# Layer Modes

GIMP has thirty-eight layer modes, split up in seven groups: Normal, Lighten, Darken, Contrast, Inversion, HSV components, and LCh components. In addition to these layer modes, there are also the so-called legacy layer modes, which were used before GIMP 2.10. They are still available for backwards compatibility with saved images from older GIMP versions, but should normally not be used when creating new images.

Layer modes are also called blending modes. Selecting a layer mode changes the appearance of the layer or image, based on the layer or layers beneath it. Each layer in an image can have a different layer mode. The effects of these layer modes are cumulative. However, setting the mode to anything but Normal for the bottom layer of any layer group and the bottom layer of the image has no effect.

You can set the layer mode in the Mode drop-down menu at the top of the Layers Dialog. GIMP uses the layer mode to determine how to combine each pixel in the top layer with the pixel in the same location in the layer below it.

When the active tool is a painting tool, there is a drop-down list in the Tool Options which contains modes that affect the painting tools in a similar way to the layer modes. You can use all of the same modes for painting that are available for layers, and there are additional modes just for the painting tools. See .

Layer modes permit complex color changes in the image. They are often used with a new layer which acts as a kind of mask. For example, if you put a solid white layer over an image and set the layer mode of the new layer to HSV Saturation, the underlying visible layers will appear in shades of gray.

Images used for the layer mode examples

Background image (bottom layer)

Mask (top layer)

The examples below show the effects of each of the layer modes. Each example will also describe the effect of the layer mode.

Since the results of each mode vary greatly depending upon the colors on the layers, these images can only give you a general idea of how the modes work. You are encouraged to try them out yourself. You might start with two similar layers, where one is a copy of the other, but slightly modified (by being blurred, moved, rotated, scaled, color-inverted, etc.), and see what happens when you change the layer mode of the top layer.

## Normal Layer Modes

The Normal group is a bit of a misnomer. Most of the modes besides Normal are cancellation modes.

Normal

  Example for layer mode Normal

  Top layer is at 50% Opacity.

  With 100% opacity for the top layer, only the upper layer is shown when blending with Normal, except for the transparent areas.

  Normal mode is the default layer mode. The layer on top covers the layers below it. If you want to see anything below the top layer when you use this mode, the layer must have some transparent areas.

Layer Modes Normal
Dissolve

  Example for layer mode Dissolve

  Top layer is at 50% Opacity. The effect of Dissolve is visible everywhere, except in areas that are completely transparent.

  With 100% opacity of the top layer, only some edges that are semi transparent are affected by Dissolve.

  Dissolve mode dissolves the upper layer into the layer beneath it by drawing a random pattern of pixels in areas of partial transparency. This is especially visible along the edges within an image. It can be useful as a layer mode, but it is also often used as a painting mode.

Layer Modes Dissolve
Dissolve
Color Erase

  Example for layer mode Color Erase

  Top layer at 100% opacity using Color Erase mode.

  Color Erase mode erases the colors in the upper layer from the lower layer. Black pixels in the upper layer make those parts in the bottom layer transparent, while white pixels have no effect. Anything in between removes those specific colors from the bottom layer, leaving the other color components intact.

Layer Modes Color Erase
Color Erase
Erase

  Example for layer mode Erase

  Top layer at 100% opacity using Erase mode. The white parts here are transparent.

  Erase mode erases any non transparent area of the upper layer from the lower layer, making those parts in the bottom layer transparent.

Layer Modes Erase
Erase
Merge

  Example for layer mode Merge

  Top layer at 100% opacity using Merge mode.

  Merge mode lays the source layer on top of the destination, the same as normal mode. However, it assumes the source and destination are two parts of an original whole, and are therefore mutually exclusive. This is useful for blending cut and pasted content without artifacts, or for replacing erased content in general.

Layer Modes Merge
Merge
Split

  Example for layer mode Split

  Top layer at 100% opacity using Split mode. The white parts here are transparent.

  Split mode subtracts the source layer from the destination, such that recompositing the result with the source using merge mode reproduces the original content.

Layer Modes Split
Split

## Lighten Layer Modes

The Lighten group contains layer modes that make the result lighter.

Lighten only

  Example for layer mode Lighten only

  Top layer at 100% opacity using Lighten only mode.

