Search papers, labs, and topics across Lattice.
D Inc. for providing art design and helpful discussions. References [1] N. Akimoto, H. Zhu, Y. Jin, and Y. Aoki (2020) Fast soft color segmentation. In Proceedings of the IEEE/CVF conference on computer vision and pattern recognition, pp. 8277–8286. Cited by: §2.2. [2] Y. Aksoy, T. O. Aydin, A. Smolić, and M. Pollefeys (2017) Unmixing-based soft color segmentation for image manipulation. ACM Transactions on Graphics (TOG) 36 (2), pp. 1–19. Cited by: §2.2. [3] S. Batifol, A. Blattmann, F. Boesel, S. Consul, C. Diagne, T. Dockhorn, J. English, Z. English, P. Esser, S. Kulal, et al. (2025) FLUX. 1 kontext: flow matching for in-context image generation and editing in latent space. arXiv e-prints, pp. arXiv–2506. Cited by: §2.1, Figure 6, Figure 6, Figure 8, Figure 8, §5.3, Table 1, Table 1. [4] S. Bi, X. Han, and Y. Yu (2015) An l 1 image transform for edge-preserving smoothing and scene-level intrinsic decomposition. ACM Transactions On Graphics (TOG) 34 (4), pp. 1–12. Cited by: Figure 12, Figure 12, Appendix B. [5] K. Brodt and M. Bessmeltsev (2024) Skeleton-driven inbetweening of bitmap character drawings. ACM Transactions on Graphics (TOG) 43 (6), pp. 1–19. Cited by: §2.1. [6] C. Careaga and Y. Aksoy (2023) Intrinsic image decomposition via ordinal shading. ACM Transactions on Graphics 43 (1), pp. 1–24. Cited by: §1. [7] C. Careaga and Y. Aksoy (2024) Colorful diffuse intrinsic image decomposition in the wild. ACM Transactions on Graphics (TOG) 43 (6), pp. 1–12. Cited by: §1, §5.3. [8] C. Chan, F. Durand, and P. Isola (2022) Learning to generate line drawings that convey geometry and semantics. In Proceedings of the IEEE/CVF conference on computer vision and pattern recognition, pp. 7915–7925. Cited by: Figure 5, Figure 5, Figure 8, Figure 8, §5.3, Table 1, Table 1. [9] H. Chang, T. Zhang, S. Sato, and H. Xie (2025) DiffSmoke: two-stage sketch-based smoke illustration design using diffusion models. IEEE Access 13, pp. 44997–45009. Cited by: §2.1. [10] R. Grosse, M. K. Johnson, E. H. Adelson, and W. T. Freeman (2009) Ground truth dataset and baseline evaluations for intrinsic image algorithms. In 2009 IEEE 12th International Conference on Computer Vision, pp. 2335–2342. Cited by: §5.3. [11] Y. Guo, C. Yang, A. Rao, Z. Liang, Y. Wang, Y. Qiao, M. Agrawala, D. Lin, and B. Dai (2023) Animatediff: animate your personalized text-to-image diffusion models without specific tuning. arXiv preprint arXiv:2307.04725. Cited by: §1, §2.1. [12] J. Huang, P. Yan, J. Cai, J. Liu, Z. Wang, Y. Wang, X. Wu, and G. Li (2025) DreamLayer: simultaneous multi-layer generation via diffusion model. In Proceedings of the IEEE/CVF International Conference on Computer Vision, pp. 3357–3366. Cited by: §2.2. [13] R. Huang, K. Cai, J. Han, X. Liang, R. Pei, G. Lu, S. Xu, W. Zhang, and H. Xu (2024) Layerdiff: exploring text-guided multi-layered composable image synthesis via layer-collaborative diffusion model. In European Conference on Computer Vision, pp. 144–160. Cited by: §2.2. [14] Y. Koyama and M. Goto (2018) Decomposing images into layers with advanced color blending. In Computer Graphics Forum, Vol. 37, pp. 397–407. Cited by: §2.2. [15] B. F. Labs (2024) Flux. Note: https://github.com/black-forest-labs/fluxAccessed: February 21, 2025 Cited by: §1, §2.1. [16] X. Li, B. Zhang, J. Liao, and P. V. Sander (2021) Deep sketch-guided cartoon video inbetweening. IEEE Transactions on Visualization and Computer Graphics 28 (8), pp. 2938–2952. Cited by: §2.1. [17] J. Lin, C. Li, H. Qin, K. W. Chan, Y. Jin, H. Liu, S. C. W. Choy, and X. Liu (2026) See-through: single-image layer decomposition for anime characters. arXiv preprint arXiv:2602.03749. Cited by: §1, §2.1. [18] C. Liu, Y. Song, H. Wang, and M. Z. Shou (2025) OmniPSD: layered psd generation with diffusion transformer. arXiv preprint arXiv:2512.09247. Cited by: §2.2. [19] Z. Liu, K. L. Cheng, X. Chen, J. Xiao, H. Ouyang, K. Zhu, Y. Liu, Y. Shen, Q. Chen, and P. Luo (2025) Manganinja: line art colorization with precise reference following. In Proceedings of the Computer Vision and Pattern Recognition Conference, pp. 5666–5677. Cited by: §2.1, §2.1. [20] Z. Liu, Z. Xu, S. Shu, J. Zhou, R. Zhang, Z. Tang, and X. Li (2025) Controllable layer decomposition for reversible multi-layer image generation. arXiv preprint arXiv:2511.16249. Cited by: §2.2. [21] Z. Ma, C. Li, X. Liu, H. Wu, and Z. Wen (2023) Separating shading and reflectance from cartoon illustrations. IEEE Transactions on Visualization and Computer Graphics 30 (7), pp. 3664–3679. Cited by: §1. [22] Y. Meng, H. Ouyang, H. Wang, Q. Wang, W. Wang, K. L. Cheng, Z. Liu, Y. Shen, and H. Qu (2025) Anidoc: animation creation made easier. In Proceedings of the IEEE/CVF Conference on Computer Vision and Pattern Recognition, pp. 18187–18197. Cited by: §1, §2.1, §2.1. [23] Z. Ou, X. Liu, C. Li, Z. Wen, P. Li, Z. Gao, and H. Wu (2024) Body part segmentation of anime characters. Computer Animation and Virtual Worlds 35 (6), pp. e2295. Cited by: §2.1. [24] Y. Pu, Y. Zhao, Z. Tang, R. Yin, H. Ye, Y. Yuan, D. Chen, J. Bao, S. Zhang, Y. Wang, et al. (2025) Art: anonymous region transformer for variable multi-layer transparent image generation. In Proceedings of the Computer Vision and Pattern Recognition Conference, pp. 7952–7962. Cited by: §2.2. [25] J. Qiao, M. Duan, X. Wu, and Y. Song (2024) CartoonNet: cartoon parsing with semantic consistency and structure correlation. In Proceedings of the 32nd ACM International Conference on Multimedia, pp. 729–737. Cited by: §2.1. [26] R. Rombach, A. Blattmann, D. Lorenz, P. Esser, and B. Ommer (2022) High-resolution image synthesis with latent diffusion models. In CVPR, Cited by: §5.1. [27] C. W. Seo, A. Ashtari, and J. Noh (2023) Semi-supervised reference-based sketch extraction using a contrastive learning framework. ACM Transactions on Graphics (TOG) 42 (4), pp. 1–12. Cited by: Figure 5, Figure 5, Figure 8, Figure 8, §5.3, Table 1, Table 1. [28] T. Suzuki, K. Liu, N. Inoue, and K. Yamaguchi (2025) Layerd: decomposing raster graphic designs into layers. In Proceedings of the IEEE/CVF International Conference on Computer Vision, pp. 17783–17792. Cited by: §2.2. [29] J. Tan, J. Lien, and Y. Gingold (2015) Decomposing digital paintings into layers via rgb-space geometry. arXiv preprint arXiv:1509.03335. Cited by: §2.2. [30] Y. Wang, Y. Liu, and K. Xu (2019) An improved geometric approach for palette-based image decomposition and recoloring. In Computer Graphics Forum, Vol. 38, pp. 11–22. Cited by: §2.2. [31] Z. Wang, A. C. Bovik, H. R. Sheikh, and E. P. Simoncelli (2004) Image quality assessment: from error visibility to structural similarity. IEEE transactions on image processing 13 (4), pp. 600–612. Cited by: §5.3. [32] R. Wu, W. Su, and J. Liao (2025) LayerPeeler: autoregressive peeling for layer-wise image vectorization. In Proceedings of the SIGGRAPH Asia 2025 Conference Papers, pp. 1–20. Cited by: §2.2. [33] T. Xie, Y. Zhao, Y. Jiang, and C. Jiang (2025) Physanimator: physics-guided generative cartoon animation. In Proceedings of the Computer Vision and Pattern Recognition Conference, pp. 10793–10804. Cited by: §1, §2.1, §2.1. [34] J. Xing, H. Liu, M. Xia, Y. Zhang, X. Wang, Y. Shan, and T. Wong (2024) Tooncrafter: generative cartoon interpolation. ACM Transactions on Graphics (TOG) 43 (6), pp. 1–11. Cited by: §1, §2.1, §2.1. [35] X. Xing, Q. Yu, C. Wang, H. Zhou, J. Zhang, and D. Xu (2025) Svgdreamer++: advancing editability and diversity in text-guided svg generation. IEEE transactions on pattern analysis and machine intelligence. Cited by: §2.2. [36] J. Yang, Q. Liu, Y. Li, S. Y. Kim, D. Pakhomov, M. Ren, J. Zhang, Z. Lin, C. Xie, and Y. Zhou (2025) Generative image layer decomposition with visual effects. In