Adrienne Deganutti, Purvanshi Mehta, Simon Hadfield +1cs.CV
Text-to-image models excel at natural image synthesis but struggle with graphic design, where success depends on satisfying precise constraints on typography, layout, color, and visual communication. While prompt optimization offers an attractive alternative to expensive diffusion model fine-tuning, learning prompts for frozen image generators requires informative reward functions despite the entirely non-differentiable generation process. Reinforcement learning does not require differentiable objectives; it requires only scalar rewards capable of ranking candidate outputs. This raises a simple question: can design evaluation metrics themselves become reinforcement learning rewards? Our central contribution is GDB-Reward, a framework that systematically transforms heterogeneous graphic design evaluation metrics into a unified reinforcement learning reward. Experiments demonstrate that GDB-Reward provides an effective optimization objective, substantially improving adherence to the design specification in perceptual quality, rendering fidelity, and spatial accuracy while keeping the image generator entirely frozen. More broadly, our results demonstrate that heterogeneous, non-differentiable evaluation metrics can move beyond passive benchmarking to become effective optimization objectives for reinforcement learning in domains where differentiable supervision is unavailable.
Automating graphic design synthesis from user-provided elements requires both a coherent overall composition and the exact preservation of each asset. Existing methods predict a layout as explicit bounding-box coordinates with a language model and then paste the assets into it, which separates spatial planning from visual synthesis and tends to produce rigid, mis-scaled compositions. We instead ask whether the layout can emerge implicitly inside a pretrained image-editing diffusion transformer. We present Mise-en-Scène, a two-stage framework. In the first stage, a diffusion transformer adapted with a small, knockout-selected LoRA drafts a complete design in which the arrangement of the elements emerges jointly with the rendered canvas. In the second stage, a deterministic match-and-place step moves the original high-resolution assets to the drafted positions, which guarantees exact asset fidelity and yields an editable, layered design that a designer can keep refining rather than a flat image. Notably, a minimal adaptation of the pretrained transformer already suffices, without the specialized conditioning machinery commonly introduced for multi-element generation. On the large-scale PrismLayersPlus benchmark, the designs produced by Mise-en-Scène are the closest to the ground truth in perceived quality among all compared methods, by a wide margin over both an LLM layout planner and a specialized layout transformer, while our match-and-place stage bridges the remaining fidelity gap to the ground-truth composites.
Graphic design editing requires precise manipulation of typography, layout, and visual hierarchy under strict design constraints. Following the introduction of large language models, organizations have increasingly promoted vision-language models to enhance productivity. However, current models operate on pixels and achieve only 52% constraint satisfaction on structured design edits, thereby limiting their reliability for professional workflows. We present StructuredEdit, a pipeline that reframes design editing as parameter manipulation rather than pixel generation. Our core technical contribution is Differentiable Parameter Propagation (DPP), a training method that embeds hard design constraints into vision-language model fine-tuning by backpropagating pixel-level constraint violations through a lightweight differentiable rasterizer. A hybrid candidate-and-filter pipeline produces 125k validated edit triplets. The resulting system reaches 89% constraint satisfaction versus 52% for GPT-4V, 0.82 matched-element Intersection over Union, and 76% top-1 font accuracy over the 100 most-frequent design typefaces. In a user study (N=35), editing time drops 33% and correction iterations drop 44% relative to a GPT-4V baseline.
Text-to-image models produce graphic design at production scale, but their supervision comes from photo-style preference data with a single overall verdict per comparison. Designers evaluate along several distinct axes, including typography, visual hierarchy, color harmony, layout, and brief fidelity, and a single label collapses them. We release TASTE (Typography, Aesthetics, Spatial, Tone, Etc.): ten professional designers ranked outputs from four current text-to-image models on nine criteria across two disjoint cohorts, yielding 1,600 ratings per criterion plus per-image hallucination flags on the holistic-preference cohorts. We pair the dataset with three contributions. First, a criterion-agnostic signal test framework, using Kendall's tau, majority probability, and Condorcet cycles against exact iid-uniform nulls at p = 4 and R = 5, places designer agreement on graphic design between food and movie preferences and photo-style image quality, with every TASTE criterion rejecting the random-rater null. Second, no pre-trained system in our benchmark, including six open-weight VLM judges from 3B to 33B parameters and three dedicated T2I scorers, HPSv2.1, PickScore-v1, and LAION-Aesthetic-V2, exceeds 0.55 macro agreement with the 5-designer majority; VLM judges trade off position bias against content sensitivity, so scaling moves along this frontier without improving accuracy. Third, a small pairwise-difference head trained on TASTE reaches 0.611, closing roughly half the gap to the 0.741 single-rater ceiling.
Globalization of graphic designs such as those used in marketing materials and magazines is increasingly important for communication to broad audiences. To accomplish this, the textual content in the graphic designs needs to be accurately translated and have the text styling preserved in order to fit visually into the design. Preserving text styling requires high accuracy word alignment between the original and the translated text. The problem of word alignment between source and translated text is long known. The industry standards for extracting word alignments are defined by Giza++ and attention probabilities from neural machine translation (NMT) models. In this paper, we explore three new methods to tackle the word alignment problem for transferring text styles from the source to the translated text. The proposed methods are developed on top of commercially available NMT and LLM translation technologies. They include: NMT with custom input and output tags for text styling; LLM with custom input and output tags; a hybrid with NMT for translation followed by an LLM with use of unigram mappings. To analyze the performance of these solutions, their alignment results are compared with the results of an attention head approach to gauge their usability in graphic design applications. Interestingly, the attention head strong baseline proves more accurate than the LLM or NMT approach and on par with the hybrid NMT+LLM approach.