旨在生成新的字体的几个示例字体（FFG），由于劳动力成本的显着降低，它引起了人们的关注。典型的FFG管道将标准字体库中的字符视为内容字形，并通过从参考字形中提取样式信息将其转移到新的目标字体中。大多数现有的解决方案明确地删除了全球或组件的参考字形的内容和参考字形的样式。但是，字形的风格主要在于当地细节，即激进，组件和笔触的风格一起描绘了雕文的样式。因此，即使是单个字符也可以包含在空间位置分布的不同样式。在本文中，我们通过学习提出了一种新的字体生成方法1）参考文献中的细粒度局部样式，以及2）内容和参考文字之间的空间对应关系。因此，内容字形中的每个空间位置都可以使用正确的细粒样式分配。为此，我们对内容字形的表示作为查询和参考字形表示作为键和值的跨注意。交叉注意机制无需明确地删除全球或组件建模，而是可以在参考文字中遵循正确的本地样式，并将参考样式汇总为给定内容字形的精细粒度样式表示。实验表明，所提出的方法的表现优于FFG中最新方法。特别是，用户研究还证明了我们方法的样式一致性显着优于以前的方法。

Automatic font generation without human experts is a practical and significant problem, especially for some languages that consist of a large number of characters. Existing methods for font generation are often in supervised learning. They require a large number of paired data, which are labor-intensive and expensive to collect. In contrast, common unsupervised image-to-image translation methods are not applicable to font generation, as they often define style as the set of textures and colors. In this work, we propose a robust deformable generative network for unsupervised font generation (abbreviated as DGFont++). We introduce a feature deformation skip connection (FDSC) to learn local patterns and geometric transformations between fonts. The FDSC predicts pairs of displacement maps and employs the predicted maps to apply deformable convolution to the low-level content feature maps. The outputs of FDSC are fed into a mixer to generate final results. Moreover, we introduce contrastive self-supervised learning to learn a robust style representation for fonts by understanding the similarity and dissimilarities of fonts. To distinguish different styles, we train our model with a multi-task discriminator, which ensures that each style can be discriminated independently. In addition to adversarial loss, another two reconstruction losses are adopted to constrain the domain-invariant characteristics between generated images and content images. Taking advantage of FDSC and the adopted loss functions, our model is able to maintain spatial information and generates high-quality character images in an unsupervised manner. Experiments demonstrate that our model is able to generate character images of higher quality than state-of-the-art methods.

Font generation is a difficult and time-consuming task, especially in those languages using ideograms that have complicated structures with a large number of characters, such as Chinese. To solve this problem, few-shot font generation and even one-shot font generation have attracted a lot of attention. However, most existing font generation methods may still suffer from (i) large cross-font gap challenge; (ii) subtle cross-font variation problem; and (iii) incorrect generation of complicated characters. In this paper, we propose a novel one-shot font generation method based on a diffusion model, named Diff-Font, which can be stably trained on large datasets. The proposed model aims to generate the entire font library by giving only one sample as the reference. Specifically, a large stroke-wise dataset is constructed, and a stroke-wise diffusion model is proposed to preserve the structure and the completion of each generated character. To our best knowledge, the proposed Diff-Font is the first work that developed diffusion models to handle the font generation task. The well-trained Diff-Font is not only robust to font gap and font variation, but also achieved promising performance on difficult character generation. Compared to previous font generation methods, our model reaches state-of-the-art performance both qualitatively and quantitatively.

Generating new fonts is a time-consuming and labor-intensive, especially in a language with a huge amount of characters like Chinese. Various deep learning models have demonstrated the ability to efficiently generate new fonts with a few reference characters of that style. This project aims to develop a few-shot cross-lingual font generator based on AGIS-Net and improve the performance metrics mentioned. Our approaches include redesigning the encoder and the loss function. We will validate our method on multiple languages and datasets mentioned.

人物图像的旨在在源图像上执行非刚性变形，这通常需要未对准数据对进行培训。最近，自我监督的方法通过合并自我重建的解除印章表达来表达这项任务的巨大前景。然而，这些方法未能利用解除戒断功能之间的空间相关性。在本文中，我们提出了一种自我监督的相关挖掘网络（SCM-NET）来重新排列特征空间中的源图像，其中两种协作模块是集成的，分解的样式编码器（DSE）和相关挖掘模块（CMM）。具体地，DSE首先在特征级别创建未对齐的对。然后，CMM建立用于特征重新排列的空间相关领域。最终，翻译模块将重新排列的功能转换为逼真的结果。同时，为了提高跨尺度姿态变换的保真度，我们提出了一种基于曲线图的体结构保持损失（BSR损耗），以保持半体上的合理的身体结构到全身。与Deepfashion DataSet进行的广泛实验表明了与其他监督和无监督和无监督的方法相比的方法的优势。此外，对面部的令人满意的结果显示了我们在其他变形任务中的方法的多功能性。

