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60<p class="lead magick-description">This page descibed the Image composition methods that is used to define how
61two images should be merged together in various image operations.  For the
62Command Line API it is typically set using the <a
63href="command-line-options.html#compose" >-compose</a> setting option. </p>
64
65
66<p>The description of composition uses abstract terminology in order to allow
67the description to be more precise, while avoiding constant values which are
68specific to a particular build configuration. Each image pixel is represented
69by red, green, and blue levels (which are equal for a gray pixel). The
70build-dependent value <var>QuantumRange</var> is the maximum integral
71value which may be stored, per pixel, in the red, green, or blue channels of
72the image. Each image pixel may also optionally (if the image matte channel is
73enabled) have an associated level of opacity, ranging from <var>opaque</var> to
74<var>transparent</var>, which may be used to determine the influence of the pixel
75color when compositing the pixel with another image pixel. If the image matte
76channel is disabled, then all pixels in the image are treated as opaque. The
77color of an opaque pixel is fully visible while the color of a transparent
78pixel color is entirely absent (pixel color is ignored).</p>
79
80<p>By definition, raster images have a rectangular shape. All image rows are of
81equal length, as are all image columns. By treating the alpha channel as a
82visual "mask" the rectangular image may be given a "shape" by treating the
83alpha channel as a cookie-cutter for the image. This is done by setting the
84pixels within the shape to be opaque, with pixels outside the shape set as
85transparent. Pixels on the boundary of the shape may be between opaque and
86transparent in order to provide antialiasing (visually smooth edges). The
87description of the composition operators use this concept of image "shape" in
88order to make the description of the operators easier to understand. While it
89is convenient to describe the operators in terms of "shapes" they are by no
90means limited to mask-style operations since they are based on continuous
91floating-point mathematics rather than simple boolean operations.</p>
92
93<p>The following alpha blending (Duff-Porter) compose methods are available:</p>
94
95<table class="table table-condensed table-striped">
96  <tbody>
97  <tr>
98    <th align="left" style="width: 8%">Method</th>
99    <th align="left">Description</th>
100  </tr>
101
102  <tr>
103    <td>clear</td>
104    <td>Both the color and the alpha of the destination are
105        cleared. Neither the source nor the destination are used (except for
106        destinations size and other meta-data which is always preserved.</td>
107  </tr>
108
109  <tr>
110    <td>src</td>
111    <td>The source is copied to the destination. The destination
112        is not used as input, though it is cleared.</td>
113  </tr>
114
115  <tr>
116    <td>dst</td>
117    <td>The destination is left untouched. The source image is
118        completely ignored.</td>
119  </tr>
120
121  <tr>
122    <td>src-over</td>
123    <td>The source is composited over the destination. this is
124       the default alpha blending compose method, when neither the compose
125       setting is set, nor is set in the image meta-data.</td>
126  </tr>
127
128  <tr>
129    <td>dst-over</td>
130    <td>The destination is composited over the source and the
131        result replaces the destination.</td>
132  </tr>
133
134  <tr>
135    <td>src-in</td>
136    <td>The part of the source lying inside of the destination
137        replaces the destination.</td>
138  </tr>
139
140  <tr>
141    <td>dst-in</td>
142    <td>The part of the destination lying inside of the source
143        replaces the destination. Areas not overlaid are cleared.</td>
144  </tr>
145
146  <tr>
147    <td>src-out</td>
148    <td>The part of the source lying outside of the destination
149        replaces the destination.</td>
150  </tr>
151
152  <tr>
153    <td>dst-out</td>
154    <td>The part of the destination lying outside of the source
155        replaces the destination.</td>
156  </tr>
157
158  <tr>
159    <td>src-atop</td>
160    <td>The part of the source lying inside of the destination is
161        composited onto the destination.</td>
162  </tr>
163
164  <tr>
165    <td>dst-atop</td>
166    <td>The part of the destination lying inside of the source is
167        composited over the source and replaces the destination. Areas not
168        overlaid are cleared. </td>
169  </tr>
170
171  <tr>
172    <td>xor</td>
173    <td>The part of the source that lies outside of the
174        destination is combined with the part of the destination that lies
175        outside of the source.  Source or Destination, but not both. </td>
176  </tr>
177
178  </tbody>
179</table>
180
181<p>Any of the 'Src-*' methods can also be specified without the 'Src-' part.
