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For the 87Command Line API it is typically set using the <a 88href="../www/command-line-options.html#compose" >-compose</a> setting option. </p> 89 90 91<p>The description of composition uses abstract terminology in order to allow 92the description to be more precise, while avoiding constant values which are 93specific to a particular build configuration. Each image pixel is represented 94by red, green, and blue levels (which are equal for a gray pixel). The 95build-dependent value <var>QuantumRange</var> is the maximum integral 96value which may be stored, per pixel, in the red, green, or blue channels of 97the image. Each image pixel may also optionally (if the image matte channel is 98enabled) have an associated level of opacity, ranging from <var>opaque</var> to 99<var>transparent</var>, which may be used to determine the influence of the pixel 100color when compositing the pixel with another image pixel. If the image matte 101channel is disabled, then all pixels in the image are treated as opaque. The 102color of an opaque pixel is fully visible while the color of a transparent 103pixel color is entirely absent (pixel color is ignored).</p> 104 105<p>By definition, raster images have a rectangular shape. All image rows are of 106equal length, as are all image columns. By treating the alpha channel as a 107visual "mask" the rectangular image may be given a "shape" by treating the 108alpha channel as a cookie-cutter for the image. This is done by setting the 109pixels within the shape to be opaque, with pixels outside the shape set as 110transparent. Pixels on the boundary of the shape may be between opaque and 111transparent in order to provide antialiasing (visually smooth edges). The 112description of the composition operators use this concept of image "shape" in 113order to make the description of the operators easier to understand. While it 114is convenient to describe the operators in terms of "shapes" they are by no 115means limited to mask-style operations since they are based on continuous 116floating-point mathematics rather than simple boolean operations.</p> 117 118<p>The following alpha blending (Duff-Porter) compose methods are available:</p> 119 120<table class="table table-sm table-striped"> 121 <tbody> 122 <tr> 123 <th align="left" style="width: 8%">Method</th> 124 <th align="left">Description</th> 125 </tr> 126 127 <tr> 128 <td>clear</td> 129 <td>Both the color and the alpha of the destination are 130 cleared. Neither the source nor the destination are used (except for 131 destinations size and other meta-data which is always preserved.</td> 132 </tr> 133 134 <tr> 135 <td>src</td> 136 <td>The source is copied to the destination. The destination 137 is not used as input, though it is cleared.</td> 138 </tr> 139 140 <tr> 141 <td>dst</td> 142 <td>The destination is left untouched. The source image is 143 completely ignored.</td> 144 </tr> 145 146 <tr> 147 <td>src-over</td> 148 <td>The source is composited over the destination. this is 149 the default alpha blending compose method, when neither the compose 150 setting is set, nor is set in the image meta-data.</td> 151 </tr> 152 153 <tr> 154 <td>dst-over</td> 155 <td>The destination is composited over the source and the 156 result replaces the destination.</td> 157 </tr> 158 159 <tr> 160 <td>src-in</td> 161 <td>The part of the source lying inside of the destination 162 replaces the destination.</td> 163 </tr> 164 165 <tr> 166 <td>dst-in</td> 167 <td>The part of the destination lying inside of the source 168 replaces the destination. Areas not overlaid are cleared.</td> 169 </tr> 170 171 <tr> 172 <td>src-out</td> 173 <td>The part of the source lying outside of the destination 174 replaces the destination.</td> 175 </tr> 176 177 <tr> 178 <td>dst-out</td> 179 <td>The part of the destination lying outside of the source 180 replaces the destination.</td> 181 </tr> 182 183 <tr> 184 <td>src-atop</td> 185 <td>The part of the source lying inside of the destination is 186 composited onto the destination.</td> 187 </tr> 188 189 <tr> 190 <td>dst-atop</td> 191 <td>The part of the destination lying inside of the source is 192 composited over the source and replaces the destination. Areas not 193 overlaid are cleared. </td> 194 </tr> 195 196 <tr> 197 <td>xor</td> 198 <td>The part of the source that lies outside of the 199 destination is combined with the part of the destination that lies 200 outside of the source. Source or Destination, but not both. </td> 201 </tr> 202 203 </tbody> 204</table> 205 206<p>Any of the 'Src-*' methods can also be specified without the 'Src-' part. 207For example the default compose method can be specified as just 'Over'.