本文的目标是对面部素描合成（FSS）问题进行全面的研究。然而，由于获得了手绘草图数据集的高成本，因此缺乏完整的基准，用于评估过去十年的FSS算法的开发。因此，我们首先向FSS引入高质量的数据集，名为FS2K，其中包括2,104个图像素描对，跨越三种类型的草图样式，图像背景，照明条件，肤色和面部属性。 FS2K与以前的FSS数据集不同于难度，多样性和可扩展性，因此应促进FSS研究的进展。其次，我们通过调查139种古典方法，包括34个手工特征的面部素描合成方法，37个一般的神经式传输方法，43个深映像到图像翻译方法，以及35个图像 - 素描方法。此外，我们详细说明了现有的19个尖端模型的综合实验。第三，我们为FSS提供了一个简单的基准，名为FSGAN。只有两个直截了当的组件，即面部感知屏蔽和风格矢量扩展，FSGAN将超越所提出的FS2K数据集的所有先前最先进模型的性能，通过大边距。最后，我们在过去几年中汲取的经验教训，并指出了几个未解决的挑战。我们的开源代码可在https://github.com/dengpingfan/fsgan中获得。

近年来，由于其在图像生成过程中的可控性，有条件的图像合成引起了不断的关注。虽然最近的作品取得了现实的结果，但大多数都没有处理细微细节的细粒度风格。为了解决这个问题，提出了一种名为DRAN的新型归一化模块。它学会了细粒度的风格表示，同时保持普通风格的稳健性。具体来说，我们首先引入多级结构，空间感知金字塔汇集，以指导模型学习粗略的功能。然后，为了自适应地保险熔断不同的款式，我们提出动态门控，使得可以根据不同的空间区域选择不同的样式。为了评估DRAN的有效性和泛化能力，我们对化妆和语义图像合成进行了一组实验。定量和定性实验表明，配备了DRAN，基线模型能够实现复杂风格转移和纹理细节重建的显着改善。

可控的人图像合成任务可以通过对身体姿势和外观的明确控制来实现广泛的应用。在本文中，我们提出了一个基于跨注意的样式分布模块，该模块在源语义样式和目标姿势转移的目标姿势之间计算。该模块故意选择每个语义表示的样式，并根据目标姿势分配它们。交叉注意的注意力矩阵表达了目标姿势与所有语义的源样式之间的动态相似性。因此，可以利用它来从源图像路由颜色和纹理，并受到目标解析图的进一步限制，以实现更清晰的目标。同时，为了准确编码源外观，还添加了不同语义样式之间的自我注意力。我们的模型的有效性在姿势转移和虚拟的尝试任务上进行了定量和质量验证。

Image and video synthesis has become a blooming topic in computer vision and machine learning communities along with the developments of deep generative models, due to its great academic and application value. Many researchers have been devoted to synthesizing high-fidelity human images as one of the most commonly seen object categories in daily lives, where a large number of studies are performed based on various deep generative models, task settings and applications. Thus, it is necessary to give a comprehensive overview on these variant methods on human image generation. In this paper, we divide human image generation techniques into three paradigms, i.e., data-driven methods, knowledge-guided methods and hybrid methods. For each route, the most representative models and the corresponding variants are presented, where the advantages and characteristics of different methods are summarized in terms of model architectures and input/output requirements. Besides, the main public human image datasets and evaluation metrics in the literature are also summarized. Furthermore, due to the wide application potentials, two typical downstream usages of synthesized human images are covered, i.e., data augmentation for person recognition tasks and virtual try-on for fashion customers. Finally, we discuss the challenges and potential directions of human image generation to shed light on future research.

The generation of Chinese fonts has a wide range of applications. The currently predominated methods are mainly based on deep generative models, especially the generative adversarial networks (GANs). However, existing GAN-based models usually suffer from the well-known mode collapse problem. When mode collapse happens, the kind of GAN-based models will be failure to yield the correct fonts. To address this issue, we introduce a one-bit stroke encoding and a few-shot semi-supervised scheme (i.e., using a few paired data as semi-supervised information) to explore the local and global structure information of Chinese characters respectively, motivated by the intuition that strokes and characters directly embody certain local and global modes of Chinese characters. Based on these ideas, this paper proposes an effective model called \textit{StrokeGAN+}, which incorporates the stroke encoding and the few-shot semi-supervised scheme into the CycleGAN model. The effectiveness of the proposed model is demonstrated by amounts of experiments. Experimental results show that the mode collapse issue can be effectively alleviated by the introduced one-bit stroke encoding and few-shot semi-supervised training scheme, and that the proposed model outperforms the state-of-the-art models in fourteen font generation tasks in terms of four important evaluation metrics and the quality of generated characters. Besides CycleGAN, we also show that the proposed idea can be adapted to other existing models to improve their performance. The effectiveness of the proposed model for the zero-shot traditional Chinese font generation is also evaluated in this paper.

