preferences for user-generated visual art named Picsart Image-Social. Our analysis exposes the shortcomings of current metrics in modeling community creative preference of text-to-image models' outputs, compelling us to introduce a novel predictive model explicitly tailored to address these limitations. Rigorous quantitative experiments and user study show that our Social Reward model aligns better with social popularity than existing metrics. Furthermore, we utilize Social Reward to fine-tune text-to-image models, yielding images that are more favored by not only Social Reward, but also other established metrics. These findings highlight the relevance and effectiveness of Social Reward in assessing community appreciation for AI-generated artworks, establishing a closer alignment with users' creative goals: creating popular visual art. Codes can be accessed at https://github.com/Picsart-AI-Research/Social-Reward

Text-to-image generation from large generative models like Stable Diffusion, DALLE-2, etc., have become a common base for various tasks due to their superior quality and extensive knowledge bases. As image composition and generation are creative processes the artists need control over various parts of the images being generated. We find that just adding details about parts in the base text prompt either leads to an entirely different image (e.g., missing/incorrect identity) or the extra part details simply being ignored. To mitigate these issues, we introduce PartCraft, which enables image generation based on fine-grained part-level details specified for objects in the base text prompt. This allows more control for artists and enables novel object compositions by combining distinctive object parts. PartCraft first localizes object parts by denoising the object region from a specific diffusion process. This enables each part token to be localized to the right object region. After obtaining part masks, we run a localized diffusion process in each of the part regions based on fine-grained part descriptions and combine them to produce the final image. All the stages of PartCraft are based on repurposing a pre-trained diffusion model, which enables it to generalize across various domains without training. We demonstrate the effectiveness of part-level control provided by PartCraft qualitatively through visual examples and quantitatively in comparison to the contemporary baselines.

Text-to-image generation models have gained popularity among users around the world. However, many of these models exhibit a strong bias toward English-speaking cultures, ignoring or misrepresenting the unique characteristics of other language groups, countries, and nationalities. The lack of cultural awareness can reduce the generation quality and lead to undesirable consequences such as unintentional insult, and the spread of prejudice. In contrast to the field of natural language processing, cultural awareness in computer vision has not been explored as extensively. In this paper, we strive to reduce this gap. We propose a RusCode benchmark for evaluating the quality of text-to-image generation containing elements of the Russian cultural code. To do this, we form a list of 19 categories that best represent the features of Russian visual culture. Our final dataset consists of 1250 text prompts in Russian and their translations into English. The prompts cover a wide range of topics, including complex concepts from art, popular culture, folk traditions, famous people's names, natural objects, scientific achievements, etc. We present the results of a human evaluation of the side-by-side comparison of Russian visual concepts representations using popular generative models.

With the rise of short video platforms represented by TikTok, the trend of users expressing their creativity through photos and videos has increased dramatically. However, ordinary users lack the professional skills to produce high-quality videos using professional creation software. To meet the demand for intelligent and user-friendly video creation tools, we propose the Dynamic Visual Composition (DVC) task, an interesting and challenging task that aims to automatically integrate various media elements based on user requirements and create storytelling videos. We propose an Intelligent Director framework, utilizing LENS to generate descriptions for images and video frames and combining ChatGPT to generate coherent captions while recommending appropriate music names. Then, the best-matched music is obtained through music retrieval. Then, materials such as captions, images, videos, and music are integrated to seamlessly synthesize the video. Finally, we apply AnimeGANv2 for style transfer. We construct UCF101-DVC and Personal Album datasets and verified the effectiveness of our framework in solving DVC through qualitative and quantitative comparisons, along with user studies, demonstrating its substantial potential.

