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For the 97Command Line API it is typically set using the <a 98href="../www/command-line-options.html#compose" >-compose</a> setting option. </p> 99 100 101<p>The description of composition uses abstract terminology in order to allow 102the description to be more precise, while avoiding constant values which are 103specific to a particular build configuration. Each image pixel is represented 104by red, green, and blue levels (which are equal for a gray pixel). The 105build-dependent value <var>QuantumRange</var> is the maximum integral 106value which may be stored, per pixel, in the red, green, or blue channels of 107the image. Each image pixel may also optionally (if the image matte channel is 108enabled) have an associated level of opacity, ranging from <var>opaque</var> to 109<var>transparent</var>, which may be used to determine the influence of the pixel 110color when compositing the pixel with another image pixel. If the image matte 111channel is disabled, then all pixels in the image are treated as opaque. The 112color of an opaque pixel is fully visible while the color of a transparent 113pixel color is entirely absent (pixel color is ignored).</p> 114 115<p>By definition, raster images have a rectangular shape. All image rows are of 116equal length, as are all image columns. By treating the alpha channel as a 117visual "mask" the rectangular image may be given a "shape" by treating the 118alpha channel as a cookie-cutter for the image. This is done by setting the 119pixels within the shape to be opaque, with pixels outside the shape set as 120transparent. Pixels on the boundary of the shape may be between opaque and 121transparent in order to provide antialiasing (visually smooth edges). The 122description of the composition operators use this concept of image "shape" in 123order to make the description of the operators easier to understand. While it 124is convenient to describe the operators in terms of "shapes" they are by no 125means limited to mask-style operations since they are based on continuous 126floating-point mathematics rather than simple boolean operations.</p> 127 128<p>The following alpha blending (Duff-Porter) compose methods are available:</p> 129 130<table class="table table-sm table-hover"> 131 <tbody> 132 <tr> 133 <th align="left" style="width: 8%">Method</th> 134 <th align="left">Description</th> 135 </tr> 136 137 <tr> 138 <td>clear</td> 139 <td>Both the color and the alpha of the destination are 140 cleared. Neither the source nor the destination are used (except for 141 destinations size and other meta-data which is always preserved.</td> 142 </tr> 143 144 <tr> 145 <td>src</td> 146 <td>The source is copied to the destination. The destination 147 is not used as input, though it is cleared.</td> 148 </tr> 149 150 <tr> 151 <td>dst</td> 152 <td>The destination is left untouched. The source image is 153 completely ignored.</td> 154 </tr> 155 156 <tr> 157 <td>src-over</td> 158 <td>The source is composited over the destination. this is 159 the default alpha blending compose method, when neither the compose 160 setting is set, nor is set in the image meta-data.</td> 161 </tr> 162 163 <tr> 164 <td>dst-over</td> 165 <td>The destination is composited over the source and the 166 result replaces the destination.</td> 167 </tr> 168 169 <tr> 170 <td>src-in</td> 171 <td>The part of the source lying inside of the destination 172 replaces the destination.</td> 173 </tr> 174 175 <tr> 176 <td>dst-in</td> 177 <td>The part of the destination lying inside of the source 178 replaces the destination. Areas not overlaid are cleared.</td> 179 </tr> 180 181 <tr> 182 <td>src-out</td> 183 <td>The part of the source lying outside of the destination 184 replaces the destination.</td> 185 </tr> 186 187 <tr> 188 <td>dst-out</td> 189 <td>The part of the destination lying outside of the source 190 replaces the destination.</td> 191 </tr> 192 193 <tr> 194 <td>src-atop</td> 195 <td>The part of the source lying inside of the destination is 196 composited onto the destination.