182For example the default compose method can be specified as just 'Over'.</p>
183
184<p>Many of these compose methods will clear the destination image which was
185not overlaid by the source image.  This is to be expected as part of that
186specific composition methods defintion. You can disable this by setting the
187special <a href="command-line-options.html#define"
188>-define</a> 'compose:outside-overlay' to a value of 'false' will turn off
189this behavior. </p>
190
191<p>On top of the above 12 Duff-Porter Alpha Composition methods, one special
192related method '<code>Copy</code>' has been provided. This is equivalent to
193using the '<code>Src</code>'  with the special <a href="command-line-options.html#define"
194>-define</a> option '<code>compose:outside-overlay</code>' set to
195'<code>false</code>', so as to only modify the overlaid area, without clearing
196the rest of the image outside the overlaid area.  </p>
197
198<p>The following mathematical composition methods are also available. </p>
199
200<table class="table table-condensed table-striped">
201  <tbody>
202  <tr>
203    <th align="left" style="width: 8%">Method</th>
204    <th align="left">Description</th>
205  </tr>
206
207  <tr>
208    <td>multiply</td>
209    <td>The source is multiplied by the destination and replaces
210        the destination. The resultant color is always at least as dark as
211        either of the two constituent colors. Multiplying any color with black
212        produces black. Multiplying any color with white leaves the original
213        color unchanged.</td>
214  </tr>
215
216  <tr>
217    <td>screen</td>
218    <td>The source and destination are complemented and then
219        multiplied and then replace the destination. The resultant color is
220        always at least as light as either of the two constituent colors.
221        Screening any color with white produces white. Screening any color
222        with black leaves the original color unchanged.</td>
223  </tr>
224
225  <tr>
226    <td>plus</td>
227    <td>The source is added to the destination and replaces the
228        destination. This operator is useful for averaging or a controlled
229        merger of two images, rather than a direct overlay.</td>
230  </tr>
231
232  <tr>
233    <td>add</td>
234    <td>As per 'plus' but transparency data is treated as matte
235        values. As such any transparent areas in either image remain
236        transparent. </td>
237  </tr>
238
239  <tr>
240    <td>minus</td>
241    <td>Subtract the colors in the source image from the
242        destination image. When transparency is involved, opaque areas is
243        subtracted from any destination opaque areas. </td>
244  </tr>
245
246  <tr>
247    <td>subtract</td>
248    <td>Subtract the colors in the source image from the
249        destination image. When transparency is involved transparent areas are
250        subtracted, so only the opaque areas in the source remain opaque in
251        the destination image. </td>
252  </tr>
253
254  <tr>
255    <td>difference</td>
256    <td>Subtracts the darker of the two constituent colors from
257        the lighter. Painting with white inverts the destination color.
258        Painting with black produces no change.</td>
259  </tr>
260
261  <tr>
262    <td>exclusion</td>
263    <td>Produces an effect similar to that of 'difference', but
264        appears as lower contrast.  Painting with white inverts the
265        destination color. Painting with black produces no change.</td>
266  </tr>
267
268  <tr>
269    <td>darken</td>
270    <td>Selects the darker of the destination and source colors.
271        The destination is replaced with the source when the source is darker,
272        otherwise it is left unchanged.</td>
273  </tr>
274
275  <tr>
276    <td>lighten</td>
277    <td>Selects the lighter of the destination and source colors.
278        The destination is replaced with the source when the source is
279        lighter, otherwise it is left unchanged. </td>
280  </tr>
281
282  </tbody>
283</table>
284
285<p>Typically these use the default 'Over' alpha blending when transparencies
286are also involved, except for 'Plus' which uses a 'plus' alpha blending.  This
287means the alpha channel  of both images will only be used to ensure that any
288visible input remains visible even in parts not overlaid. It also means that
289any values are weighted by the alpha channel of the input and output images.
