The designs produced by Mise-en-Sc\`ene 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 the match-and-place stage bridges the remaining fidelity gap to the ground-truth composites.
Abstract
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-Sc\`ene, 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-Sc\`ene 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.
Designing functional and aesthetically coherent floor plans requires exploring a vast space of possible room arrangements, a task that quickly becomes overwhelming for human designers. In this paper, we propose GRE-Diff, a controllable and interactive diffusion-based framework that automates the creation and editing of apartment floor plans under user-specified constraints. By combining AI-generated suggestions with real-time, human-in-the-loop editing, the system enables users to specify room types, room counts, boundary shapes, and editing operations through LLM-parsed instructions or GUI-based interaction. It then generates a diverse set of plausible and well-structured designs for refinement. At the core of our approach is Gaussian Room Embedding (GRE), a continuous latent representation that models each room as a spatial Gaussian distribution capturing its location and extent. Extensive experiments on the RPLAN dataset show that GRE-Diff produces high-quality, constraint-aware, and editable polygonal layouts, offering a practical step toward bridging AI-driven automation and human creativity in spatial design.
Jing Wang, Haoran Xiong, Zihao Yan et al.· 0 citations
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.
We introduce UniWorld-Design, a framework that redefines image generation from flat pixel synthesis to structured visual composition, with semantic RGBA layers as the atomic units of generation, understanding, and editing. Our key insight is that pixels define how an image is rendered, whereas layers define how an image is created, understood, and edited. Just as human designers create and manipulate visual content through layers rather than raw pixels, UniWorld-Design equips multimodal generative models with a layer-native design space. UniWorld-Design comprises two models. The Text-to-RGBA (T2RGBA) model generates standalone RGBA assets directly from text. The Image-to-Layer (I2L) model conditions on a finished image, a global instruction and per-layer prompts, and jointly produces ordered, complete semantic RGBA layers. Its instruction interface supports top-level decomposition, recursive decomposition and targeted extraction, making layering an instruction-addressable operation for agentic editing. Because I2L learns complete semantic objects rather than visible-pixel partitions, its layers stay usable when moved or removed. On the Crello benchmark, I2L reduces per-layer RGB L1 error by 37% and achieves a 34% relative improvement in Alpha Soft IoU over Qwen-Image-Layered. Separately, T2RGBA achieves the highest CLIP Score, outperforming LayerDiffuse and OmniAlpha.
Zongjian Li, Zhiyuan Yan, Chenxu Bai et al.· 0 citations
Layout understanding, or the interpretation of element organization, is essential for document analysis, user interface (UI) creation, and graphic design. While recent vision-language models (VLMs) excel at interpreting atomic layouts composed of independent elements, they struggle with compositional layouts that require reasoning over visually entangled elements within hierarchical multi-layer structures. In this paper, we introduce a new task, compositional layout understanding, and present CoDeLayout, a VQA dataset of ~20K real-world multi-layer layouts annotated with compositional element pairs and design intent. Through empirical analysis on CoDeLayout, we identify two key challenges for existing VLMs: semantic drift between textual metadata and visual content, and structural ambiguity in hierarchical inter-element relationships. To address these challenges, we propose MASON, a post-training paradigm that integrates multimodal alignment (MA) and structural perception (SP). MA enhances element interpretation by grounding metadata-defined elements to their visual counterparts, mitigating semantic drift, while SP models layer-aware inter-element spatial relationships to improve hierarchical understanding and reduce structural ambiguity. Experiments reveal substantial gaps in existing VLMs: even the strongest baseline, GPT-o3, achieves only 79.68% accuracy, whereas Qwen2.5-VL 7B with MASON reaches 91.66%. Notably, MASON surpasses full-data Direct Finetune using only 30% of the training data and scales better with additional data.
Yiyang Huang, Zhaowen Wang, Simon Jenni et al.· 0 citations
Digital 3D objects used in games and animation are often required to be compositional; that is, decomposed into semantically meaningful parts. Recent 3D generation methods can produce high-quality compositional objects conditioned on image or text prompts. Yet, such global conditioning lacks the precise part-level controllability required for professional creative workflows. To address this, we introduce MultiCube, a novel compositional 3D generation method that provides explicit, independent control over both the semantics and spatial arrangement of each part. MultiCube takes as input a global text prompt, a text schema specifying the desired parts, and a spatial layout indicating the bounding boxes of the parts in the given schema. It outputs a 3D object composed of distinct meshes, one per specified part, that adhere to the given semantic and spatial conditions. Our approach employs a two-stage diffusion process, first generating a schema- and layout-aligned monolithic mesh, then decomposing the mesh into individual parts simultaneously. A novel Part Layout Adapter is used to encode per-part conditions independently of the other parts. Experiments demonstrate that our method can generate high-quality compositional 3D objects with precise part-level control, including those with unique layouts difficult to achieve with text or image prompting alone. Project page: https://multi-cube.github.io
Ava Pun, Kangle Deng, Yiheng Zhu et al.· 0 citations
Generative AI has rapidly expanded the range of visual content that artists, designers, filmmakers, technical directors, and researchers can produce. Yet current generative workflows still face a major precision bottleneck: purely prompt-based systems often struggle to preserve spatial layouts, character identity, typography, scale relations, data values, and other constraints that are essential in professional creative production. This course introduces a structured approach to controllable AI creative production by combining multi-agent systems, computer graphics, and generative models. We present a shift from prompting to orchestrating. In this course, participants will learn how to decompose creative tasks into specialized agents, separate creative exploration from rigorous constraint generation, and connect generative models with graphics-based control signals such as depth maps, pose maps, edge maps, layouts, and 3D scene structures. The course is designed for the SIGGRAPH community broadly, with examples from filmmaking, digital illustration, photo post-production, graphic design, and data storytelling. The course emphasizes both conceptual understanding and practical workflow design. Through live demonstrations, cross-domain case studies, and step-by-step pipeline breakdowns, attendees will learn how to construct reproducible workflows that combine the visual richness of generative AI with the structural precision of graphics systems. The course also discusses how these workflows may expand creative industries by creating new roles such as AI pipeline designer, multi-agent workflow designer, AI art supervisor, and data-to-visual translator. Our goal is not to present AI as a replacement for artists, but to show how controllable AI systems can support more precise, collaborative, and extensible forms of creative production.
Zheng Wei, Yuying Tang, Mia Tang et al.· Proceedings of the Special I...· 0 citations
What if pathology foundation models could do more with less? GigaPath-Flash and GigaTIME-Flash cut computational demands while maintaining strong performance, opening the door to larger studies and broader exploration. The post GigaPath-Flash and GigaTIME-Flash: Toward population-scale discovery with efficient pathology foundation models appeared first on Microsoft Research.
MIT News · Artificial Intelligence· news.mit.eduAug 31, 2026
With millions of users across the world, Julia has been used to conduct cutting-edge research and to design new drugs, jet engines, heat pumps, and more.