</td> 197 </tr> 198 199 <tr> 200 <td>dst-atop</td> 201 <td>The part of the destination lying inside of the source is 202 composited over the source and replaces the destination. Areas not 203 overlaid are cleared. </td> 204 </tr> 205 206 <tr> 207 <td>xor</td> 208 <td>The part of the source that lies outside of the 209 destination is combined with the part of the destination that lies 210 outside of the source. Source or Destination, but not both. </td> 211 </tr> 212 213 </tbody> 214</table> 215 216<p>Any of the 'Src-*' methods can also be specified without the 'Src-' part. 217For example the default compose method can be specified as just 'Over'.</p> 218 219<p>Many of these compose methods will clear the destination image which was 220not overlaid by the source image. This is to be expected as part of that 221specific composition methods defintion. You can disable this by setting the 222special <a href="../www/command-line-options.html#define" 223>-define</a> 'compose:outside-overlay' to a value of 'false' will turn off 224this behavior. </p> 225 226<p>On top of the above 12 Duff-Porter Alpha Composition methods, one special 227related method '<code>Copy</code>' has been provided. This is equivalent to 228using the '<code>Src</code>' with the special <a href="../www/command-line-options.html#define" 229>-define</a> option '<code>compose:outside-overlay</code>' set to 230'<code>false</code>', so as to only modify the overlaid area, without clearing 231the rest of the image outside the overlaid area. </p> 232 233<p>The following mathematical composition methods are also available. </p> 234 235<table class="table table-sm table-hover"> 236 <tbody> 237 <tr> 238 <th align="left" style="width: 8%">Method</th> 239 <th align="left">Description</th> 240 </tr> 241 242 <tr> 243 <td>multiply</td> 244 <td>The source is multiplied by the destination and replaces 245 the destination. The resultant color is always at least as dark as 246 either of the two constituent colors. Multiplying any color with black 247 produces black. Multiplying any color with white leaves the original 248 color unchanged.</td> 249 </tr> 250 251 <tr> 252 <td>screen</td> 253 <td>The source and destination are complemented and then 254 multiplied and then replace the destination. The resultant color is 255 always at least as light as either of the two constituent colors. 256 Screening any color with white produces white. Screening any color 257 with black leaves the original color unchanged.</td> 258 </tr> 259 260 <tr> 261 <td>plus</td> 262 <td>The source is added to the destination and replaces the 263 destination. This operator is useful for averaging or a controlled 264 merger of two images, rather than a direct overlay.</td> 265 </tr> 266 267 <tr> 268 <td>add</td> 269 <td>As per 'plus' but transparency data is treated as matte 270 values. As such any transparent areas in either image remain 271 transparent. </td> 272 </tr> 273 274 <tr> 275 <td>minus</td> 276 <td>Subtract the colors in the source image from the 277 destination image. When transparency is involved, opaque areas is 278 subtracted from any destination opaque areas. </td> 279 </tr> 280 281 <tr> 282 <td>subtract</td> 283 <td>Subtract the colors in the source image from the 284 destination image. When transparency is involved transparent areas are 285 subtracted, so only the opaque areas in the source remain opaque in 286 the destination image. </td> 287 </tr> 288 289 <tr> 290 <td>difference</td> 291 <td>Subtracts the darker of the two constituent colors from 292 the lighter. Painting with white inverts the destination color. 293 Painting with black produces no change.</td> 294 </tr> 295 296 <tr> 297 <td>exclusion</td> 298 <td>Produces an effect similar to that of 'difference', but 299 appears as lower contrast. Painting with white inverts the 300 destination color. Painting with black produces no change.</td> 301 </tr> 302 303 <tr> 304 <td>darken</td> 305 <td>Selects the darker of the destination and source colors. 306 The destination is replaced with the source when the source is darker, 307 otherwise it is left unchanged.</td> 308 </tr> 309 310 <tr> 311 <td>lighten</td> 312 <td>Selects the lighter of the destination and source colors. 