290This 'Over' alpha blending is also applied to the lighting composition methods
291below. </p>
292
293<p>As of IM v6.6.1-6, if the special '<code>Sync</code>' flag is not specified
294(enabled by default) with the <a href="command-line-options.html#channel"
295>-channel</a> setting, then the above mathematical compositions will nolonger
296synchronise its actions with the alpha channel.  Instead the math composition
297will be applied on an individual channel basis as defined by the <a
298href="command-line-options.html#channel"
299>-channel</a>.  This includes the alpha channel. This special usage
300allows you to perform true mathematics of the image channels, without alpha
301composition effects, becoming involved. </p>
302
303<p>This special flag is not applied to the lighting composition methods (see
304below) even though they are closely related to mathematical composition
305methods.</p>
306
307<p>The following lighting composition methods are also available. </p>
308
309<table class="table table-condensed table-striped">
310  <tbody>
311  <tr>
312    <th align="left" style="width: 8%">Method</th>
313    <th align="left">Description</th>
314  </tr>
315
316  <tr>
317    <td>linear-dodge</td>
318    <td>This is equivalent to 'Plus' in that the color channels
319        are simply added, however it does not 'Plus' the alpha channel, but
320        uses the normal 'Over' alpha blending, which transparencies are
321        involved.  Produces a sort of additive multiply-like result. Added
322        ImageMagick version 6.5.4-3. </td>
323  </tr>
324
325  <tr>
326    <td>linear-burn</td>
327    <td>As 'Linear-Dodge', but also subtract one from the result.
328        Sort of a additive 'Screen' of the images.  Added ImageMagick version
329        6.5.4-3. </td>
330  </tr>
331
332  <tr>
333    <td>color-dodge</td>
334    <td>Brightens the destination color to reflect the source
335        color. Painting with black produces no change.</td>
336  </tr>
337
338  <tr>
339    <td>color-burn</td>
340    <td>Darkens the destination color to reflect the source
341        color.  Painting with white produces no change. Fixed in ImageMagick
342        version 6.5.4-3. </td>
343  </tr>
344
345  <tr>
346    <td>overlay</td>
347    <td>Multiplies or screens the colors, dependent on the
348        destination color. Source colors overlay the destination whilst
349        preserving its highlights and shadows. The destination color is not
350        replaced, but is mixed with the source color to reflect the lightness
351        or darkness of the destination.</td>
352  </tr>
353
354  <tr>
355    <td>hard-light</td>
356    <td>Multiplies or screens the colors, dependent on the source
357        color value. If the source color is lighter than 0.5, the destination
358        is lightened as if it were screened. If the source color is darker
359        than 0.5, the destination is darkened, as if it were multiplied. The
360        degree of lightening or darkening is proportional to the difference
361        between the source color and 0.5. If it is equal to 0.5 the
362        destination is unchanged.  Painting with pure black or white produces
363        black or white.</td>
364  </tr>
365
366
367  <tr>
368    <td>linear-light</td>
369    <td>Like 'Hard-Light' but using linear-dodge and linear-burn
370        instead.  Increases contrast slightly with an impact on the
371        foreground's tonal values.</td>
372  </tr>
373
374  <tr>
375    <td>soft-light</td>
376    <td>Darkens or lightens the colors, dependent on the source
377        color value. If the source color is lighter than 0.5, the destination
378        is lightened. If the source color is darker than 0.5, the destination
379        is darkened, as if it were burned in. The degree of darkening or
380        lightening is proportional to the difference between the source color
381        and 0.5. If it is equal to 0.5, the destination is unchanged. Painting
382        with pure black or white produces a distinctly darker or lighter area,
383        but does not result in pure black or white. Fixed in ImageMagick
384        version 6.5.4-3. </td>
385  </tr>
386
387  <tr>
388    <td>pegtop-light</td>
389    <td>Almost equivalent to 'Soft-Light', but using a
390        continuous mathematical formula rather than two conditionally
391        selected formulae. Added ImageMagick version 6.5.4-3. </td>
392  </tr>
393
394  <tr>
395    <td>vivid-light</td>
396    <td>A modified 'Linear-Light' designed to preserve very stong
397        primary and secondary colors in the image. Added ImageMagick version
398        6.5.4-3. </td>
399  </tr>
400
401  <tr>
402    <td>pin-light</td>
403    <td>Similar to 'Hard-Light', but using sharp linear shadings,
404        to simulate the effects of a strong 'pinhole' light source. Added
405        ImageMagick version 6.5.4-3. </td>
406  </tr>
407
408  </tbody>
409</table>
410
411<p>Also included are these special purpose compose methods:</p>
412
413<table class="table table-condensed table-striped">
414  <tbody>
415  <tr>
416    <th align="left" style="width: 8%">Method</th>
417    <th align="left">Description</th>
418  </tr>
419
420  <tr>
421    <td>copy</td>
422    <td>This is equivalent to the Duff-Porter composition method
423        '<code>Src,</code>' but without clearing the parts of the destination
424        image that is not overlaid.  </td>
425    </tr>
426
427  <tr>
428    <td>copy-*</td>
429    <td>Copy the specified channel (Red, Green, Blue, Cyan,
430        Magenta, Yellow, Black, or Opacity) in the source image to the
431        same channel in the destination image.  If the channel specified
432        does not exist in the source image, (which can only happen for methods,
433        '<code>copy-opacity</code>' or '<code>copy-black</code>') then it is
434        assumed that the source image is a special grayscale channel image
435        of the values that is to be copied. </td>
436    </tr>
437
438  <tr>
439    <td>change-mask</td>
440    <td>Replace any destination pixel that is the similar to the
441    source images pixel (as defined by the current <a
442    href="command-line-options.html#fuzz">-fuzz</a> factor), with transparency.
