PicToon: A Personalized Image-based Cartoon System
Hong Chen1∗,Nan-Ning Zheng1 , Lin Liang2 ,Yan Li2 , Ying-Qing Xu2 , Heung-Yeung Shum2
1
Xi’an Jiaotong University
2
Microsoft Research, Asia
ABSTRACT
In this paper, we present PicToon, a cartoon system which can gen-
erate a personalized cartoon face from an input Picture. PicToon is
easy to use and requires little user interaction. Our system consists
of three major components: an image-based Cartoon Generator, an
interactive Cartoon Editor for exaggeration, and a speech-driven
Cartoon Animator. First, to capture an artistic style, the cartoon
generation is decoupled into two processes: sketch generation and
stroke rendering. An example-based approach is taken to automat-
ically generate sketch lines which depict the facial structure. An
inhomogeneous non-parametric sampling plus a flexible facial tem-
plate is employed to extract the vector-based facial sketch. Various
styles of strokes can then be applied. Second, with the pre-designed
templates in Cartoon Editor, the user can easily make the cartoon
exaggerated or more expressive. Third, a real-time lip-syncing al-
gorithm is also developed that recovers a statistical audio-visual
mapping between the character’s voice and the corresponding lip
configuration. Experimental results demonstrate the effectiveness
of our system.
Categories and Subject Descriptors
I.3.3 [Computer Graphics]: Picture/ Image Generation;
I.6.3 [Computer Graphics]: Methodology and Techniques;
I.4.8 [Image Processing and Computer Vision]: General
General Terms
Applications
Keywords
User interfaces, Multi-modal interaction and integration, Example-
based Learning, Non-parametric Sampling, Lip-syncing.
1. INTRODUCTION
People love cartoons. Cartoons are humorous, satirical, and at
times opinionated. Drawing cartoons is, however, not easy. Only
∗
This work was done when Hong was a visiting student at Mi-
crosoft Research Asia.
those well-trained artists who possess this great skill can do it well.
Recently, many technologies have been developed to make it possi-
ble for a skilled cartoonist to work entirely on the computer. Such
technologies include stroke rendering [10, 16, 17, 6], and tone con-
trol [16, 17, 6, 21]. By integrating these rendering technologies,
various animation systems [11, 20, 13, 19] have been developed
for interactive cartoon design. Although various drawing templates
have been provided by these systems, it is still difficult for an or-
dinary user to create a ”personalized cartoon”, or a cartoon resem-
bling a particular person.
The PicToon system is developed for ordinary people to create a
personalized cartoon easily. There are two design goals for Pic-
Toon:
• Creating personalized cartoons
• Making the system easy to use
To create a personalized cartoon, we adopt an image-based ap-
proach. Specifically, we propose an example-based learning ap-
proach to generate a cartoon sketch from an input face image, by
observing how a particular artist would draw cartoons from train-
ing face images. Because it is difficult to describe the rules for how
an artist draws, we use a non-parametric sampling scheme that cap-
tures the relationship between the training images and their corre-
sponding sketches drawn by the same artist.
The generated cartoon sketch can then be enhanced by adding stroke
styles with stroke models like in [10]. The cartoon face can then
be easily exaggerated by interactively applying pre-designed facial
expression templates. To animate the cartoon face, a real-time lip-
syncing algorithm is applied to automatically generate cartoon an-
imation. Different facial expressions can be combined with lip-
syncing to make the animation more lively and believable.
The rest of this paper is organized as follows. In the next section we
give an overview of related work. System architecture is presented
in Section 3. We then introduce the key technologies of our system,
followed by a set of examples and demos. Finally we sum up the
features and benefits of our system, and outline some future work.
2. RELATED WORK
Many cartoon creation systems [11, 20, 13, 19] focus on low-level
editing and control tools for easy and flexible cartoon drawing and
animation. Inkwell [13], for example, developed some effective
techniques on exploiting layers, grouping/hierarchy of components
and allowing the manipulation of motion functions. Similarly, the
CharToon system [20] provided special skeleton-driven components,

Cartoon
Generator
Input Image Cartoon Face
Audio
Figure 1: The system architecture of PicToon.
an extensive set of building blocks to design faces and the support
to re-use components and pieces of animations. In contrast, our
system allows users to create a personalized cartoon and animation
from an input face image.