</p> 208 209<p>Many of these compose methods will clear the destination image which was 210not overlaid by the source image. This is to be expected as part of that 211specific composition methods defintion. You can disable this by setting the 212special <a href="../www/command-line-options.html#define" 213>-define</a> 'compose:outside-overlay' to a value of 'false' will turn off 214this behavior. </p> 215 216<p>On top of the above 12 Duff-Porter Alpha Composition methods, one special 217related method '<code>Copy</code>' has been provided. This is equivalent to 218using the '<code>Src</code>' with the special <a href="../www/command-line-options.html#define" 219>-define</a> option '<code>compose:outside-overlay</code>' set to 220'<code>false</code>', so as to only modify the overlaid area, without clearing 221the rest of the image outside the overlaid area. </p> 222 223<p>The following mathematical composition methods are also available. </p> 224 225<table class="table table-sm table-striped"> 226 <tbody> 227 <tr> 228 <th align="left" style="width: 8%">Method</th> 229 <th align="left">Description</th> 230 </tr> 231 232 <tr> 233 <td>multiply</td> 234 <td>The source is multiplied by the destination and replaces 235 the destination. The resultant color is always at least as dark as 236 either of the two constituent colors. Multiplying any color with black 237 produces black. Multiplying any color with white leaves the original 238 color unchanged.</td> 239 </tr> 240 241 <tr> 242 <td>screen</td> 243 <td>The source and destination are complemented and then 244 multiplied and then replace the destination. The resultant color is 245 always at least as light as either of the two constituent colors. 246 Screening any color with white produces white. Screening any color 247 with black leaves the original color unchanged.</td> 248 </tr> 249 250 <tr> 251 <td>plus</td> 252 <td>The source is added to the destination and replaces the 253 destination. This operator is useful for averaging or a controlled 254 merger of two images, rather than a direct overlay.</td> 255 </tr> 256 257 <tr> 258 <td>add</td> 259 <td>As per 'plus' but transparency data is treated as matte 260 values. As such any transparent areas in either image remain 261 transparent. </td> 262 </tr> 263 264 <tr> 265 <td>minus</td> 266 <td>Subtract the colors in the source image from the 267 destination image. When transparency is involved, opaque areas is 268 subtracted from any destination opaque areas. </td> 269 </tr> 270 271 <tr> 272 <td>subtract</td> 273 <td>Subtract the colors in the source image from the 274 destination image. When transparency is involved transparent areas are 275 subtracted, so only the opaque areas in the source remain opaque in 276 the destination image. </td> 277 </tr> 278 279 <tr> 280 <td>difference</td> 281 <td>Subtracts the darker of the two constituent colors from 282 the lighter. Painting with white inverts the destination color. 283 Painting with black produces no change.</td> 284 </tr> 285 286 <tr> 287 <td>exclusion</td> 288 <td>Produces an effect similar to that of 'difference', but 289 appears as lower contrast. Painting with white inverts the 290 destination color. Painting with black produces no change.</td> 291 </tr> 292 293 <tr> 294 <td>darken</td> 295 <td>Selects the darker of the destination and source colors. 296 The destination is replaced with the source when the source is darker, 297 otherwise it is left unchanged.</td> 298 </tr> 299 300 <tr> 301 <td>lighten</td> 302 <td>Selects the lighter of the destination and source colors. 303 The destination is replaced with the source when the source is 304 lighter, otherwise it is left unchanged. </td> 305 </tr> 306 307 </tbody> 308</table> 309 310<p>Typically these use the default 'Over' alpha blending when transparencies 311are also involved, except for 'Plus' which uses a 'plus' alpha blending. This 312means the alpha channel of both images will only be used to ensure that any 313visible input remains visible even in parts not overlaid. It also means that 314any values are weighted by the alpha channel of the input and output images. 