In this paper, we consider the problem of composed image retrieval (CIR), it aims to train a model that can fuse multi-modal information, e.g., text and images, to accurately retrieve images that match the query, extending the user's expression ability. We make the following contributions: (i) we initiate a scalable pipeline to automatically construct datasets for training CIR model, by simply exploiting a large-scale dataset of image-text pairs, e.g., a subset of LAION-5B; (ii) we introduce a transformer-based adaptive aggregation model, TransAgg, which employs a simple yet efficient fusion mechanism, to adaptively combine information from diverse modalities; (iii) we conduct extensive ablation studies to investigate the usefulness of our proposed data construction procedure, and the effectiveness of core components in TransAgg; (iv) when evaluating on the publicly available benckmarks under the zero-shot scenario, i.e., training on the automatically constructed datasets, then directly conduct inference on target downstream datasets, e.g., CIRR and FashionIQ, our proposed approach either performs on par with or significantly outperforms the existing state-of-the-art (SOTA) models. Project page: https://code-kunkun.github.io/ZS-CIR/

Art reinterpretation is the practice of creating a variation of a reference work, making a paired artwork that exhibits a distinct artistic style. We ask if such an image pair can be used to customize a generative model to capture the demonstrated stylistic difference. We propose Pair Customization, a new customization method that learns stylistic difference from a single image pair and then applies the acquired style to the generation process. Unlike existing methods that learn to mimic a single concept from a collection of images, our method captures the stylistic difference between paired images. This allows us to apply a stylistic change without overfitting to the specific image content in the examples. To address this new task, we employ a joint optimization method that explicitly separates the style and content into distinct LoRA weight spaces. We optimize these style and content weights to reproduce the style and content images while encouraging their orthogonality. During inference, we modify the diffusion process via a new style guidance based on our learned weights. Both qualitative and quantitative experiments show that our method can effectively learn style while avoiding overfitting to image content, highlighting the potential of modeling such stylistic differences from a single image pair.

With the spread of the use of Text2Img diffusion models such as DALL-E 2, Imagen, Mid Journey and Stable Diffusion, one challenge that artists face is selecting the right prompts to achieve the desired artistic output. We present techniques for measuring the effect that specific words and phrases in prompts have, and (in the Appendix) present guidance on the selection of prompts to produce desired effects.

Is aesthetic impact different from beauty? Is visual salience a reflection of its capacity for effective communication? We present Impressions, a novel dataset through which to investigate the semiotics of images, and how specific visual features and design choices can elicit specific emotions, thoughts and beliefs. We posit that the impactfulness of an image extends beyond formal definitions of aesthetics, to its success as a communicative act, where style contributes as much to meaning formation as the subject matter. However, prior image captioning datasets are not designed to empower state-of-the-art architectures to model potential human impressions or interpretations of images. To fill this gap, we design an annotation task heavily inspired by image analysis techniques in the Visual Arts to collect 1,440 image-caption pairs and 4,320 unique annotations exploring impact, pragmatic image description, impressions, and aesthetic design choices. We show that existing multimodal image captioning and conditional generation models struggle to simulate plausible human responses to images. However, this dataset significantly improves their ability to model impressions and aesthetic evaluations of images through fine-tuning and few-shot adaptation.

Perceiving visual semantics embedded within consecutive characters is a crucial yet under-explored capability for both Large Language Models (LLMs) and Multi-modal Large Language Models (MLLMs). In this work, we select ASCII art as a representative artifact. It depicts concepts through careful arrangement of characters, which can be formulated in both text and image modalities. We frame the problem as a recognition task, and construct a novel benchmark, ASCIIEval. It covers over 3K samples with an elaborate categorization tree, along with a training set for further enhancement. Encompassing a comprehensive analysis of tens of models through different input modalities, our benchmark demonstrate its multi-faceted diagnostic power. Given textual input, language models shows their visual perception ability on ASCII art concepts. Proprietary models achieve over 70% accuracy on certain categories, with GPT-5 topping the rank. For image inputs, we reveal that open-source MLLMs suffer from a trade-off between fine-grained text recognition and collective visual perception. They exhibit limited generalization ability to this special kind of arts, leading to the dramatic gap of over 20.01% accuracy compared with their proprietary counterparts. Another critical finding is that model performance is sensitive to the length of the ASCII art, with this sensitivity varying across input modalities. Unfortunately, none of the models could successfully benefit from the simultaneous provision of both modalities, highlighting the need for more flexible modality-fusion approaches. Besides, we also introduce approaches for further enhancement and discuss future directions. Resources are available at https://github.com/JiaQiSJTU/VisionInText.