Inspired by artist books, in the recent work of [6], artist drawings
are distinguished by several key aspects, such as perspective, out-
lines and control of detail. In their work, the specification of strokes
is decoupled from higher-level attributes. The user has low-level
control over stroke placement, and high-level control over the tone
and amount of detail, while tedious stroke rendering is completed
by the computer. Our system uses a similar concept in cartoon gen-
eration by decoupling the cartoon generation into two processes:
sketch generation and stroke rendering. But unlike the system [6]
that was designed for a trained artist (thus requiring precise control
on strokes), our system generates a facial sketch with an artist’s
style using an example-based approach. The system is easier to use
for ordinary users.
An earlier prototype of our paper was introduced at ChinaGraph’02
[9] (in Chinese). Building upon [9], our system introduces more
stroke styles. Moreover, to make the animation more expressive,
edited cartoon expressions can be set as key frames. Interactive
face alignment and hair segmentation are also adopted to improve
the system’s robustness.
Voice-driven facial animation seeks to generate mouth motion and
facial emotions using voice as the input [3, 2, 14, 22]. Such an ap-
proach is also adopted by our system to lessen the user’s work in an-
imation editing. In the Video Rewrite system [3], phoneme-viseme
mapping is used to generate very exciting results. However, this
method is language-dependent and not suitable for real-time imple-
mentation. On the other hand our lip-syncing technology directly
maps low-level acoustic signals to visual signals, which has the
benefits of real-time processing and language-independent audio-
visual mapping relations.
Cartoon
Editor
Exaggerated
Cartoon
Exaggerated
Templates
Library
Cartoon
Animator
Cartoon Animation
Figure 2: Two key aspects of a face drawing: the sketch and a
particular stroke style.
3. SYSTEM OVERVIEW
PicToon is developed to help common users to easily create a per-
sonalized cartoon. There are three major components, as shown in
Figure 1:
Cartoon Generator generates a cartoon sketch from a given frontal
face image with little user interaction. The sketch reflects faith-
fully the input face image and doesn’t have any exaggeration. The
vector-based sketch representation makes it easy for editing and an-
imation. Moreover, the user can add different stroke styles to the
cartoon sketch.
Cartoon Editor is an interactive tool for the user to edit the ex-
pressions of a cartoon face or to exaggerate it. Edited expressions
or exaggerated shapes can be saved as templates to apply to other
cartoon faces or to be used as key frames in Cartoon Animation.
Cartoon Animator can automatically animate the cartoon face
from speech. The lip movements are driven by the pronunciations.
The user can also set key frames as the expression templates created
by Cartoon Editor to change cartoon expressions.
 Sketch Generation
Training Examples
Interactive Non
Face Parametric
Alignment Sampling
Image
Interactive Hair
Contour Extraction
Figure 3: Our cartoon generation approach consists of two steps: sketch generation and stroke rendering.
4. CARTOON GENERATOR
4.1 Decoupling Cartoon Generation
According to some artistic drawing books [12, 15, 7], there exist
two key aspects of a face drawing: line sketch and stroke style. As
shown in Figure 2, the sketch suggests the fundamental visual per-
ception characteristics of a face: the simple lines depict the global
facial structure and highlight subtle but important facial features
such as double eye lines. Note that the sketch is drawn in a plain
style without shape exaggeration. At the other hand, stroke styles,
such as pencil, ink or brush, are used by the artist to describe his or
her perception in different ways.
Thus we decouple cartoon generation naturally into two stages:
sketch generation and stroke rendering, as shown in Figure 3.
Sketch generation creates a vector-based sketch. The sketch lines
indicate the drawing language of the artist: where and how facial
lines should be drawn to describe the facial structure. Since there
is no precise rule of grammar in such a language, we have chosen
to take an example-based learning approach.
Stroke rendering turns the sketch into a cartoon using “artistic
strokes”. Existing stroke rendering techniques can be applied. In
this paper, a stroke model similar to [10] is used.