315This 'Over' alpha blending is also applied to the lighting composition methods 316below. </p> 317 318<p> The math composition is applied on an individual channel basis as defined by the <a href="../www/command-line-options.html#channel" >-channel</a>. This includes the alpha channel. This special usage allows you to perform true mathematics of the image channels, without alpha 319composition effects, becoming involved. </p> 320 321<p>The following lighting composition methods are also available. </p> 322 323<table class="table table-sm table-striped"> 324 <tbody> 325 <tr> 326 <th align="left" style="width: 8%">Method</th> 327 <th align="left">Description</th> 328 </tr> 329 330 <tr> 331 <td>linear-dodge</td> 332 <td>This is equivalent to 'Plus' in that the color channels 333 are simply added, however it does not 'Plus' the alpha channel, but 334 uses the normal 'Over' alpha blending, which transparencies are 335 involved. Produces a sort of additive multiply-like result. </td> 336 </tr> 337 338 <tr> 339 <td>linear-burn</td> 340 <td>As 'Linear-Dodge', but also subtract one from the result. 341 Sort of a additive 'Screen' of the images. </td> 342 </tr> 343 344 <tr> 345 <td>color-dodge</td> 346 <td>Brightens the destination color to reflect the source 347 color. Painting with black produces no change.</td> 348 </tr> 349 350 <tr> 351 <td>color-burn</td> 352 <td>Darkens the destination color to reflect the source 353 color. Painting with white produces no change. </td> 354 </tr> 355 356 <tr> 357 <td>overlay</td> 358 <td>Multiplies or screens the colors, dependent on the 359 destination color. Source colors overlay the destination whilst 360 preserving its highlights and shadows. The destination color is not 361 replaced, but is mixed with the source color to reflect the lightness 362 or darkness of the destination.</td> 363 </tr> 364 365 <tr> 366 <td>hard-light</td> 367 <td>Multiplies or screens the colors, dependent on the source 368 color value. If the source color is lighter than 0.5, the destination 369 is lightened as if it were screened. If the source color is darker 370 than 0.5, the destination is darkened, as if it were multiplied. The 371 degree of lightening or darkening is proportional to the difference 372 between the source color and 0.5. If it is equal to 0.5 the 373 destination is unchanged. Painting with pure black or white produces 374 black or white.</td> 375 </tr> 376 377 378 <tr> 379 <td>linear-light</td> 380 <td>Like 'Hard-Light' but using linear-dodge and linear-burn 381 instead. Increases contrast slightly with an impact on the 382 foreground's tonal values.</td> 383 </tr> 384 385 <tr> 386 <td>soft-light</td> 387 <td>Darkens or lightens the colors, dependent on the source 388 color value. If the source color is lighter than 0.5, the destination 389 is lightened. If the source color is darker than 0.5, the destination 390 is darkened, as if it were burned in. The degree of darkening or 391 lightening is proportional to the difference between the source color 392 and 0.5. If it is equal to 0.5, the destination is unchanged. Painting 393 with pure black or white produces a distinctly darker or lighter area, 394 but does not result in pure black or white. </td> 395 </tr> 396 397 <tr> 398 <td>pegtop-light</td> 399 <td>Almost equivalent to 'Soft-Light', but using a 400 continuous mathematical formula rather than two conditionally 401 selected formulae. </td> 402 </tr> 403 404 <tr> 405 <td>vivid-light</td> 406 <td>A modified 'Linear-Light' designed to preserve very stong 407 primary and secondary colors in the image. </td> 408 </tr> 409 410 <tr> 411 <td>pin-light</td> 412 <td>Similar to 'Hard-Light', but using sharp linear shadings, 413 to simulate the effects of a strong 'pinhole' light source. </td> 414 </tr> 415 416 </tbody> 417</table> 418 419<p>Also included are these special purpose compose methods:</p> 420 421<table class="table table-sm table-striped"> 422 <tbody> 423 <tr> 424 <th align="left" style="width: 8%">Method</th> 425 <th align="left">Description</th> 426 </tr> 427 428 <tr> 429 <td>copy</td> 430 <td>This is equivalent to the Duff-Porter composition method 431 '<code>Src,</code>' but without clearing the parts of the destination 432 image that is not overlaid. </td> 433 </tr> 434 435 <tr> 436 <td>copy-*</td> 437 <td>Copy the specified channel (Red, Green, Blue, Cyan, 438 Magenta, Yellow, Black, or Opacity) in the source image to the 439 same channel in the destination image. If the channel specified 440 does not exist in the source image, (which can only happen for methods, 441 '<code>copy-opacity</code>' or '<code>copy-black</code>') then it is 442 assumed that the source image is a special grayscale channel image 443 of the values that is to be copied. </td> 444 </tr> 445 446 <tr> 447 <td>change-mask</td> 448 <td>Replace any destination pixel that is the similar to the 449 source images pixel (as defined by the current <a 450 href="../www/command-line-options.html#fuzz">-fuzz</a> factor), with transparency. 