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.

Graphic design plays a crucial role in both commercial and personal contexts, yet creating high-quality, editable, and aesthetically pleasing graphic compositions remains a time-consuming and skill-intensive task, especially for beginners. Current AI tools automate parts of the workflow, but struggle to accurately incorporate user-supplied assets, maintain editability, and achieve professional visual appeal. Commercial systems, like Canva Magic Design, rely on vast template libraries, which are impractical for replicate. In this paper, we introduce CreatiPoster, a framework that generates editable, multi-layer compositions from optional natural-language instructions or assets. A protocol model, an RGBA large multimodal model, first produces a JSON specification detailing every layer (text or asset) with precise layout, hierarchy, content and style, plus a concise background prompt. A conditional background model then synthesizes a coherent background conditioned on this rendered foreground layers. We construct a benchmark with automated metrics for graphic-design generation and show that CreatiPoster surpasses leading open-source approaches and proprietary commercial systems. To catalyze further research, we release a copyright-free corpus of 100,000 multi-layer designs. CreatiPoster supports diverse applications such as canvas editing, text overlay, responsive resizing, multilingual adaptation, and animated posters, advancing the democratization of AI-assisted graphic design. Project homepage: https://github.com/graphic-design-ai/creatiposter

This paper presents a new approach to image similarity search in the context of fashion, a domain with inherent ambiguity due to the multiple ways in which images can be considered similar. We introduce the concept of Referred Visual Search (RVS), where users provide additional information to define the desired similarity. We present a new dataset, LAION-RVS-Fashion, consisting of 272K fashion products with 842K images extracted from LAION, designed explicitly for this task. We then propose an innovative method for learning conditional embeddings using weakly-supervised training, achieving a 6% increase in Recall at one (R@1) against a gallery with 2M distractors, compared to classical approaches based on explicit attention and filtering. The proposed method demonstrates robustness, maintaining similar R@1 when dealing with 2.5 times as many distractors as the baseline methods. We believe this is a step forward in the emerging field of Referred Visual Search both in terms of accessible data and approach. Code, data and models are available at https://www.github.com/Simon-Lepage/CondViT-LRVSF .

Personalized generation paradigms empower designers to customize visual intellectual properties with the help of textual descriptions by tuning or adapting pre-trained text-to-image models on a few images. Recent works explore approaches for concurrently customizing both content and detailed visual style appearance. However, these existing approaches often generate images where the content and style are entangled. In this study, we reconsider the customization of content and style concepts from the perspective of parameter space construction. Unlike existing methods that utilize a shared parameter space for content and style, we propose a learning framework that separates the parameter space to facilitate individual learning of content and style, thereby enabling disentangled content and style. To achieve this goal, we introduce "partly learnable projection" (PLP) matrices to separate the original adapters into divided sub-parameter spaces. We propose "break-for-make" customization learning pipeline based on PLP, which is simple yet effective. We break the original adapters into "up projection" and "down projection", train content and style PLPs individually with the guidance of corresponding textual prompts in the separate adapters, and maintain generalization by employing a multi-correspondence projection learning strategy. Based on the adapters broken apart for separate training content and style, we then make the entity parameter space by reconstructing the content and style PLPs matrices, followed by fine-tuning the combined adapter to generate the target object with the desired appearance. Experiments on various styles, including textures, materials, and artistic style, show that our method outperforms state-of-the-art single/multiple concept learning pipelines in terms of content-style-prompt alignment.