Our decoupling approach has several advantages. For example, by
separating sketch from stroke styles, it is easy to generate a faithful
sketch by an example-based learning scheme. Moreover, it is easy
to create different stylistic cartoons from the same sketch simply
by applying different stroke styles.
4.2 Sketch Generation
4.2.1 An Example-based Approach
To construct a sketch, our example-based approach requires a set
of training examples: face images and their corresponding sketches
drawn by an artist, as shown in Figure 3.
In this work, an inhomogeneous Markov Random Field (MRF )
Stroke Rendering
Stroke Library
Stroke
Template
Fitting Rendering
Sketch Cartoon
model is used to describe the statistical relationship between the
sketch and facial image. The probability distribution of a sketch
point depends on its neighborhood in the facial image. To describe
the inhomogeneity of facial features, the probability distribution is
also related to the pixel’s position.
To construct such a distribution, an inhomogeneous non-parametric
sampling strategy is employed: only the points at the same facial
location as a sketch point from different training images are sam-
pled.
Since the input image and training images are usually not aligned
with each other, to determine facial points’ correspondence, we
warp all images to the M eanShape. A constrained AAM model
[5] is employed to locate the feature points required by the warping
process.
Once the probability distribution for each pixel is obtained, we in-
tegrate the distribution to get the “expected sketch image”, then
template fitting is employed to extract the vector-based sketch.
The hair of different people do not have consistent statistical prop-
erties, or a clear correspondence, thus the hair is not a part of the
example-based approach, but added in a post-processing step by
tracing the hair contour. The whole procedure is shown in Figure
3. Detailed algorithms are explained in following sections.
4.2.2 Interactive face alignment
To locate the feature points, current alignment algorithms are not
robust enough to get proper results fully automatically. Introduc-
ing a little user interaction though will improve the location result
greatly. Thus a constrained AAM model [5] is adopted in our sys-
tem. The user can modify the alignment result by dragging some
facial points to the expected positions. Then these constraints are
added as an additional energy item in the posterior energy. The
optimal solution is searched for again by a gradient decent algo-
rithm. User input constraints help the algorithm to escape from
local minima successfully. With little user interaction, much better
and robust alignment results can be obtained.
 (a) (b)
Figure 4: Generated Cartoon. (a) Original image; (b) Generated sketch; (c) and (d) Cartoon rendered with two different strokes.
4.2.3 Non-parametric sampling
Learning the above MRF model parameters is very complex. In-
spired by a non-parametric sampling method successfully used in
texture synthesis [8], we employ an inhomogeneous non-parametric
sampling scheme.
At the point q in sketch S, we want to construct the distribution
pq (S(q)|NI (q)) given its neighborhood in the facial image. First,
the sampling set Ωq is constructed by the training exemplars at
the corresponding position. Then k nearest neighbors in Ωq are
selected to construct pq (S(q)|NI (q)). The probability αqi of the
sketch point q having sketch pixel vqi ’s value is inversely propor-
tional to the neighborhood distance.
1 For hair contour extraction, we apply color segmentation to find the
αqi = exp(−d(NI (q), NI (vqi ))/T ) (1)
Zq
where the square neighborhood distance d(NI (q), NI (vqi )) is cal-
culated using cross-correlation, Zq is the normalizing constant, and
temperature T is used to control the smoothness of the distribution.
Thus we get the non-parametric distribution:


k
pq (S(q)|I) = αqi δ(q − vqi ) (2)
i=1
where δ(·) is the Delta function.
Inspired by a patch-pasting method successfully used in texture
synthesis [23], we extend the synthesized unit from a pixel to a
small 3 × 3 square patch o accelerate the sampling procedure.
4.2.4 Template Fitting
We can get an “expected sketch image” by integrating the distribu-
tion of each point, then we apply template fitting to extract the final
vector-based facial sketch. To preserve the artist’s drawing style,
template fitting is based on a flexible sketch model. The sketch
model is represented as a set that contains a fixed number of lines.
