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Exaggeration of Facial Features in Caricaturing

Exaggeration of Facial Features in Caricaturing

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First Part<br />

Figure 6. The Tone-Shad<strong>in</strong>g Method.<br />

picture, but rather color it accord<strong>in</strong>g to our own rules. We<br />

divide the range <strong>of</strong> color <strong>in</strong>to four parts. The first part is the<br />

base face color that is about n<strong>in</strong>ety percent white, five<br />

percent yellow, and five percent orange. The second and<br />

third parts are heavier <strong>in</strong> orange and yellow, which are <strong>of</strong>ten<br />

used to display shadow. The fourth color has more white,<br />

which is <strong>of</strong>ten used to display reflected light. Shadows that<br />

we draw <strong>of</strong>ten occur <strong>in</strong> six regions. The first is between the<br />

eyes and the nose. The second is underneath the nose. The<br />

third is under the cheekbone. The fourth is upon the mouth.<br />

The fifth is along the outl<strong>in</strong>e <strong>of</strong> the face. The sixth is under<br />

the lower lip. An example is shown <strong>in</strong> Figure 6.<br />

3.6 Layer Render<strong>in</strong>g<br />

After exaggerat<strong>in</strong>g the features, some features may<br />

overlap the others. In order to avoid those abnormal results,<br />

our system implements layer render<strong>in</strong>g. We separate the<br />

features <strong>in</strong>to seven layers, shown <strong>in</strong> Figure 7. In the order<br />

Face<br />

Layer<br />

Botto<br />

m<br />

Second Part<br />

Shadow<br />

Layer<br />

Mouth<br />

Layer<br />

Third Part<br />

Nose<br />

Layer<br />

Reflection Light<br />

Eye<br />

Layer<br />

Reflect<br />

Light<br />

Layer<br />

from the bottom layer to the top layer, they are “face layer”,<br />

“shadow layer”, “mouth layer”, “nose layer”, “eye layer”,<br />

“reflect light layer” and “hair layer” respectively. Then we<br />

render the layers <strong>in</strong> the same order.<br />

4 Conclusion and Future Works<br />

Future research can br<strong>in</strong>g improvements to the part <strong>of</strong><br />

facial features exaggeration. For example, the outl<strong>in</strong>e <strong>of</strong> a<br />

face can be exaggerated more sharply. We can add more<br />

characteristics that can be exaggerated. We also hope that we<br />

can draw wavier hair so that the result can be closer to the<br />

style <strong>of</strong> the orig<strong>in</strong>al artist, the manga style. Furthermore, we<br />

would also like to merge a talk<strong>in</strong>g head system <strong>in</strong>to our<br />

system, and let our system to make some <strong>in</strong>terest<strong>in</strong>g<br />

animations. The most important th<strong>in</strong>g is to make our system<br />

available for public use on Internet.<br />

5 Results<br />

As depicted <strong>in</strong> the beg<strong>in</strong>n<strong>in</strong>g <strong>of</strong> this paper, we see the<br />

comparison <strong>of</strong> an orig<strong>in</strong>al picture, a picture without<br />

exaggeration and a picture with exaggeration. The follow<strong>in</strong>g<br />

figure shows more render<strong>in</strong>g results.<br />

6 Acknowledgements<br />

This project is partially funded by the National Science<br />

Council (NSC, Taiwan) under the grant number<br />

NSC90-2622-E-002-008.<br />

7 References<br />

[1] Gooch, B., AND Gooch, A. Non-Photorealistic<br />

Render<strong>in</strong>g. 2001. AK Peters Ltd, Publishers.<br />

[2] Cassidy J. Curtis, Sean E. Anderson, Kurt W. Fleischer,<br />

and David H. Sales<strong>in</strong>. Computer-Generated Watercolor. Proc.<br />

Hair<br />

Layer<br />

Figure 7. Layer Render<strong>in</strong>g: Draw<strong>in</strong>g the layers from bottom to top.<br />

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