Multi-modal deep learning techniques for matching free-form text with music have shown promising results in the field of Music Information Retrieval (MIR). Prior work is often based on large proprietary data while publicly available datasets are few and small in size. In this study, we present WikiMuTe, a new and open dataset containing rich semantic descriptions of music. The data is sourced from Wikipedia's rich catalogue of articles covering musical works. Using a dedicated text-mining pipeline, we extract both long and short-form descriptions covering a wide range of topics related to music content such as genre, style, mood, instrumentation, and tempo. To show the use of this data, we train a model that jointly learns text and audio representations and performs cross-modal retrieval. The model is evaluated on two tasks: tag-based music retrieval and music auto-tagging. The results show that while our approach has state-of-the-art performance on multiple tasks, but still observe a difference in performance depending on the data used for training.

Fashion design is a complex creative process that blends visual and textual expressions. Designers convey ideas through sketches, which define spatial structure and design elements, and textual descriptions, capturing material, texture, and stylistic details. In this paper, we present LOcalized Text and Sketch for fashion image generation (LOTS), an approach for compositional sketch-text based generation of complete fashion outlooks. LOTS leverages a global description with paired localized sketch + text information for conditioning and introduces a novel step-based merging strategy for diffusion adaptation. First, a Modularized Pair-Centric representation encodes sketches and text into a shared latent space while preserving independent localized features; then, a Diffusion Pair Guidance phase integrates both local and global conditioning via attention-based guidance within the diffusion model's multi-step denoising process. To validate our method, we build on Fashionpedia to release Sketchy, the first fashion dataset where multiple text-sketch pairs are provided per image. Quantitative results show LOTS achieves state-of-the-art image generation performance on both global and localized metrics, while qualitative examples and a human evaluation study highlight its unprecedented level of design customization.

We extend Textual Inversion to learn pseudo-words that represent a concept at different resolutions. This allows us to generate images that use the concept with different levels of detail and also to manipulate different resolutions using language. Once learned, the user can generate images at different levels of agreement to the original concept; "A photo of S^*(0)" produces the exact object while the prompt "A photo of S^*(0.8)" only matches the rough outlines and colors. Our framework allows us to generate images that use different resolutions of an image (e.g. details, textures, styles) as separate pseudo-words that can be composed in various ways. We open-soure our code in the following URL: https://github.com/giannisdaras/multires_textual_inversion

Understanding satire and humor is a challenging task for even current Vision-Language models. In this paper, we propose the challenging tasks of Satirical Image Detection (detecting whether an image is satirical), Understanding (generating the reason behind the image being satirical), and Completion (given one half of the image, selecting the other half from 2 given options, such that the complete image is satirical) and release a high-quality dataset YesBut, consisting of 2547 images, 1084 satirical and 1463 non-satirical, containing different artistic styles, to evaluate those tasks. Each satirical image in the dataset depicts a normal scenario, along with a conflicting scenario which is funny or ironic. Despite the success of current Vision-Language Models on multimodal tasks such as Visual QA and Image Captioning, our benchmarking experiments show that such models perform poorly on the proposed tasks on the YesBut Dataset in Zero-Shot Settings w.r.t both automated as well as human evaluation. Additionally, we release a dataset of 119 real, satirical photographs for further research. The dataset and code are available at https://github.com/abhi1nandy2/yesbut_dataset.

In this manifesto, we put forward the idea of data alchemy as a narrative device to discuss storytelling and transdisciplinarity in visualization. If data is the prima materia of modern science, how does one perform the Great Work? We use text-to-image diffusion-based generative art to develop the concept, and structure our argument in ten propositions, as if they were ten issues of a comic novel on data alchemy: Ad Disco Diffusionem. To follow the argument, the reader must immerse themselves in our miro board, and navigate a multimedia semiotic topology that includes comics, videos, code demos, and ergotic literature in a true alchemic sense. By accessing this paradigm one might find new sources of inspiration for scientific inquiry in familiar places, or get lost in the creative exploration of the unknown. Our colorful, sometimes poetic, exposition should not distract the reader from the seriousness of the ideas discussed, but ultimately it is about the journey.