451 </td> 452 </tr> 453 454 <tr> 455 <td>stereo</td> 456 <td>create a stereo anaglyph</td> 457 </tr> 458 </tbody> 459</table> 460 461<p>On top of these composed methods are a few special ones that not only require 462the two images that are being merged or overlaid, but have some extra numerical 463arguments, which are tabled below. </p> 464 465<p>In the "<code>composite</code>" command these composition methods are 466selected using special options with the arguments needed. They are usually, 467but not always, the same name as the composite 'method' they use, and replaces 468the normal use of the <a href="../www/command-line-options.html#compose" >-compose</a> 469setting in the "<code>composite</code>" command. For example... </p> 470 471<pre class="highlight"><code>composite ... -blend 50x50 ... 472</code></pre> 473 474<p>The "<code>magick</code>" command can accept these extra arguments to its <a href="../www/command-line-options.html#composite" 475>-composite</a> operator, using the special <a href="../www/command-line-options.html#define">-define</a> 476attribute of '<code class="arg">compose:args</code>'. This means you can now 477make use of these special augmented <a href="../www/command-line-options.html#compose" 478>-compose</a> methods, those the argument and the method both need to be set 479separately. For example... </p> 480 481<pre class="highlight"><code>convert ... -compose blend -define compose:args=50,50 -composite ... 482</code></pre> 483 484<p>The following is a table of these special 'argumented' compose methods, 485with a brief summary of what they do. For more details see the equivalent 486"composite" command option name. </p> 487 488<table class="table table-sm table-striped"> 489 <tbody> 490 <tr> 491 <th align="left" style="width: 8%">Method</th> 492 <th align="left">Description</th> 493 </tr> 494 495 <tr> 496 <td>dissolve</td> 497 <td>Arguments: 498 <var>src_percent</var>[x<var>dst_percent</var>] 499 <br/>Equivalent to "<code>composite</code>" <a href="../www/command-line-options.html#dissolve">-dissolve</a> 500 <br/>Dissolve the 'source' image by the percentage given before overlaying 501 'over' the 'destination' image. If <var>src_percent</var> is 502 greater than 100, it starts dissolving the main image so it will 503 become transparent at a value of '<code class="arg">200</code>'. If 504 both percentages are given, each image are dissolved to the 505 percentages given. 506 </td> 507 </tr> 508 509 <tr> 510 <td>blend</td> 511 <td>Arguments: 512 <var>src_percent</var>[x<var>dst_percent</var>] 513 <br/>Equivalent to "<code>composite</code>" <a 514 href="../www/command-line-options.html#blend">-blend</a> 515 <br/>Average the images together ('plus') according to the percentages 516 given and each pixels transparency. If only a single percentage value 517 is given it sets the weight of the composite or 'source' image, while 518 the background image is weighted by the exact opposite amount. That is 519 a <code>-blend 30</code> merges 30% of the 'source' image with 70% of 520 the 'destination' image. Thus it is equivalent to <code>-blend 521 30x70</code>. 522 </td> 523 </tr> 524 525 <tr> 526 <td>mathematics</td> 527 <td>Arguments: <var>A, B, C, D</var> 528 <br/>Not available in "<code>composite</code>" at this time. 529 <br/>Merge the source and destination images according to the formula 530 <br/> <code>A*Sc*Dc + B*Sc + C*Dc + D</code> 531 <br/>Can be used to generate a custom composition method that would 532 otherwise need to be implemented using the slow <a 533 href="../www/command-line-options.html#fx">-fx</a> DIY image operator. 534 </td> 535 </tr> 536 537 <tr> 538 <td>modulate</td> 539 <td>Arguments: 540 <var>brightness</var>[x<var>saturation</var>] 541 <br/>Equivalent to "<code>composite</code>" <a href="../www/command-line-options.html#watermark">-watermark</a> 542 <br/>Take a grayscale image (with alpha mask) and modify the destination 543 image's brightness according to watermark image's grayscale value and 544 the <var>brightness</var> percentage. The destinations 545 color saturation attribute is just direct modified by the <var>saturation</var> percentage, which defaults to 100 percent 546 (no color change). 