443    </td>
444  </tr>
445  </tbody>
446</table>
447
448<p>On top of these composed methods are a few special ones that not only require
449the two images that are being merged or overlaid, but have some extra numerical
450arguments, which are tabled below. </p>
451
452<p>In the "<code>composite</code>" command these composition methods are
453selected using special options with the arguments needed. They are usually,
454but not always, the same name as the composite 'method' they use, and replaces
455the normal use of the <a href="command-line-options.html#compose" >-compose</a>
456setting in the "<code>composite</code>" command.  For example... </p>
457
458<pre>
459composite ... -blend 50x50 ...
460</pre>
461
462<p>As of IM v6.5.3-4 the "<code>convert</code>" command can now also supply
463these extra arguments to its <a href="command-line-options.html#composite"
464>-composite</a> operator, using the special <a href="command-line-options.html#define">-define</a>
465attribute of '<code class="arg">compose:args</code>'.  This means you can now
466make use of these special augmented <a href="command-line-options.html#compose"
467>-compose</a> methods, those the argument and the method both need to be set
468separately.  For example... </p>
469
470<pre>
471convert ... -compose blend  -define compose:args=50,50 -composite ...
472</pre>
473
474<p>The following is a table of these special 'argumented' compose methods,
475with a brief summary of what they do. For more details see the equivalent
476"composite" command option name.  </p>
477
478<table class="table table-condensed table-striped">
479  <tbody>
480  <tr>
481    <th align="left" style="width: 8%">Method</th>
482    <th align="left">Description</th>
483  </tr>
484
485  <tr>
486    <td>dissolve</td>
487    <td>Arguments:
488        <var>src_percent</var>[x<var>dst_percent</var>]
489    <br/>Equivalent to "<code>composite</code>" <a href="command-line-options.html#dissolve">-dissolve</a>
490    <br/>Dissolve the 'source' image by the percentage given before overlaying
491        'over' the 'destination' image. If <var>src_percent</var> is
492        greater than 100, it starts dissolving the main image so it will
493        become transparent at a value of '<code class="arg">200</code>'.  If
494        both percentages are given, each image are dissolved to the
495        percentages given.
496    </td>
497  </tr>
498
499  <tr>
500    <td>blend</td>
501    <td>Arguments:
502        <var>src_percent</var>[x<var>dst_percent</var>]
503    <br/>Equivalent to "<code>composite</code>" <a
504        href="command-line-options.html#blend">-blend</a>
505    <br/>Average the images together ('plus') according to the percentages
506        given and each pixels transparency.  If only a single percentage value
507        is given it sets the weight of the composite or 'source' image, while
508        the background image is weighted by the exact opposite amount. That is
509        a <code>-blend 30</code> merges 30% of the 'source' image with 70% of
510        the 'destination' image.  Thus it is equivalent to <code>-blend
511        30x70</code>.
512    </td>
513  </tr>
514
515  <tr>
516    <td>mathematics</td>
517    <td>Arguments: <var>A, B, C, D</var>
518    <br/>Not available in "<code>composite</code>" at this time.
519    <br/>Merge the source and destination images according to the formula
520    <br/>     <code>A*Sc*Dc + B*Sc + C*Dc + D</code>
521    <br/>Can be used to generate a custom composition method that would
522        otherwise need to be implemented using the slow <a
523        href="command-line-options.html#fx">-fx</a> DIY image operator.   Added
524        to ImageMagick version 6.5.4-3.
525    <br/>As of IM v6.6.1-6 this method will do per-channel math compositions
526        if the 'Sync' flag is removed from <a
527        href="command-line-options.html#channel" >-channel</a>, just like all
528        the other mathematical composition methods above.