自动艺术文本生成是一个新兴主题，由于其广泛的应用而受到越来越多的关注。艺术文本可以分别分为三个组成部分，内容，字体和纹理。现有的艺术文本生成模型通常着重于操纵上述组件的一个方面，这是可控的一般艺术文本生成的亚最佳解决方案。为了解决这个问题，我们提出了一种新颖的方法，即Gentext，以通过将字体和纹理样式从不同的源图像迁移到目标图像来实现一般的艺术文本样式转移。具体而言，我们当前的工作分别结合了三个不同的阶段，分别是具有单个强大的编码网络和两个单独的样式生成器网络，一个用于字体传输的统一平台，分别为统一的平台，另一个用于风格化和命运化。命令阶段首先提取字体参考图像的字体样式，然后字体传输阶段使用所需的字体样式生成目标内容。最后，样式阶段呈现有关参考图像中纹理样式的结果字体图像。此外，考虑到配对艺术文本图像的难度数据采集，我们的模型是在无监督的设置下设计的，可以从未配对的数据中有效地优化所有阶段。定性和定量结果是在艺术文本基准上执行的，这证明了我们提出的模型的出色性能。带有模型的代码将来将公开使用。

最近的研究表明，通用风格转移的成功取得了巨大的成功，将任意视觉样式转移到内容图像中。但是，现有的方法遭受了审美的非现实主义问题，该问题引入了不和谐的模式和明显的人工制品，从而使结果很容易从真实的绘画中发现。为了解决这一限制，我们提出了一种新颖的美学增强风格转移方法，可以在美学上为任意风格产生更现实和令人愉悦的结果。具体而言，我们的方法引入了一种审美歧视者，以从大量的艺术家创造的绘画中学习通用的人类自愿美学特征。然后，合并了美学特征，以通过新颖的美学感知样式（AESSA）模块来增强样式转移过程。这样的AESSA模块使我们的Aesust能够根据样式图像的全局美学通道分布和内容图像的局部语义空间分布有效而灵活地集成样式模式。此外，我们还开发了一种新的两阶段转移培训策略，并通过两种审美正规化来更有效地训练我们的模型，从而进一步改善风格化的性能。广泛的实验和用户研究表明，我们的方法比艺术的状态综合了美学上更加和谐和现实的结果，从而大大缩小了真正的艺术家创造的绘画的差异。我们的代码可在https://github.com/endywon/aesust上找到。

Face Restoration (FR) aims to restore High-Quality (HQ) faces from Low-Quality (LQ) input images, which is a domain-specific image restoration problem in the low-level computer vision area. The early face restoration methods mainly use statistic priors and degradation models, which are difficult to meet the requirements of real-world applications in practice. In recent years, face restoration has witnessed great progress after stepping into the deep learning era. However, there are few works to study deep learning-based face restoration methods systematically. Thus, this paper comprehensively surveys recent advances in deep learning techniques for face restoration. Specifically, we first summarize different problem formulations and analyze the characteristic of the face image. Second, we discuss the challenges of face restoration. Concerning these challenges, we present a comprehensive review of existing FR methods, including prior based methods and deep learning-based methods. Then, we explore developed techniques in the task of FR covering network architectures, loss functions, and benchmark datasets. We also conduct a systematic benchmark evaluation on representative methods. Finally, we discuss future directions, including network designs, metrics, benchmark datasets, applications,etc. We also provide an open-source repository for all the discussed methods, which is available at https://github.com/TaoWangzj/Awesome-Face-Restoration.

Automatic colorization of anime line drawing has attracted much attention in recent years since it can substantially benefit the animation industry. User-hint based methods are the mainstream approach for line drawing colorization, while reference-based methods offer a more intuitive approach. Nevertheless, although reference-based methods can improve feature aggregation of the reference image and the line drawing, the colorization results are not compelling in terms of color consistency or semantic correspondence. In this paper, we introduce an attention-based model for anime line drawing colorization, in which a channel-wise and spatial-wise Convolutional Attention module is used to improve the ability of the encoder for feature extraction and key area perception, and a Stop-Gradient Attention module with cross-attention and self-attention is used to tackle the cross-domain long-range dependency problem. Extensive experiments show that our method outperforms other SOTA methods, with more accurate line structure and semantic color information.