Proceedings of the IEEE/CVF Conference on Computer Vision and Pattern Recognition, pp. 7643–7653. Cited by: §2.2. [37] Y. Yang, L. Fan, Z. Lin, F. Wang, and Z. Zhang (2025) Layeranimate: layer-level control for animation. In Proceedings of the IEEE/CVF International Conference on Computer Vision, pp. 10865–10874. Cited by: §1, §2.1, §2.1. [38] S. Yin, Z. Zhang, Z. Tang, K. Gao, X. Xu, K. Yan, J. Li, Y. Chen, Y. Chen, H. Shum, et al. (2025) Qwen-image-layered: towards inherent editability via layer decomposition. arXiv preprint arXiv:2512.15603. Cited by: Appendix B, Figure 14, Figure 14, §1, Figure 2, Figure 2, §2.2, §3, §4.2, §4, §5.2. [39] X. Zhan, X. Pan, B. Dai, Z. Liu, D. Lin, and C. C. Loy (2020) Self-supervised scene de-occlusion. In Proceedings of the IEEE/CVF conference on computer vision and pattern recognition, pp. 3784–3792. Cited by: §2.2. [40] L. Zhang, C. Li, Y. Ji, C. Liu, and T. Wong (2020) Erasing appearance preservation in optimization-based smoothing. In European Conference on Computer Vision, pp. 55–70. Cited by: Figure 12, Figure 12, Figure 13, Figure 13, Appendix B. [41] L. Zhang, A. Rao, and M. Agrawala (2023) Adding conditional control to text-to-image diffusion models. Cited by: §2.1. Supplementary Material Appendix A Anime Illustration Layers In professional anime production workflows, the decomposition of illustrations into functional layers is essential for a non-destructive and collaborative creative process. The line art layer serves as the geometric foundation by defining the structural topology and semantic boundaries that guide all subsequent rendering stages. Building upon this base, the flat color layer encapsulates the local albedo of each region to act as a pixel-level mask, which allows for precise color adjustments without affecting neighboring areas. To simulate volume and environmental lighting, the shadow layer is isolated to capture ambient occlusion and directional shading for providing depth to the flat regions. Finally, the highlight layer is used to define the properties of the material and specular reflections that include the metallic luster of the accessories or the expressive glints in the eyes of a character. Specifically, as shown in Fig. 10, shadow layers exhibit different visual expressions depending on the composition method. In anime illustration, Normal and Multiply are the two most common modes. Normal blending is the most universal and intuitive approach, as it performs direct mixing based on Alpha values. However, if a texture is inserted under a Normal shadow layer, the texture will be obscured by the opaque regions of the shadow. By switching to Multiply mode, the underlying texture can be clearly revealed. Therefore, adopting Multiply blending significantly enhances the versatility of the shadow layer. While these different expressions can be converted into one another, our current method primarily focuses on shadows under Normal composition. We plan to expand our dataset in the future to discuss a wider variety of expression modes. Appendix B More Visual Results In this section, we present extended dataset samples, comparative studies against state-of-the-art baselines, and more ablation experiments. These results further demonstrate our model’s robustness in extracting functional layers. Dataset. As shown in Fig. 11, we present additional data samples from our dataset. All assets have been meticulously hand-drawn by professional artists and properly organized into four functional layers. The source files are provided in PSD format, which technically allows for high-resolution training. However, to maintain an optimal balance between computational efficiency and output quality, we opted for a training resolution of
1
0
3
Unlock controllable anime illustration editing by decomposing images into semantically meaningful production layers like line art, color, shadow, and highlight.