313 The destination is replaced with the source when the source is 314 lighter, otherwise it is left unchanged. </td> 315 </tr> 316 317 <tr> 318 <td>negate</td> 319 <td>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. </td> 320 </tr> 321 322 <tr> 323 <td>reflect</td> 324 <td>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. </td> 325 </tr> 326 327 <tr> 328 <td>freeze</td> 329 <td>Another variation of reflect mode (base and blend color inverted, the result inverted again). </td> 330 </tr> 331 332 <tr> 333 <td>stamp</td> 334 <td>This mode somehow is similar to average mode. It is helpful when applying relief or bump textures to images. </td> 335 </tr> 336 337 <tr> 338 <td>interpolate</td> 339 <td>This mode somehow combines multiply and screen mode (looks very similar for very dark or bright colors). </td> 340 </tr> 341</table> 342 343<p>Typically these use the default 'Over' alpha blending when transparencies 344are also involved, except for 'Plus' which uses a 'plus' alpha blending. This 345means the alpha channel of both images will only be used to ensure that any 346visible input remains visible even in parts not overlaid. It also means that 347any values are weighted by the alpha channel of the input and output images. 348This 'Over' alpha blending is also applied to the lighting composition methods 349below. </p> 350 351<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 352composition effects, becoming involved. </p> 353 354<p>The following lighting composition methods are also available. </p> 355 356<table class="table table-sm table-hover"> 357 <tbody> 358 <tr> 359 <th align="left" style="width: 8%">Method</th> 360 <th align="left">Description</th> 361 </tr> 362 363 <tr> 364 <td>linear-dodge</td> 365 <td>This is equivalent to 'Plus' in that the color channels 366 are simply added, however it does not 'Plus' the alpha channel, but 367 uses the normal 'Over' alpha blending, which transparencies are 368 involved. Produces a sort of additive multiply-like result. </td> 369 </tr> 370 371 <tr> 372 <td>linear-burn</td> 373 <td>As 'Linear-Dodge', but also subtract one from the result. 374 Sort of a additive 'Screen' of the images. </td> 375 </tr> 376 377 <tr> 378 <td>color-dodge</td> 379 <td>Brightens the destination color to reflect the source 380 color. Painting with black produces no change.</td> 381 </tr> 382 383 <tr> 384 <td>color-burn</td> 385 <td>Darkens the destination color to reflect the source 386 color. Painting with white produces no change. </td> 387 </tr> 388 389 <tr> 390 <td>overlay</td> 391 <td>Multiplies or screens the colors, dependent on the 392 destination color. Source colors overlay the destination whilst 393 preserving its highlights and shadows. The destination color is not 394 replaced, but is mixed with the source color to reflect the lightness 395 or darkness of the destination.</td> 396 </tr> 397 398 <tr> 399 <td>hard-light</td> 400 <td>Multiplies or screens the colors, dependent on the source 401 color value. If the source color is lighter than 0.5, the destination 402 is lightened as if it were screened. If the source color is darker 403 than 0.5, the destination is darkened, as if it were multiplied. The 404 degree of lightening or darkening is proportional to the difference 405 between the source color and 0.5. If it is equal to 0.5 the 406 destination is unchanged. Painting with pure black or white produces 407 black or white.</td> 408 </tr> 409 410 411 <tr> 412 <td>linear-light</td> 413 <td>Like 'Hard-Light' but using linear-dodge and linear-burn 414 instead. Increases contrast slightly with an impact on the 415 foreground's tonal values.</td> 416 </tr> 417 418 <tr> 419 <td>soft-burn</td> 420 <td>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. </td> 421 </tr> 422 423 <tr> 424 <td>soft-dodge</td> 425 <td> 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. </td> 426 </tr> 427 428 <tr> 429 <td>soft-light</td> 430 <td>Darkens or lightens the colors, dependent on the source 431 color value. If the source color is lighter than 0.5, the destination 432 is lightened. If the source color is darker than 0.5, the destination 433 is darkened, as if it were burned in. The degree of darkening or 434 lightening is proportional to the difference between the source color 435 and 0.5. If it is equal to 0.5, the destination is unchanged. Painting 436 with