  Lighten only mode compares each component of each pixel in the upper layer with the corresponding one in the lower layer and uses the larger value in the resulting image. Completely black layers have no effect on the final image and completely white layers result in a white image.

  The mode is commutative; the order of the two layers doesn't matter (except for transparent areas in the bottom layer).

Layer Modes Lighten only
Lighten only
Luma/Luminance lighten only

  Example for layer mode Luma/Luminance lighten only

  Top layer at 100% opacity using Luma/Luminance Lighten only mode.

  Luma/Luminance Lighten only mode compares the luminance of each pixel in the upper layer with the corresponding one in the lower layer and uses the larger value in the resulting image. Completely black layers have no effect on the final image and completely white layers result in a white image. Luma is the perceptual version of Luminance.

  The mode is commutative; the order of the two layers doesn't matter (except for transparent areas in the bottom layer).

Layer Modes Luma/Luminance lighten only
Luma/luminance lighten only
Screen

  Example for layer mode Screen

  Top layer at 100% opacity using Screen mode.

  Screen mode inverts the values of each of the visible pixels in the two layers of the image. (That is, it subtracts each of them from 1.0.) Then it multiplies them together, and inverts this value again. The resulting image is usually brighter, and sometimes washed out in appearance. The exceptions to this are a black layer, which does not change the other layer, and a white layer, which results in a white image. Darker colors in the image appear to be more transparent.

  The mode is commutative; the order of the two layers doesn't matter.

Layer Modes Screen
Screen
Dodge

  Example for layer mode Dodge

  Top layer at 100% opacity using Dodge mode.

  Dodge mode divides the pixel value of the lower layer by the inverse of the pixel value of the top layer. The resulting image is usually lighter, but some colors may be inverted.

  In photography, dodging is a technique used in a darkroom to decrease the exposure in particular areas of the image. This brings out details in the shadows. When used for this purpose, dodge may work best on Grayscale images and with a painting tool, rather than as a layer mode.

Layer Modes Dodge
Dodge
Addition

  Example for layer mode Addition

  Top layer at 100% opacity using Addition mode.

  Addition mode is very simple. The pixel values of the upper and lower layers are added to each other. The resulting image is usually lighter. The equation can result in color values greater than 1.0.

  The mode is commutative; the order of the two layers doesn't matter.

Layer Modes Addition
Addition

## Darken Layer Modes

The Darken group contains layer modes that make the result darker.

Darken only

  Example for layer mode Darken only

  Top layer at 100% opacity using Darken only mode.

  Darken only mode compares each component of each pixel in the upper layer with the corresponding one in the lower layer and uses the smaller value in the resulting image. Completely white layers have no effect on the final image and completely black layers result in a black image.

  The mode is commutative; the order of the two layers doesn't matter.

Layer Modes Darken only
Darken only
Luma/Luminance darken only

  Example for layer mode Luma/luminance darken only

  Top layer at 100% opacity using Luma/Luminance Darken only mode.

  Luma/luminance Darken only mode compares the luminance of each pixel in the upper layer with the corresponding one in the lower layer and uses the smaller value in the resulting image. Completely white layers have no effect on the final image and completely black layers result in a black image. Luma is the perceptual version of Luminance.

  The mode is commutative; the order of the two layers doesn't matter (except for transparent areas in the bottom layer).

Layer Modes Luma/Luminance darken only
Luma/luminance darken only
Multiply

  Example for layer mode Multiply

  Top layer at 100% opacity using Multiply mode.

  Multiply mode multiplies the pixel values of the upper layer with those of the layer below it. The result is usually a darker image. If either layer is white, the resulting image is the same as the other layer. If either layer is black, the resulting image is completely black.

  The mode is commutative; the order of the two layers doesn't matter (except for transparent areas in the bottom layer).

Layer Modes Multiply
Multiply
Burn

  Example for layer mode Burn

  Top layer at 100% opacity using Burn mode.

  Burn mode inverts the pixel value of the lower layer, divides that by the pixel value of the upper layer, then inverts the result. It tends to make the image darker, somewhat similar to Multiply mode.

  In photography, burning is a technique used in a darkroom to increase the exposure in particular areas of the image. This brings out details in the highlights. When used for this purpose, burn may work best on Grayscale images and with a painting tool, rather than as a layer mode.