529    </td>
530  </tr>
531
532  <tr>
533    <td>modulate</td>
534    <td>Arguments:
535        <var>brightness</var>[x<var>saturation</var>]
536    <br/>Equivalent to "<code>composite</code>" <a href="command-line-options.html#watermark">-watermark</a>
537    <br/>Take a grayscale image (with alpha mask) and modify the destination
538        image's brightness according to watermark image's grayscale value and
539        the <var>brightness</var> percentage.  The destinations
540        color saturation attribute is just direct modified by the <var>saturation</var> percentage, which defaults to 100 percent
541        (no color change).
542
543    </td>
544  </tr>
545
546  <tr>
547    <td>displace</td>
548    <td>Arguments:
549        <var>X-scale</var>[x<var>Y-scale</var>][!][%]
550    <br/>Equivalent to "<code>composite</code>" <a href="command-line-options.html#displace">-displace</a>
551    <br/>With this option, the 'overlay' image, and optionally the 'mask'
552        image, is used as a relative displacement map, which is used to
553        displace the lookup of what part of the destination image is seen at
554        each point of the overlaid area.  Much like the displacement map is a
555        'lens' that distorts the original 'background' image behind it.
556    <br/><br/>
557        The X-scale is modulated by the 'red' channel of the overlay image
558        while the Y-scale is modulated by the green channel, (the mask image
559        if given is rolled into green channel of the overlay image. This
560        separation allows you to modulate the X and Y lookup displacement
561        separately allowing you to do 2-dimensional displacements, rather
562        than 1-dimensional vectored displacements (using grayscale image).
563    <br/><br/>
564        If the overlay image contains transparency this is used as a mask
565        of the resulting image to remove 'invalid' pixels.
566    <br/><br/>
567        The '%' flag makes the displacement scale relative to the size of the
568        overlay image (100% = half width/height of image). Using '!' switches
569        percentage arguments to refer to the destination image size instead.
570    <br/><br/>
571        Special flags were added Added to ImageMagick version 6.5.3-5.
572    </td>
573  </tr>
574
575  <tr>
576    <td>distort</td>
577    <td>Arguments:
578        <var>X-scale</var>[x<var>Y-scale</var>[+<var>X-center</var>+<var>Y-center</var>]][!][%]
579    <br/>Not available in "<code>composite</code>" at this time.
580    <br/>Exactly as per 'Displace' (above), but using absolute coordinates,
581        relative to the center of the overlay (or that given).  Basically
582        allows you to generate absolute distortion maps where 'black' will
583        look up the left/top edge, and 'white' looks up the bottom/right
584        edge of the destination image, according to the scale given.
585    <br/><br/>
586        The '!' flag not only switches percentage scaling, to use the
587        destination image, but also the image the center offset of the lookup.
588        This means the overlay can lookup a completely different region of the
589        destination image.
590    <br/><br/>
591        Added to ImageMagick version 6.5.3-5.
592    </td>
593  </tr>
594
595  <tr>
596    <td>blur</td>
597    <td>Arguments:
598        <var>Width</var>[x<var>Height</var>[+<var>Angle</var>][+<var>Angle2</var>]]
599    <br/>Equivalent to "<code>composite</code>" <a href="command-line-options.html#blur-composite">-blur</a>
600    <br/>A Variable Blur Mapping Composition method, where each pixel in the
601        overlaid region is replaced with an Elliptical Weighted Average (EWA),
602        with an ellipse (typically a circle) of the given sigma size, scaled
603        according to overlay (source image) grayscale mapping.
604    <br/><br/>
605        As per 'Displace' and 'Distort', the red channel will modulate the
606        width of the ellipse, while the green channel will modulate the height
607        of the ellipse. If a single Angle value is given in the arguments,
608        then the ellipse will then be rotated by the angle specified.
609    <br/><br/>
610        Normally the blue channel of the mapping overlay image is ignored.
611        However if a second ellipse angle is given, then it is assumed that
612        the blue channel defines a variable angle for the ellipse ranging from
613        the first angle to the second angle given.  This allows to generate
614        radial blurs, or a rough approximation for rotational blur. Or any mix
615        of the two.
616    <br/><br/>
617        Added to ImageMagick version 6.5.4-0.
618    </td>
619  </tr>
620
621  </tbody>
622</table>
623
624<p>To print a complete list of all the available compose operators, use <a
625href="command-line-options.html#list">-list compose</a>.</p>
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