pure black or white produces a distinctly darker or lighter area, 437 but does not result in pure black or white. </td> 438 </tr> 439 440 <tr> 441 <td>pegtop-light</td> 442 <td>Almost equivalent to 'Soft-Light', but using a 443 continuous mathematical formula rather than two conditionally 444 selected formulae. </td> 445 </tr> 446 447 <tr> 448 <td>vivid-light</td> 449 <td>A modified 'Linear-Light' designed to preserve very stong 450 primary and secondary colors in the image. </td> 451 </tr> 452 453 <tr> 454 <td>pin-light</td> 455 <td>Similar to 'Hard-Light', but using sharp linear shadings, 456 to simulate the effects of a strong 'pinhole' light source. </td> 457 </tr> 458 459 </tbody> 460</table> 461 462<p>Also included are these special purpose compose methods:</p> 463 464<table class="table table-sm table-hover"> 465 <tbody> 466 <tr> 467 <th align="left" style="width: 8%">Method</th> 468 <th align="left">Description</th> 469 </tr> 470 471 <tr> 472 <td>copy</td> 473 <td>This is equivalent to the Duff-Porter composition method 474 '<code>Src,</code>' but without clearing the parts of the destination 475 image that is not overlaid. </td> 476 </tr> 477 478 <tr> 479 <td>copy-*</td> 480 <td>Copy the specified channel (Red, Green, Blue, Cyan, 481 Magenta, Yellow, Black, or Opacity) in the source image to the 482 same channel in the destination image. If the channel specified 483 does not exist in the source image, (which can only happen for methods, 484 '<code>copy-opacity</code>' or '<code>copy-black</code>') then it is 485 assumed that the source image is a special grayscale channel image 486 of the values that is to be copied. </td> 487 </tr> 488 489 <tr> 490 <td>change-mask</td> 491 <td>Replace any destination pixel that is the similar to the 492 source images pixel (as defined by the current <a 493 href="../www/command-line-options.html#fuzz">-fuzz</a> factor), with transparency. 494 </td> 495 </tr> 496 497 <tr> 498 <td>stereo</td> 499 <td>create a stereo anaglyph</td> 500 </tr> 501 </tbody> 502</table> 503 504<p>On top of these composed methods are a few special ones that not only require 505the two images that are being merged or overlaid, but have some extra numerical 506arguments, which are tabled below. </p> 507 508<p>In the "<code>composite</code>" command these composition methods are 509selected using special options with the arguments needed. They are usually, 510but not always, the same name as the composite 'method' they use, and replaces 511the normal use of the <a href="../www/command-line-options.html#compose" >-compose</a> 512setting in the "<code>composite</code>" command. For example... </p> 513 514<pre class="highlight"><code>composite ... -blend 50x50 ... 515</code></pre> 516 517<p>The "<code>magick</code>" command can accept these extra arguments to its <a href="../www/command-line-options.html#composite" 518>-composite</a> operator, using the special <a href="../www/command-line-options.html#define">-define</a> 519attribute of '<code class="arg">compose:args</code>'. This means you can now 520make use of these special augmented <a href="../www/command-line-options.html#compose" 521>-compose</a> methods, those the argument and the method both need to be set 522separately. For example... </p> 523 524<pre class="highlight"><code>magick ... -compose blend -define compose:args=50,50 -composite ... 525</code></pre> 526 527<p>The following is a table of these special 'argumented' compose methods, 528with a brief summary of what they do. For more details see the equivalent 529"composite" command option name. </p> 530 531<table class="table table-sm table-hover"> 532 <tbody> 533 <tr> 534 <th align="left" style="width: 8%">Method</th> 535 <th align="left">Description</th> 536 </tr> 537 538 <tr> 539 <td>dissolve</td> 540 <td>Arguments: 541 <var>src_percent</var>[x<var>dst_percent</var>] 542 <br/>Equivalent to "<code>composite</code>" <a href="../www/command-line-options.html#dissolve">-dissolve</a> 543 <br/>Dissolve the 'source' image by the percentage given before overlaying 544 'over' the 'destination' image. If <var>src_percent</var> is 545 greater than 100, it starts dissolving the main image so it will 546 become transparent at a value of '<code class="arg">200</code>'. If 547 both percentages are given, each image are dissolved to the 548 percentages given. 