Each line is defined by an on-off switch and the position of control
points. The on-off switch is necessary to capture the subtle differ-
ences of facial features, such as the presence of double eye lines.
To fit the sketch model to the “expected sketch image”, we formu-
late it as the minimization of an energy function, which consists of
two components: prior energy and likelihood energy.
We first build a prior model from the training sketches. Similar to
the ASM model[4], the coordinates of control points in each line
(c) (d)
are modelled by a Gaussian distribution. For the on-off switch, we
have defined three types of lines in our system: always appearing;
probably appearing but independent of other lines; dependent of
other lines. We learn the probability of each type from the training
examples. We define the difference between the “expected sketch
image” and the generated sketch as the likelihood energy.
During the fitting procedure, we directly sample from the prior
model, followed by a local search to determine each line’s param-
eters more precisely. A final generated facial sketch is shown in
Figure 4(b).
4.2.5 Interactive Hair Contour Extraction
hair region first, then use edge-tracing to get the hair contour.
To determine the color distributions of the hair region and the back-
ground more robustly, two brushes are provided for the users to
mark each region interactively. According to the marked regions,
the color distributions of the hair and background regions are cal-
culated respectively. Then the pixels with smaller Mahalanobis dis-
tance to the hair color’s distribution are connected into one hair re-
gion by the floodfill algorithm. The color distribution is represented
by a mixture Gaussians. The number of kernels and parameters are
updated adaptively to the marked samples. With two brushes, the
user can modify the segmentation result interactively and easily.
Figure 4(b) shows one hair contour extraction result combined with
the face automatically.
4.3 Stroke Rendering
Stroke Rendering places stylized strokes along a newly-created sketch.
After consulting with cartoonists, we propose the following at-
tributes for each stroke to simulate different styles:
• Texture: a reference texture image corresponding to a partic-
ular stroke style.
• Width: the width of the whole stroke representing its thick-
ness.
• Direction: the drawing direction of a stroke.
• Path: the skeleton of a stroke. The generated sketch lines are
taken as stroke paths.
Stroke textures are obviously important. As shown in Figure 4, by
applying different artistic strokes, cartoon appearance can be sig-
nificantly changed. Like [10], we can use stroke textures to simu-
 Figure 6: Cartoon editor user interface.
(a)
(b) (c)
Figure 5: Cartoon face rendered with different stroke direc-
tions. (a) Stroke texture; (b) and (c) Rendered cartoon faces.
late pen, ink or brush, and also produce various stroke styles, such
as taper, flare, wiggle and so on.
Drawing styles are also reflected by the line width. For example,
the face and hair contours are often rendered with thick strokes,
while the strokes depicting the eyes, mouth and nose could be a
little more slender. Other supporting lines such as double-eye lines
are the thinnest.
The direction of a stroke is related to the selected stroke texture
and the artist’s habit. Stroke direction is introduced to properly
place the texture. This is important for some stroke styles, such as
the stroke texture with just one tapering end. As shown in Figure 5,
different stroke texture directions will generate different visual ef-
fects.
Usually a sketch line is rendered as a stroke. But in some cases, a
single sketch line may be drawn with multi-strokes by the artist to
enhance the expressive power. For example, when rendering a car-
toon face with the style shown in Figure 4(c)(d), the facial contour
line is rendered with three separated strokes. For the hair, we auto-
matically break the hair contour at strong corners and render it with
the resulting short strokes. The hair would appear more natural in
this way.
To stretch a texture map over the length of the stroke, each stroke
path is resampled to even segments and described by a Catmull-
Rom spline. The selected stroke texture is warped along the skele-
ton by a local parametric coordinate transformation and texture
mapping [10].
5. CARTOON EDITOR
Cartoon Editor is a graphical editor for the user to edit the cartoon
face freely, i.e., change its size, shape or redraw some facial parts.
For convenience, various pre-designed exaggerated templates are
supplied, including expressions such as smiling, rage, grimacing,
etc. A tool to generate in-between expression states is also pro-
vided. Figure 6 shows the user interface of our cartoon editor.
Cartoon Editor groups facial lines into seven parts: face contour,
mouth, nose, right-eye, left-eye, right-eyebrow and left-eyebrow.
