Automatic font generation is an imitation task, which aims to create a font library that mimics the style of reference images while preserving the content from source images. Although existing font generation methods have achieved satisfactory performance, they still struggle with complex characters and large style variations. To address these issues, we propose FontDiffuser, a diffusion-based image-to-image one-shot font generation method, which innovatively models the font imitation task as a noise-to-denoise paradigm. In our method, we introduce a Multi-scale Content Aggregation (MCA) block, which effectively combines global and local content cues across different scales, leading to enhanced preservation of intricate strokes of complex characters. Moreover, to better manage the large variations in style transfer, we propose a Style Contrastive Refinement (SCR) module, which is a novel structure for style representation learning. It utilizes a style extractor to disentangle styles from images, subsequently supervising the diffusion model via a meticulously designed style contrastive loss. Extensive experiments demonstrate FontDiffuser's state-of-the-art performance in generating diverse characters and styles. It consistently excels on complex characters and large style changes compared to previous methods. The code is available at https://github.com/yeungchenwa/FontDiffuser.
Fonts can convey profound meanings of words in various forms of glyphs. Without typography knowledge, manually selecting an appropriate font or designing a new font is a tedious and painful task. To allow users to explore vast font styles and create new font styles, font retrieval and font style transfer methods have been proposed. These tasks increase the need for learning high-quality font representations. Therefore, we propose a novel font representation learning scheme to embed font styles into the latent space. For the discriminative representation of a font from others, we propose a paired-glyph matching-based font representation learning model that attracts the representations of glyphs in the same font to one another, but pushes away those of other fonts. Through evaluations on font retrieval with query glyphs on new fonts, we show our font representation learning scheme achieves better generalization performance than the existing font representation learning techniques. Finally on the downstream font style transfer and generation tasks, we confirm the benefits of transfer learning with the proposed method. The source code is available at https://github.com/junhocho/paired-glyph-matching.
Font design is now still considered as an exclusive privilege of professional designers, whose creativity is not possessed by existing software systems. Nevertheless, we also notice that most commercial font products are in fact manually designed by following specific requirements on some attributes of glyphs, such as italic, serif, cursive, width, angularity, etc. Inspired by this fact, we propose a novel model, Attribute2Font, to automatically create fonts by synthesizing visually-pleasing glyph images according to user-specified attributes and their corresponding values. To the best of our knowledge, our model is the first one in the literature which is capable of generating glyph images in new font styles, instead of retrieving existing fonts, according to given values of specified font attributes. Specifically, Attribute2Font is trained to perform font style transfer between any two fonts conditioned on their attribute values. After training, our model can generate glyph images in accordance with an arbitrary set of font attribute values. Furthermore, a novel unit named Attribute Attention Module is designed to make those generated glyph images better embody the prominent font attributes. Considering that the annotations of font attribute values are extremely expensive to obtain, a semi-supervised learning scheme is also introduced to exploit a large number of unlabeled fonts. Experimental results demonstrate that our model achieves impressive performance on many tasks, such as creating glyph images in new font styles, editing existing fonts, interpolation among different fonts, etc.
The mood of a text and the intention of the writer can be reflected in the typeface. However, in designing a typeface, it is difficult to keep the style of various characters consistent, especially for languages with lots of morphological variations such as Chinese. In this paper, we propose a Typeface Completion Network (TCN) which takes one character as an input, and automatically completes the entire set of characters in the same style as the input characters. Unlike existing models proposed for image-to-image translation, TCN embeds a character image into two separate vectors representing typeface and content. Combined with a reconstruction loss from the latent space, and with other various losses, TCN overcomes the inherent difficulty in designing a typeface. Also, compared to previous image-to-image translation models, TCN generates high quality character images of the same typeface with a much smaller number of model parameters. We validate our proposed model on the Chinese and English character datasets, which is paired data, and the CelebA dataset, which is unpaired data. In these datasets, TCN outperforms recently proposed state-of-the-art models for image-to-image translation. The source code of our model is available at https://github.com/yongqyu/TCN.
In this work, we focus on the challenge of taking partial observations of highly-stylized text and generalizing the observations to generate unobserved glyphs in the ornamented typeface. To generate a set of multi-content images following a consistent style from very few examples, we propose an end-to-end stacked conditional GAN model considering content along channels and style along network layers. Our proposed network transfers the style of given glyphs to the contents of unseen ones, capturing highly stylized fonts found in the real-world such as those on movie posters or infographics. We seek to transfer both the typographic stylization (ex. serifs and ears) as well as the textual stylization (ex. color gradients and effects.) We base our experiments on our collected data set including 10,000 fonts with different styles and demonstrate effective generalization from a very small number of observed glyphs.