549 </td> 550 </tr> 551 552 <tr> 553 <td>blend</td> 554 <td>Arguments: 555 <var>src_percent</var>[x<var>dst_percent</var>] 556 <br/>Equivalent to "<code>composite</code>" <a 557 href="../www/command-line-options.html#blend">-blend</a> 558 <br/>Average the images together ('plus') according to the percentages 559 given and each pixels transparency. If only a single percentage value 560 is given it sets the weight of the composite or 'source' image, while 561 the background image is weighted by the exact opposite amount. That is 562 a <code>-blend 30</code> merges 30% of the 'source' image with 70% of 563 the 'destination' image. Thus it is equivalent to <code>-blend 564 30x70</code>. 565 </td> 566 </tr> 567 568 <tr> 569 <td>mathematics</td> 570 <td>Arguments: <var>A, B, C, D</var> 571 <br/>Not available in "<code>composite</code>" at this time. 572 <br/>Merge the source and destination images according to the formula 573 <br/> <code>A*Sc*Dc + B*Sc + C*Dc + D</code> 574 <br/>Can be used to generate a custom composition method that would 575 otherwise need to be implemented using the slow <a 576 href="../www/command-line-options.html#fx">-fx</a> DIY image operator. 577 </td> 578 </tr> 579 580 <tr> 581 <td>modulate</td> 582 <td>Arguments: 583 <var>brightness</var>[x<var>saturation</var>] 584 <br/>Equivalent to "<code>composite</code>" <a href="../www/command-line-options.html#watermark">-watermark</a> 585 <br/>Take a grayscale image (with alpha mask) and modify the destination 586 image's brightness according to watermark image's grayscale value and 587 the <var>brightness</var> percentage. The destinations 588 color saturation attribute is just direct modified by the <var>saturation</var> percentage, which defaults to 100 percent 589 (no color change). 590 591 </td> 592 </tr> 593 594 <tr> 595 <td>displace</td> 596 <td>Arguments: 597 <var>X-scale</var>[x<var>Y-scale</var>][!][%] 598 <br/>Equivalent to "<code>composite</code>" <a href="../www/command-line-options.html#displace">-displace</a> 599 <br/>With this option, the 'overlay' image, and optionally the 'mask' 600 image, is used as a relative displacement map, which is used to 601 displace the lookup of what part of the destination image is seen at 602 each point of the overlaid area. Much like the displacement map is a 603 'lens' that distorts the original 'background' image behind it. 604 <br/><br/> 605 The X-scale is modulated by the 'red' channel of the overlay image 606 while the Y-scale is modulated by the green channel, (the mask image 607 if given is rolled into green channel of the overlay image. This 608 separation allows you to modulate the X and Y lookup displacement 609 separately allowing you to do 2-dimensional displacements, rather 610 than 1-dimensional vectored displacements (using grayscale image). 611 <br/><br/> 612 If the overlay image contains transparency this is used as a mask 613 of the resulting image to remove 'invalid' pixels. 614 <br/><br/> 615 The '%' flag makes the displacement scale relative to the size of the 616 overlay image (100% = half width/height of image). Using '!' switches 617 percentage arguments to refer to the destination image size instead. 618 <br/><br/> 619 </td> 620 </tr> 621 622 <tr> 623 <td>distort</td> 624 <td>Arguments: 625 <var>X-scale</var>[x<var>Y-scale</var>[+<var>X-center</var>+<var>Y-center</var>]][!][%] 626 <br/>Not available in "<code>composite</code>" at this time. 627 <br/>Exactly as per 'Displace' (above), but using absolute coordinates, 628 relative to the center of the overlay (or that given). Basically 629 allows you to generate absolute distortion maps where 'black' will 630 look up the left/top edge, and 'white' looks up the bottom/right 631 edge of the destination image, according to the scale given. 632 <br/><br/> 633 The '!' flag not only switches percentage scaling, to use the 634 destination image, but also the image the center offset of the lookup. 635 This means the overlay can lookup a completely different region of the 636 destination image. 