The editing is performed on the sketch generated by Cartoon Gen-
erator. To edit each facial part, the following manipulations are
designed.
• Modify: The user can drag the control points of the sketch
to modify its shape or scale, and rotate or move the selected
facial part.
• Delete Lines: Delete original lines from the sketch.
• Add Lines: Add additional lines not defined in the sketch
template.
• Apply Pre-designed Template: The user can select pre-designed
templates to change the expression of the cartoon face or to
exaggerate it.
• In-between Edit: The user can also generate in-between states
by dragging a scroll bar.
Cartoon Editor records the changes for each facial part separately.
To save the edited results as templates for reuse, three kinds of
transformation modes can be set for each facial part.
• Replace: The absolute coordinates of the edited shape are
saved in the template. When reusing, the facial part is totally
replaced with the new shape.
 • Add Changes: The difference between the new shape and
original shape is saved in the template. When using this
mode, the shape difference is added to the cartoon face.
• Erase: The facial part will not be drawn.
By using these simple tools, the user can design expressions for the
cartoon or exaggerate it. Saved templates can be easily applied to
any cartoon face and can create impressive effects. Figure 7 shows
some results generated by using pre-designed templates.
6. CARTOON ANIMATOR
For users to animate cartoons easily, we have developed lip-syncing
technology which is used by Cartoon Animator to drive cartoons by
speech. The lip movements are automatically synthesized by our
algorithm. In addition, expressions designed by Cartoon Editor are
used as key frames in the animation.
These pre-designed expressions are all saved in the cartoon tem-
plate library. During animation, Cartoon Animator will select ap-
propriate expression templates from the library as key frames. Since
all the cartoon faces are vector-based, facial animation is generated
by morphing between these key frames.
The key to our speech-driven cartoon animator is a real-time lip-
syncing algorithm. Instead of a conventional phoneme-viseme map-
ping (e.g., [3, 14, 22] ), our algorithm uses the acoustic feature vec-
tor (e.g., MFCC used in speech recognition) as system input. The
advantage of using the acoustic feature vector is that different lan-
guages (e.g., Chinese and English) do not require training different
models.
6.1 Real-time lip-syncing
6.1.1 Model Training
In our system, we calculate the Mel-Frequency Cepstrum Coeffi-
cients (MFCC) and the delta coefficients [18]. These coefficients
are commonly used for speech recognition and are robust and reli-
able to variations in speakers and recording conditions. Since our
cartoon model is vector-based and each control point is a 2D point,
we model the lip configuration as a n-dimensional random vector
v. The random vector is assumed to have a distribution formed by a
mixture of n Gaussian distributions. Each cluster, or component of
the mixture distribution, is parameterized by its relative proportion
πi , its mean µi and its covariance Ri .
After we have obtained the training data, an unsupervised algorithm
is adopted to model the Gaussian mixtures [1]. The training data is
finally clustered into n classes (n = 15 in our case). Since these
classes represent the lip configurations well, any new configuration
can be approximated by a linear combination of the means of all
classes (called proto-lips).
Given the proto-lips, the next step is to classify each lip configu-
ration in the training data into different classes. Here we use the
Mahalanobis distance as the similarity measure, i.e., if
j = arg min(vi − µk )T Ri−1 (vi − µk ) (k = 1..n) (3)
k
then vi ∈ class j .
Because each lip configuration corresponds to an 18-dimensional
acoustic feature vector a = (a1 , a2 , ..., a18 )T , all the samples in
the audio vector space are also classified into n classes, each of
which is associated with a proto-lip template. We further assume
that the random vector ai for class i has a Gaussian distribution and
each dimension in the vector distributes independently. By regres-
sion, we can compute the mean āij and covariance σij for each
Gaussian model (for class i, dimension j). After the training pro-
cess, we have the following model parameters:
• Proto-lip templates µi and their relative proportion πi (i =
1...n).
• Mean āij and covariance σij for the j-th dimension of the
i-th class for the acoustic feature vector (i = 1...n; j =
1...18).