547 548 </td> 549 </tr> 550 551 <tr> 552 <td>displace</td> 553 <td>Arguments: 554 <var>X-scale</var>[x<var>Y-scale</var>][!][%] 555 <br/>Equivalent to "<code>composite</code>" <a href="../www/command-line-options.html#displace">-displace</a> 556 <br/>With this option, the 'overlay' image, and optionally the 'mask' 557 image, is used as a relative displacement map, which is used to 558 displace the lookup of what part of the destination image is seen at 559 each point of the overlaid area. Much like the displacement map is a 560 'lens' that distorts the original 'background' image behind it. 561 <br/><br/> 562 The X-scale is modulated by the 'red' channel of the overlay image 563 while the Y-scale is modulated by the green channel, (the mask image 564 if given is rolled into green channel of the overlay image. This 565 separation allows you to modulate the X and Y lookup displacement 566 separately allowing you to do 2-dimensional displacements, rather 567 than 1-dimensional vectored displacements (using grayscale image). 568 <br/><br/> 569 If the overlay image contains transparency this is used as a mask 570 of the resulting image to remove 'invalid' pixels. 571 <br/><br/> 572 The '%' flag makes the displacement scale relative to the size of the 573 overlay image (100% = half width/height of image). Using '!' switches 574 percentage arguments to refer to the destination image size instead. 575 <br/><br/> 576 </td> 577 </tr> 578 579 <tr> 580 <td>distort</td> 581 <td>Arguments: 582 <var>X-scale</var>[x<var>Y-scale</var>[+<var>X-center</var>+<var>Y-center</var>]][!][%] 583 <br/>Not available in "<code>composite</code>" at this time. 584 <br/>Exactly as per 'Displace' (above), but using absolute coordinates, 585 relative to the center of the overlay (or that given). Basically 586 allows you to generate absolute distortion maps where 'black' will 587 look up the left/top edge, and 'white' looks up the bottom/right 588 edge of the destination image, according to the scale given. 589 <br/><br/> 590 The '!' flag not only switches percentage scaling, to use the 591 destination image, but also the image the center offset of the lookup. 592 This means the overlay can lookup a completely different region of the 593 destination image. 594 <br/><br/> 595 </td> 596 </tr> 597 598 <tr> 599 <td>blur</td> 600 <td>Arguments: 601 <var>Width</var>[x<var>Height</var>[+<var>Angle</var>][+<var>Angle2</var>]] 602 <br/>Equivalent to "<code>composite</code>" <a href="../www/command-line-options.html#blur-composite">-blur</a> 603 <br/>A Variable Blur Mapping Composition method, where each pixel in the 604 overlaid region is replaced with an Elliptical Weighted Average (EWA), 605 with an ellipse (typically a circle) of the given sigma size, scaled 606 according to overlay (source image) grayscale mapping. 607 <br/><br/> 608 As per 'Displace' and 'Distort', the red channel will modulate the 609 width of the ellipse, while the green channel will modulate the height 610 of the ellipse. If a single Angle value is given in the arguments, 611 then the ellipse will then be rotated by the angle specified. 612 <br/><br/> 613 Normally the blue channel of the mapping overlay image is ignored. 614 However if a second ellipse angle is given, then it is assumed that 615 the blue channel defines a variable angle for the ellipse ranging from 616 the first angle to the second angle given. This allows to generate 617 radial blurs, or a rough approximation for rotational blur. Or any mix 618 of the two. 619 <br/><br/> 620 </td> 621 </tr> 622 623 </tbody> 624</table> 625 626<p>To print a complete list of all the available compose operators, use <a 627href="../www/command-line-options.html#list">-list compose</a>.</p> 628</div> 629 </div> 630 </main><!-- /.container --> 631 <footer class="magick-footer"> 632 <p><a href="../www/security-policy.html">Security</a> • 633 <a href="../www/architecture.html">Architecture</a> • 634 <a href="../www/links.html">Related</a> • 635 <a href="../www/sitemap.html">Sitemap</a> 636 637 <a href="compose.html#"><img class="d-inline" id="wand" alt="And Now a Touch of Magick" width="16" height="16" src="../images/wand.ico"/></a> 638 639 <a href="http://pgp.mit.edu/pks/lookup?op=get&search=0x89AB63D48277377A">Public Key</a> • 640 <a href="../www/support.html">Donate</a> • 641 <a href="../www/https://imagemagick.org/script/contact.php">Contact Us</a> 642 <br/> 643 <small>© 1999-2019 ImageMagick Studio LLC</small></p> 644 </footer> 645 646 <!-- Javascript assets --> 647 <script src="assets/magick.js" crossorigin="anonymous"></script> 648 <script>window.jQuery || document.write('<script src="https://localhost/ajax/libs/jquery/3.3.1/jquery.min.js"><\/script>')</script> 649</body> 650</html> 651
