CompositeOperator

This mode somehow is similar to average mode. It is helpful when applying relief or bump textures to images.

Combination of color dodge and inverse color burn mode, but a lot smoother than both of them. The base image is darkened a bit, but very bright blend colors are "dodged" in.

A combination of color burn and inverse color dodge mode, but a lot smoother than both of them. The base image is lightened a bit, but very dark blend colors are "burned" in.

This mode is useful when adding shining objects or light zones to images. The formula is similar to color dodge, but the result is not that bright in most cases. The result looks a bit like soft light.

The "opposite" of difference mode. Note that it is not difference mode inverted, because black and white return the same result, but colors between become brighter instead of darker.

This mode somehow combines multiply and screen mode (looks very similar for very dark or bright colors).

Another variation of reflect mode (base and blend color inverted, the result inverted again).

Ccreate a stereo anaglyph.

The result is the image data from both composite image and image that is outside the overlap region. The overlap region will be blank. The part of the source that lies outside of the destination is combined with the part of the destination that lies outside of the source. Source or Destination, but not both.

A modified LinearLight designed to preserve very stong primary and secondary colors in the image.

The source is composited over the destination. this is the default alpha blending compose method, when neither the compose setting is set, nor is set in the image meta-data.

The part of the source lying outside of the destination replaces the destination.

The part of the source lying inside of the destination replaces the destination.

The source is copied to the destination. The destination is not used as input, though it is cleared.

The part of the source lying inside of the destination is composited onto the destination.

Darkens or lightens the colors, dependent on the source color value. If the source color is lighter than 0.5, the destination is lightened. If the source color is darker than 0.5, the destination is darkened, as if it were burned in. The degree of darkening or lightening is proportional to the difference between the source color and 0.5. If it is equal to 0.5, the destination is unchanged. Painting with pure black or white produces a distinctly darker or lighter area, but does not result in pure black or white.

The source and destination are complemented and then multiplied and then replace the destination. The resultant color is always at least as light as either of the two constituent colors. Screening any color with white produces white. Screening any color with black leaves the original color unchanged.

The result is just the sum of the image data. Output values are cropped to 255 (no overflow). This operation is independent of the matte channels. The source is added to the destination and replaces the destination. This operator is useful for averaging or a controlled merger of two images, rather than a direct overlay.

Similar to HardLight, but using sharp linear shadings, to simulate the effects of a strong 'pinhole' light source.

Almost equivalent to SoftLight, but using a continuous mathematical formula rather than two conditionally selected formulae.

Multiplies or screens the colors, dependent on the destination color. Source colors overlay the destination whilst preserving its highlights and shadows. The destination color is not replaced, but is mixed with the source color to reflect the lightness or darkness of the destination.

The result is the union of the two image shapes with the composite image obscuring image in the region of overlap.

The resulting image is composite image with the shape of image cut out.

Don't use any composite op.

The source is multiplied by the destination and replaces the destination. The resultant color is always at least as dark as either of the two constituent colors. Multiplying any color with black produces black. Multiplying any color with white leaves the original color unchanged.

Take a grayscale image (with alpha mask) and modify the destination image's brightness according to watermark image's grayscale value and the brightness percentage. The destinations color saturation attribute is just direct modified by the saturation percentage, which defaults to 100 percent (no color change).

Subtract the colors in the source image from the destination image. When transparency is involved, opaque areas is subtracted from any destination opaque areas.

Subtract the colors in the destination image from the source image. When transparency is involved, opaque areas is subtracted from any source opaque areas.

Merge the source and destination images according to the formula AScDc + BSc + CDc + D . Can be used to generate a custom composition method that would otherwise need to be implemented using the slow -fx DIY image operator.

Like HardLight but using LinearDoge and LinearBurn instead. Increases contrast slightly with an impact on the foreground's tonal values.

This is equivalent to Plus in that the color channels are simply added, however it does not Plus the alpha channel, but uses the normal Over alpha blending, which transparencies are involved. Produces a sort of additive multiply-like result.

As LinearDodge, but also subtract one from the result. Sort of a additive Screen of the images.

Selects the lighter of the destination and source colors. The destination is replaced with the source when the source is lighter, otherwise it is left unchanged.

The result is a simply composite image cut by the shape of image. None of the image data of image is included in the result.

Multiplies or screens the colors, dependent on the source color value. If the source color is lighter than 0.5, the destination is lightened as if it were screened. If the source color is darker than 0.5, the destination is darkened, as if it were multiplied. The degree of lightening or darkening is proportional to the difference between the source color and 0.5. If it is equal to 0.5 the destination is unchanged. Painting with pure black or white produces black or white.

Produces an effect similar to that of Difference, but appears as lower contrast. Painting with white inverts the destination color. Painting with black produces no change.

The destination is composited over the source and the result replaces the destination.

The part of the destination lying outside of the source replaces the destination.

The part of the destination lying inside of the source replaces the destination. Areas not overlaid are cleared.

The destination is left untouched. The source image is completely ignored.

The part of the destination lying inside of the source is composited over the source and replaces the destination. Areas not overlaid are cleared.

Not available in "composite" at this time.

Dissolve the 'source' image by the percentage given before overlaying 'over' the 'destination' image. If src_percent is greater than 100, it starts dissolving the main image so it will become transparent at a value of

Not available in "composite" at this time.

The result of abs(composite image - image). This is useful for comparing two very similar images. Subtracts the darker of the two constituent colors from the lighter. Painting with white inverts the destination color. Painting with black produces no change.

Selects the darker of the destination and source colors. The destination is replaced with the source when the source is darker, otherwise it is left unchanged.

Copy the Yellow channel in the source image to the same channel in the destination image.

Copy the Red channel in the source image to the same channel in the destination image.

The resulting image is the matte layer in image replaced with the matte layer in composite image. The other layers are copied untouched. If the channel specified does not exist in the source image,then it is assumed that the source image is a special grayscale channel image of the values that is to be copied.

Copy the Magenta channel in the source image to the same channel in the destination image.

Copy the Green channel in the source image to the same channel in the destination image.

Copy the Cyan channel in the source image to the same channel in the destination image.

The resulting image is image replaced with composite image. Here the matte information is ignored. This is equivalent to the Duff-Porter composition method Src but without clearing the parts of the destination image that is not overlaid.

Copy the Blue channel in the source image to the same channel in the destination image.

Copy the Black channel in the source image to the same channel in the destination image. If the channel specified does not exist in the source image, then it is assumed that the source image is a special grayscale channel image of the values that is to be copied.

Brightens the destination color to reflect the source color. Painting with black produces no change.

Darkens the destination color to reflect the source color. Painting with white produces no change.

Both the color and the alpha of the destination are cleared. Neither the source nor the destination are used (except for destinations size and other meta-data which is always preserved).

Replace any destination pixel that is the similar to the source images pixel (as defined by the current -fuzz factor), with transparency.

The result image shaded by composite image.

A Variable Blur Mapping Composition method, where each pixel in the overlaid region is replaced with an Elliptical Weighted Average (EWA), with an ellipse (typically a circle) of the given sigma size, scaled according to overlay (source image) grayscale mapping.

Average the images together (plus) according to the percentages given and each pixels transparency. If only a single percentage value is given it sets the weight of the composite or 'source' image, while the background image is weighted by the exact opposite amount.

The result is the same shape as image image, with composite image obscuring image there the image shapes overlap. Note that this differs from OverCompositeOp because the portion of composite image outside of image's shape does not appear in the result.

Unset value.