6.1.2 Audio to Visual Mapping
Given a new audio clip, we first segment the audio signal into
frames of 40ms each. Then the acoustic feature vector a for each
frame is calculated as the system input. Since we assume each di-
mension of the acoustic feature vector distributes independently,
the likelihood p(a|µi ) can be represented by:
18
1 (aj − āij )2
p(a|µi ) = √ exp(− 2
). (4)
j=1
2πσij 2σij
According to Bayesian estimation, the posterior probability is
p(a|µi )p(µi )
p(µi |a) = 
n (5)
p(a|µi )p(µi )
i=1
where p(µi ) = πi is the prior. Then the mapping result becomes

n
v= µi p(µi |a) . (6)
i=1
Due to mapping error and the existence of noise, the lips in the
synchronized sequence will appear to flutter open and closed inap-
propriately. Thus, we apply a Gaussian filter to the synthesized se-
quence to achieve a smooth transition between neighboring frames.
6.2 Facial Expression Animation
In order to render the final animation sequence, we firstly synthe-
size the facial expressions by morphing between the cartoon tem-
plates. Then the synchronized lip configurations are combined with
the rendered face images. Figure 8 shows an animation sequence
generated by our system. It can be seen that convincing facial ex-
pressions can be generated by key frame morphing. In addition, the
lip configurations are synchronized to the character’s speech.
7. EXAMPLES AND DEMOS
Figure 7 demonstrates the richness of the cartoon faces generated
by PicToon. The second column shows the cartoon faces gener-
ated by our example-based approach. The artist’s style of facial
contour drawing and the stroke styles are both simulated and well
presented. Subtle facial features, such as double eye lines, are also
captured. The cartoon faces in the last two columns with various
expressions are generated by applying pre-designed templates. The
exaggerated fat and thin faces shown in the third row are in-between
states obtained by using the editing tool. The edited cartoon faces
are vivid and exaggerated, yet retain the person’s facial characteris-
tics. It takes about 4 seconds on a Pentium 4 1.4GHz PC to generate
a cartoon face of size 256 × 256.
Figure 7: Cartoon Faces Generated by PicToon. (a) Original images. (b) Realistic-looking Cartoon faces generated automatically.
(c) and (d) Impressive cartoon expressions and exaggerated cartoon faces generated by applying pre-designed templates.

Figure 8: Cartoon Animation Sequence.

Figure 8 shows a cartoon animation sequence generated by our Car-
toon Animator. Several expression templates have been designed as
key frames according to the input voice. The lip moves naturally
by using our lip-syncing algorithm. The cartoon talking face is at-
tractive with expression changes.
8. CONCLUSIONS AND FUTURE WORK
We have presented PicToon, a cartoon system that creates a per-
sonalized cartoon from an input image. The cartoon generated by
using our system looks funny, lively and somewhat artistic while
resembling the original person. The system is easy to use for or-
dinary people. Once a lifelike stylistic cartoon face is generated,
it can be exaggerated with our cartoon editor and animated by the
speech-driven animator. Our system can be used in a variety of ap-
plications, e.g., virtual chatting and personalized e-greeting cards.
In our cartoon generation approach, sketch generation and stroke
rendering are decoupled. An effective non-parametric sampling
scheme along with a flexible facial template is employed to au-
tomatically extract a stylistic facial sketch from an input image.
Stroke rendering turns the sketch into stylized strokes. The gen-
erated realistic-looking cartoon not only preserves facial features
of the original image but also simulates the artist’s style. A lip-
syncing algorithm is also developed to animate the cartoon more
easily and naturally. Our algorithm uses acoustic signals as input
rather than conventional phoneme-viseme mapping and therefore
is language-independent and real-time.
There are a number of future directions to further improve our sys-
tem. Currently, cartoon sketches cannot be generated well for non-
frontal views. 3D face models may be included to solve this prob-
lem. How to generate exaggerated cartoons is a challenging prob-
lem. Example-based stroke style transformations will be developed
to learn the stroke styles of the artist drawings. Finally, how to rec-
ognize the emotions from the input voice and apply appropriate
expression templates automatically to generate lively animation is
another interesting research topic.
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