通过对抗训练的雾霾图像转换的关键程序在于仅涉及雾度合成的特征，即表示不变语义内容的特征，即内容特征。以前的方法通过利用它在培训过程中对Haze图像进行分类来分开单独的内容。然而，在本文中，我们认识到在这种技术常规中的内容式解剖学的不完整性。缺陷的样式功能与内容信息纠缠不可避免地引导阴霾图像的呈现。要解决，我们通过随机线性插值提出自我监督的风格回归，以减少风格特征中的内容信息。烧蚀实验表明了静态感知雾度图像合成中的解开的完整性及其优越性。此外，所产生的雾度数据应用于车辆检测器的测试概括。雾度和检测性能之间的进一步研究表明，雾度对车辆探测器的概括具有明显的影响，并且这种性能降低水平与雾度水平线性相关，反过来验证了该方法的有效性。

With the development of convolutional neural networks, hundreds of deep learning based dehazing methods have been proposed. In this paper, we provide a comprehensive survey on supervised, semi-supervised, and unsupervised single image dehazing. We first discuss the physical model, datasets, network modules, loss functions, and evaluation metrics that are commonly used. Then, the main contributions of various dehazing algorithms are categorized and summarized. Further, quantitative and qualitative experiments of various baseline methods are carried out. Finally, the unsolved issues and challenges that can inspire the future research are pointed out. A collection of useful dehazing materials is available at \url{https://github.com/Xiaofeng-life/AwesomeDehazing}.

The mechanism of existing style transfer algorithms is by minimizing a hybrid loss function to push the generated image toward high similarities in both content and style. However, this type of approach cannot guarantee visual fidelity, i.e., the generated artworks should be indistinguishable from real ones. In this paper, we devise a new style transfer framework called QuantArt for high visual-fidelity stylization. QuantArt pushes the latent representation of the generated artwork toward the centroids of the real artwork distribution with vector quantization. By fusing the quantized and continuous latent representations, QuantArt allows flexible control over the generated artworks in terms of content preservation, style similarity, and visual fidelity. Experiments on various style transfer settings show that our QuantArt framework achieves significantly higher visual fidelity compared with the existing style transfer methods.

最近，大型预磨损模型（例如，BERT，STYLEGAN，CLIP）在其域内的各种下游任务中表现出很好的知识转移和泛化能力。在这些努力的启发中，在本文中，我们提出了一个统一模型，用于开放域图像编辑，重点是开放式域图像的颜色和音调调整，同时保持原始内容和结构。我们的模型了解许多现有照片编辑软件中使用的操作空间（例如，对比度，亮度，颜色曲线）更具语义，直观，易于操作的统一编辑空间。我们的模型属于图像到图像转换框架，由图像编码器和解码器组成，并且在图像之前和图像的成对上培训以产生多模式输出。我们认为，通过将图像对反馈到学习编辑空间的潜在代码中，我们的模型可以利用各种下游编辑任务，例如语言引导图像编辑，个性化编辑，编辑式聚类，检索等。我们广泛地研究实验中编辑空间的独特属性，并在上述任务上展示了卓越的性能。

在过去十年中，深度学习的开花目睹了现场文本识别的快速发展。然而，识别低分辨率场景文本图像仍然是一个挑战。尽管已经提出了一些超分辨率的方法来解决这个问题，但它们通常将文本图像视为一般图像，同时忽略了中风的视觉质量（文本原子单位）的事实扮演文本识别的重要作用。根据Gestalt心理学，人类能够将部分细节构成为先前知识所指导的最相似的物体。同样，当人类观察低分辨率文本图像时，它们将本质上使用部分笔划级细节来恢复整体字符的外观。灵感来自Gestalt心理学，我们提出了一个中风感知的场景文本图像超分辨率方法，其中包含带有冲程的模块（SFM），专注于文本图像中的字符的行程级内部结构。具体而言，我们尝试设计用于在笔划级别分解英语字符和数字的规则，然后预先列车文本识别器以提供笔划级注意映射作为位置线索，目的是控制所生成的超分辨率图像之间的一致性和高分辨率的地面真相。广泛的实验结果验证了所提出的方法确实可以在Textoom和手动构建中文字符数据集DegraDed-IC13上生成更可区分的图像。此外，由于所提出的SFM仅用于在训练时提供笔划级别指导，因此在测试阶段不会带来任何时间开销。代码可在https://github.com/fudanvi/fudanocr/tree/main/text -GETALT中获得。