Layer Modes Burn
Burn
Linear burn

  Example for layer mode Linear burn

  Top layer at 100% opacity using Linear Burn mode.

  Linear Burn mode adds the pixel values of the upper and lower layers, and then subtracts 1.0. It tends to make the image darker, somewhat similar to Multiply mode.

Layer Modes Linear burn
Linear burn

## Contrast Layer Modes

The Contrast group contains layer modes that enhance contrast.

Overlay

  Example for layer mode Overlay

  Top layer at 100% opacity using Overlay mode.

  Overlay mode multiplies the upper layer with two times the lower layer when the component value of the lower layer is less than 0.5. When the component value is greater than or equal to 0.5, it inverts the components of the lower and upper layer, multiplies those values, then multiplies with 2.0, and then inverts the result. It darkens the image, but not as much as with Multiply mode.

Layer Modes Overlay
Overlay
Soft light

  Example for layer mode Soft light

  Top layer at 100% opacity using Soft Light mode.

  Soft light is not related to Hard light in anything but the name, but it does tend to make the edges softer and the colors not so bright. It is similar to Overlay mode. Soft light has a more complicated formula. It uses the result of Multiply mode, then multiplies that with the inverse of the lower layer; then adds to that the multiplication of the result of Screen mode with the lower layer.

Layer Modes Soft light
Soft light
Hard light

  Example for layer mode Hard light

  Top layer at 100% opacity using Hard Light mode.

  Hard light mode is rather complicated because the equation consists of two parts, one for darker color components and one for lighter ones. If the color component of the upper layer is greater than 0.5, the inverse of the lower layer is multiplied with the inverse of: the upper layer minus 0.5 times 2.0. Then the result of this is compared with the inverse of this result and the lower value of both is used. If the color component of the upper layer is less than or equal to 0.5, the lower layer is multiplied with 2 times the upper layer. The result of that is compared with 1.0 and the lower value of that is used. You might use this mode to combine two photographs and obtain bright colors and sharp edges.

Layer Modes Hard light
Hard light
Vivid light

  Example for layer mode Vivid light

  Top layer at 100% opacity using Vivid Light mode.

  Vivid light mode, increases contrast very strongly, especially in highlights and shadows. The effect is a combination of Burn (in the shadows) and Dodge (in the highlights), apart from the doublings in the denominators. This mode also consists of two parts depending on the color component value, where 0.5 is the limit, the same as with Hard light. If the upper layer value is smaller than or equal to 0.5: divide the inverse of the lower layer by 2 times the upper layer and invert the result. If the result is less than zero, return zero. If the upper layer value is greater than 0.5: divide the lower layer by two times the inverse of the upper layer. If the result is larger than 1.0, return 1.0.

Layer Modes Vivid light
Vivid light
Pin light

  Example for layer mode Pin light

  Top layer at 100% opacity using Pin Light mode.

  Pin light mode is a combination of the Darken and Lighten modes. Mid-tone regions remain almost uninfluenced. If the component value of the upper layer is greater than 0.5: subtract 0.5 from the upper layer and multiply by 2.0. Then the result is the maxium from this value and the value of the lower layer. If the component value is less than or equal to 0.5: take the minimum value of the lower layer and two times the upper layer.

Layer Modes Pin light
Pin light
Linear light

  Example for layer mode Linear light

  Top layer at 100% opacity using Linear Light mode.

  Linear light mode increases contrast slightly less than vivid light. It resembles Burn, but with twice the impact on the foreground's tonal values. If the component value is less than or equal to 0.5: the result is the lower layer plus two times the upper layer minus 1.0. If the component value is greater than 0.5: subtract 0.5 from the upper layer and multiply by 2.0, then add the lower layer.

Layer Modes Linear light
Linear light
Hard mix

  Example for layer mode Hard mix

  Top layer at 100% opacity using Hard Mix mode.

  Hard mix mode only contains the six primary colors, black and white. The upper and lower layer components are added together. Any component which is more than or equal to 1.0 is set to 1. Anything else is set to 0.

Layer Modes Hard mix
Hard mix

## Inversion Layer Modes

The Inversion group contains layer modes that invert the colors in one way or another.

