A fun diversion for retro gaming on the Nintendo Switch 2--if you can stand to look at it. Good fun for arcade classics once built. An eight-button layout works for a variety of games. Hurdles to update before use. Limited use outside of select titles.

Artificial Intelligence (AI) has been increasingly applied to creative domains, leading to the development of systems that collaborate with humans in design processes. In Graphic Design, integrating computational systems into co-creative workflows presents specific challenges, as it requires balancing scientific rigour with the subjective and visual nature of design practice. Following the PRISMA methodology, we identified 872 articles, resulting in a final corpus of 71 publications describing 68 unique systems. Based on this review, we introduce GRAPHIC (Guidelines for Reviewing Algorithmic Practices in Human-centred Design and Interaction for Creativity), a framework for analysing computational systems applied to Graphic Design. Its goal is to understand how current systems support human-AI collaboration in the Graphic Design discipline. The framework comprises main dimensions, which our analysis revealed to be essential across diverse system types: (1) Collaborative Panorama, (2) Processes and Modalities, and (3) Graphic Design Principles. Its application revealed research gaps, including the need to balance initiative and control between agents, improve communication through explainable interaction models, and promote systems that support transformational creativity grounded in core design principles.

Evaluating graphic designs involves assessing it from multiple facets like alignment, composition, aesthetics and color choices. Evaluating designs in a holistic way involves aggregating feedback from individual expert reviewers. Towards this, we propose an Agentic Design Review System (AgenticDRS), where multiple agents collaboratively analyze a design, orchestrated by a meta-agent. A novel in-context exemplar selection approach based on graph matching and a unique prompt expansion method plays central role towards making each agent design aware. Towards evaluating this framework, we propose DRS-BENCH benchmark. Thorough experimental evaluation against state-of-the-art baselines adapted to the problem setup, backed-up with critical ablation experiments brings out the efficacy of Agentic-DRS in evaluating graphic designs and generating actionable feedback. We hope that this work will attract attention to this pragmatic, yet under-explored research direction.

This survey provides a comprehensive overview of the advancements in Artificial Intelligence in Graphic Design (AIGD), focusing on integrating AI techniques to support design interpretation and enhance the creative process. We categorize the field into two primary directions: perception tasks, which involve understanding and analyzing design elements, and generation tasks, which focus on creating new design elements and layouts. The survey covers various subtasks, including visual element perception and generation, aesthetic and semantic understanding, layout analysis, and generation. We highlight the role of large language models and multimodal approaches in bridging the gap between localized visual features and global design intent. Despite significant progress, challenges remain to understanding human intent, ensuring interpretability, and maintaining control over multilayered compositions. This survey serves as a guide for researchers, providing information on the current state of AIGD and potential future directions\footnote{https://github.com/zhangtianer521/excellent\_Intelligent\_graphic\_design}.

Graphic designs are an effective medium for visual communication. They range from greeting cards to corporate flyers and beyond. Off-late, machine learning techniques are able to generate such designs, which accelerates the rate of content production. An automated way of evaluating their quality becomes critical. Towards this end, we introduce Design-o-meter, a data-driven methodology to quantify the goodness of graphic designs. Further, our approach can suggest modifications to these designs to improve its visual appeal. To the best of our knowledge, Design-o-meter is the first approach that scores and refines designs in a unified framework despite the inherent subjectivity and ambiguity of the setting. Our exhaustive quantitative and qualitative analysis of our approach against baselines adapted for the task (including recent Multimodal LLM-based approaches) brings out the efficacy of our methodology. We hope our work will usher more interest in this important and pragmatic problem setting.

This paper presents multimodal markup document models (MarkupDM) that can generate both markup language and images within interleaved multimodal documents. Unlike existing vision-and-language multimodal models, our MarkupDM tackles unique challenges critical to graphic design tasks: generating partial images that contribute to the overall appearance, often involving transparency and varying sizes, and understanding the syntax and semantics of markup languages, which play a fundamental role as a representational format of graphic designs. To address these challenges, we design an image quantizer to tokenize images of diverse sizes with transparency and modify a code language model to process markup languages and incorporate image modalities. We provide in-depth evaluations of our approach on three graphic design completion tasks: generating missing attribute values, images, and texts in graphic design templates. Results corroborate the effectiveness of our MarkupDM for graphic design tasks. We also discuss the strengths and weaknesses in detail, providing insights for future research on multimodal document generation.

Creating visually appealing composites requires optimizing both text and background for compatibility. Previous methods have focused on simple design strategies, such as changing text color or adding background shapes for contrast. These approaches are often destructive, altering text color or partially obstructing the background image. Another method involves placing design elements in non-salient and contrasting regions, but this isn't always effective, especially with patterned backgrounds. To address these challenges, we propose a generative approach using a diffusion model. This method ensures the altered regions beneath design assets exhibit low saliency while enhancing contrast, thereby improving the visibility of the design asset.

Recent advancements in artificial intelligence, such as computer vision and deep learning, have led to the emergence of numerous generative AI platforms, particularly for image generation. However, the application of AI-generated image tools in graphic design has not been extensively explored. This study conducted semi-structured interviews with seven designers of varying experience levels to understand their current usage, challenges, and future functional needs for AI-generated image tools in graphic design. As our findings suggest, AI tools serve as creative partners in design, enhancing human creativity, offering strategic insights, and fostering team collaboration and communication. The findings provide guiding recommendations for the future development of AI-generated image tools, aimed at helping engineers optimize these tools to better meet the needs of graphic designers.

In the field of graphic design, automating the integration of design elements into a cohesive multi-layered artwork not only boosts productivity but also paves the way for the democratization of graphic design. One existing practice is Graphic Layout Generation (GLG), which aims to layout sequential design elements. It has been constrained by the necessity for a predefined correct sequence of layers, thus limiting creative potential and increasing user workload. In this paper, we present Hierarchical Layout Generation (HLG) as a more flexible and pragmatic setup, which creates graphic composition from unordered sets of design elements. To tackle the HLG task, we introduce Graphist, the first layout generation model based on large multimodal models. Graphist efficiently reframes the HLG as a sequence generation problem, utilizing RGB-A images as input, outputs a JSON draft protocol, indicating the coordinates, size, and order of each element. We develop multiple evaluation metrics for HLG. Graphist outperforms prior arts and establishes a strong baseline for this field.

Adjusting the photo color to associate with some design elements is an essential way for a graphic design to effectively deliver its message and make it aesthetically pleasing. However, existing tools and previous works face a dilemma between the ease of use and level of expressiveness. To this end, we introduce an interactive language-based approach for photo recoloring, which provides an intuitive system that can assist both experts and novices on graphic design. Given a graphic design containing a photo that needs to be recolored, our model can predict the source colors and the target regions, and then recolor the target regions with the source colors based on the given language-based instruction. The multi-granularity of the instruction allows diverse user intentions. The proposed novel task faces several unique challenges, including: 1) color accuracy for recoloring with exactly the same color from the target design element as specified by the user; 2) multi-granularity instructions for parsing instructions correctly to generate a specific result or multiple plausible ones; and 3) locality for recoloring in semantically meaningful local regions to preserve original image semantics. To address these challenges, we propose a model called LangRecol with two main components: the language-based source color prediction module and the semantic-palette-based photo recoloring module. We also introduce an approach for generating a synthetic graphic design dataset with instructions to enable model training. We evaluate our model via extensive experiments and user studies. We also discuss several practical applications, showing the effectiveness and practicality of our approach. Code and data for this paper are at: https://zhenwwang.github.io/langrecol.