
The family in-joke
Everyone in the group chat rendered as characters from a film that does not exist. It survives being sent round far longer than a normal filter.
One portrait in · A puppet out · No sign-up
Tool marks in the forehead, a seam where the jaw would open, cloth that is actually cloth — a frame from a film that was never shot.
A real run on this page's model. Drag the divider and look at the shirt rather than the face: the plaid survives as woven cloth while the head becomes clay, and that mismatch of materials is exactly what your eye is reading as stop-motion. Results vary run to run, so treat this as the range rather than a guaranteed output.


Drag to compare before and after
It rebuilds a person as a stop-motion puppet: a modelled clay head with visible making marks, expressive oversized eyes, and real miniature clothing, photographed on a lit set rather than rendered on a background.
Nearly everyone who searches for this is chasing a memory rather than an aesthetic. Stop-motion is the animation people watched as children and can still feel the texture of, and seeing your own face in that world lands differently from any other restyle. It runs in the browser on the free image editor, image-to-image, with credits to start and no account needed for a first look.
One honest limit: expression range. Real puppets have a small vocabulary of faces because each one has to be sculpted, so a broad grin or a complex expression will be simplified toward something a puppet could actually hold.
Creative engine
Upload a portrait, choose how exaggerated the sculpt should be, and check the estimate before generating.

A stop-motion puppet is never one substance — clay face, fabric shirt, wire inside, sometimes glass for the eyes — and it is the boundaries between those materials that make the brain accept it as a real object. Clothing comes back as miniature fabric with its own weave and folds.

Warm directional key and a shallow plane of focus, so the scale reads as small before you even register what the material is. That sense of a tabletop set is what separates a puppet from a sculpture on a white sweep.
If you want the smooth art-object version rather than a film character, that is the AI clay filter; for a rendered animated look try the Pixar filter, and for flat vector output the AI sticker generator.
Three steps, and the expression you bring decides the character.
Puppets have big, readable faces. A wide grin, raised brows or a proper scowl all translate; a neutral passport look comes back neutral and lifeless.
Name the thumbprints, the jaw seam and the fabric clothing explicitly. Those are the details that separate a stop-motion puppet from a smooth clay sculpture.
A larger head and shorter limbs read more like a puppet; realistic proportions read like a statue. Say which you want, check the estimate and run it.
Three reasons, and none of them is a flattering photo.

Everyone in the group chat rendered as characters from a film that does not exist. It survives being sent round far longer than a normal filter.

Seeing what a character design would look like as a physical build — head proportions, costume materials — before touching any clay.

For the person who grew up on stop-motion and would frame a picture of themselves living in it.
How the puppet look is built, and what it does with your face.
Usually because everything came back as one material. A puppet is clay *plus* cloth plus glass eyes, and it is the join between them that sells it. Ask explicitly for real fabric clothing and eyes with a glass highlight, and the result stops looking carved and starts looking built.
No — this produces a still frame that looks like it came from a stop-motion film. If you want the character to actually move, take the result and run it through a video tool; a clay puppet animates well because a viewer expects slightly jerky, weighty motion from one anyway.
Because puppet faces have a small expressive vocabulary — each expression is a sculpted state rather than a continuous range — and the model leans toward the readable ones. Subtle expressions tend to resolve to neutral or to a full grin. Bring the expression you want in the source photo.
The shape yes, the strands no. Hair becomes sculpted clay masses or a wool-like material with the same silhouette and colour, because that is how a physical puppet's hair is made. Very fine or very intricate styles simplify the most.
Yes, and pairs often work better than singles because the scene starts reading as a shot from a film rather than a portrait. Both faces need to be clear in the source; a second person half out of frame usually comes back rebuilt into someone else.
It stays, but it takes on the set treatment — shallower focus and warmer light, so it reads as a miniature build behind the character. If you want a specific set instead, describe it, and expect the character to change slightly when the model has two things to invent at once.
No. It runs on the free image editor in the browser with credits to start, so you can put one portrait through and judge the result before deciding anything else.
The estimate is shown before you generate and moves with the resolution you choose. Failed generations are refunded automatically unless they broke the content policy, so testing a second expression costs nothing when it fails.
Credits are shared across everything Kavel runs. You see the cost before each run, and a failed job is never charged.
What's included
Secure checkout by Stripe. Card details never touch our servers.
What's included
Secure checkout by Stripe. Card details never touch our servers.
What's included
Secure checkout by Stripe. Card details never touch our servers.
What's included
Secure checkout by Stripe. Card details never touch our servers.
Charges appear as “KAVEL AI” on your card statement. You can cancel any time from Settings → Billing; cancellation takes effect at the end of the period you already paid for. Operator details, the full model list, and the refund window are on the about page.
Thumbprints in the clay, cloth that behaves like cloth, and a set light falling across a face that is still recognisably yours.