637 <br/><br/> 638 </td> 639 </tr> 640 641 <tr> 642 <td>blur</td> 643 <td>Arguments: 644 <var>Width</var>[x<var>Height</var>[+<var>Angle</var>][+<var>Angle2</var>]] 645 <br/>Equivalent to "<code>composite</code>" <a href="../www/command-line-options.html#blur-composite">-blur</a> 646 <br/>A Variable Blur Mapping Composition method, where each pixel in the 647 overlaid region is replaced with an Elliptical Weighted Average (EWA), 648 with an ellipse (typically a circle) of the given sigma size, scaled 649 according to overlay (source image) grayscale mapping. 650 <br/><br/> 651 As per 'Displace' and 'Distort', the red channel will modulate the 652 width of the ellipse, while the green channel will modulate the height 653 of the ellipse. If a single Angle value is given in the arguments, 654 then the ellipse will then be rotated by the angle specified. 655 <br/><br/> 656 Normally the blue channel of the mapping overlay image is ignored. 657 However if a second ellipse angle is given, then it is assumed that 658 the blue channel defines a variable angle for the ellipse ranging from 659 the first angle to the second angle given. This allows to generate 660 radial blurs, or a rough approximation for rotational blur. Or any mix 661 of the two. 662 <br/><br/> 663 </td> 664 </tr> 665 666 </tbody> 667</table> 668 669<p>To print a complete list of all the available compose operators, use <a 670href="../www/command-line-options.html#list">-list compose</a>.</p> 671</div> 672 </div> 673 </main><!-- /.container --> 674 <footer class="magick-footer"> 675 <div class="container-fluid"> 676 <a href="../www/security-policy.html">Security</a> • 677 <a href="../www/news.html">News</a> 678 679 <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> 680 681 <a href="../www/links.html">Related</a> • 682 <a href="../www/sitemap.html">Sitemap</a> 683 <br/> 684 <a href="../www/support.html">Sponsor</a> • 685 <a href="../www/cite.html">Cite</a> • 686 <a href="http://pgp.mit.edu/pks/lookup?op=get&search=0x89AB63D48277377A">Public Key</a> • 687 <a href="../www/https://imagemagick.org/script/contact.php">Contact Us</a> 688 <br/> 689 <a href="https://github.com/imagemagick/imagemagick" target="_blank" rel="noopener" aria-label="GitHub"><svg xmlns="http://www.w3.org/2000/svg" class="navbar-nav-svg" viewBox="0 0 512 499.36" width="2%" height="2%" role="img" focusable="false"><title>GitHub</title><path fill="currentColor" fill-rule="evenodd" d="M256 0C114.64 0 0 114.61 0 256c0 113.09 73.34 209 175.08 242.9 12.8 2.35 17.47-5.56 17.47-12.34 0-6.08-.22-22.18-.35-43.54-71.2 15.49-86.2-34.34-86.2-34.34-11.64-29.57-28.42-37.45-28.42-37.45-23.27-15.84 1.73-15.55 1.73-15.55 25.69 1.81 39.21 26.38 39.21 26.38 22.84 39.12 59.92 27.82 74.5 21.27 2.33-16.54 8.94-27.82 16.25-34.22-56.84-6.43-116.6-28.43-116.6-126.49 0-27.95 10-50.8 26.35-68.69-2.63-6.48-11.42-32.5 2.51-67.75 0 0 21.49-6.88 70.4 26.24a242.65 242.65 0 0 1 128.18 0c48.87-33.13 70.33-26.24 70.33-26.24 14 35.25 5.18 61.27 2.55 67.75 16.41 17.9 26.31 40.75 26.31 68.69 0 98.35-59.85 120-116.88 126.32 9.19 7.9 17.38 23.53 17.38 47.41 0 34.22-.31 61.83-.31 70.23 0 6.85 4.61 14.81 17.6 12.31C438.72 464.97 512 369.08 512 256.02 512 114.62 397.37 0 256 0z"/></svg></a> • 690 <a href="https://twitter.com/imagemagick" target="_blank" rel="noopener" aria-label="Twitter"><svg xmlns="http://www.w3.org/2000/svg" class="navbar-nav-svg" viewBox="0 0 512 416.32" width="2%" height="2%" role="img" focusable="false"><title>Twitter</title><path fill="currentColor" d="M160.83 416.32c193.2 0 298.92-160.22 298.92-298.92 0-4.51 0-9-.2-13.52A214 214 0 0 0 512 49.38a212.93 212.93 0 0 1-60.44 16.6 105.7 105.7 0 0 0 46.3-58.19 209 209 0 0 1-66.79 25.37 105.09 105.09 0 0 0-181.73 71.91 116.12 116.12 0 0 0 2.66 24c-87.28-4.3-164.73-46.3-216.56-109.82A105.48 105.48 0 0 0 68 159.6a106.27 106.27 0 0 1-47.53-13.11v1.43a105.28 105.28 0 0 0 84.21 103.06 105.67 105.67 0 0 1-47.33 1.84 105.06 105.06 0 0 0 98.14 72.94A210.72 210.72 0 0 1 25 370.84a202.17 202.17 0 0 1-25-1.43 298.85 298.85 0 0 0 160.83 46.92"/></svg></a> 691 <br/> 692 <small>© 1999-2021 ImageMagick Studio LLC</small> 693 </div> 694 </footer> 695 696 <!-- Javascript assets --> 697 <script src="assets/magick.js" ></script> 698 </body> 699</html> 700<!-- Magick Cache 13th February 2021 14:08 -->
