Style transfer has recently received a lot of attention, since it allows to study fundamental challenges in image understanding and synthesis. Recent work has significantly improved the representation of color and texture and computational speed and image resolution. The explicit transformation of image content has, however, been mostly neglected: while artistic style affects formal characteristics of an image, such as color, shape or texture, it also deforms, adds or removes content details. This paper explicitly focuses on a content-and style-aware stylization of a content image. Therefore, we introduce a content transformation module between the encoder and decoder. Moreover, we utilize similar content appearing in photographs and style samples to learn how style alters content details and we generalize this to other class details. Additionally, this work presents a novel normalization layer critical for high resolution image synthesis. The robustness and speed of our model enables a video stylization in real-time and high definition. We perform extensive qualitative and quantitative evaluations to demonstrate the validity of our approach.

Artists rarely paint in a single style throughout their career. More often they change styles or develop variations of it. In addition, artworks in different styles and even within one style depict real content differently: while Picasso's Blue Period displays a vase in a blueish tone but as a whole, his Cubist works deconstruct the object. To produce artistically convincing stylizations, style transfer models must be able to reflect these changes and variations. Recently many works have aimed to improve the style transfer task, but neglected to address the described observations. We present a novel approach which captures particularities of style and the variations within and separates style and content. This is achieved by introducing two novel losses: a fixpoint triplet style loss to learn subtle variations within one style or between different styles and a disentanglement loss to ensure that the stylization is not conditioned on the real input photo. In addition the paper proposes various evaluation methods to measure the importance of both losses on the validity, quality and variability of final stylizations. We provide qualitative results to demonstrate the performance of our approach.