Difference

  Example for layer mode Difference

  Top layer at 100% opacity using Difference mode.

  Difference mode subtracts the pixel value of the upper layer from that of the lower layer and then takes the absolute value of the result. This mode can be used to compare two layers. If they are identical the difference is zero (black), otherwise the result shows the variance of the tonal values in each pixel. A white foreground inverts the background whereas a white background inverts the foreground.

  The mode is commutative; the order of the two layers doesn't matter.

Layer Modes Difference
Difference
Exclusion

  Example for layer mode Exclusion

  Top layer at 100% opacity using Exclusion mode.

  Exclusion mode causes inversion to the other layer for bright regions, very dark regions change nothing at all. In this way this mode resembles Difference mode. However, medium gray values greatly decrease contrast of the respective other layer, in extreme cases up to zero.

  The mode is commutative; the order of the two layers doesn't matter.

Layer Modes Exclusion
Exclusion
Subtract

  Example for layer mode Subtract

  Top layer at 100% opacity using Subtract mode.

  Subtract mode subtracts the pixel values of the upper layer from the pixel values of the lower layer. The resulting image is normally darker. You might get a lot of black or near-black in the resulting image.

Layer Modes Subtract
Subtract
Grain extract

  Example for layer mode Grain extract

  Top layer at 100% opacity using Grain Extract mode.

  Grain extract mode is supposed to extract the film grain from a layer to produce a new layer that is pure grain, but it can also be useful for giving images an embossed appearance. It subtracts the pixel value of the upper layer from that of the lower layer and adds 0.5.

Layer Modes Grain extract
Grain extract
Grain merge

  Example for layer mode Grain merge

  Top layer at 100% opacity using Grain Merge mode.

  Grain merge mode merges a grain layer (possibly one created from the Grain extract mode) into the current layer, leaving a grainy version of the original layer. It does just the opposite of Grain extract. It adds the pixel values of the upper and lower layers together and subtracts 0.5.

Layer Modes Grain merge
Grain merge
Divide

  Example for layer mode Divide

  Top layer at 100% opacity using Divide mode.

  Divide mode divides each pixel value in the lower layer by the corresponding pixel value of the upper layer (while avoiding dividing by zero). The resulting image is often lighter, and sometimes looks burned out.

Layer Modes Divide
Divide

## HSV Components Layer Modes

The HSV group contains layer modes that make use of the HSV color model.

HSV Hue

  Example for layer mode HSV Hue

  Top layer at 100% opacity using HSV Hue mode.

  HSV Hue mode uses the Hue of the upper layer and the Saturation and Value of the lower layer to form the resulting image. However, if the Saturation of the upper layer is zero, the Hue is taken from the lower layer, too.

Layer Modes HSV Hue
HSV Hue
HSV Saturation

  Example for layer mode HSV Saturation

  Top layer at 100% opacity using HSV Saturation mode.

  HSV Saturation mode uses the Saturation of the upper layer and the Hue and Value of the lower layer to form the resulting image.

Layer Modes HSV Saturation
HSV Saturation
HSL Color

  Example for layer mode HSL Color

  Top layer at 100% opacity using HSL Color mode.

  HSL Color mode uses the Hue and Saturation of the upper layer and the Lightness of the lower layer to form the resulting image.

Layer Modes HSL Color
HSL Color
HSV Value

  Example for layer mode HSV Value

  Top layer at 100% opacity using HSV Value mode.

  HSV Value mode uses the Value of the upper layer and the Saturation and Hue of the lower layer to form the resulting image. You can use this mode to reveal details in dark and light areas of an image without changing the Saturation.

Layer Modes HSV Value
HSV Value

## LCh Components Layer Modes

The LCh group contains layer modes that make use of the LCh color model. LCh stands for Lightness, Chroma, Hue. It is mathematically derived from the CIELAB reference color space. See also CIELCh.

LCh Hue

  Example for layer mode LCh Hue

  Top layer at 100% opacity using LCh Hue mode.

  LCh Hue mode corresponds to HSV Hue but is based on different mathematical formulas.

Layer Modes LCh Hue
LCh Hue
LCh Chroma

  Example for layer mode LCh Chroma

  Top layer at 100% opacity using LCh Chroma mode.

  LCh Chroma mode corresponds to HSV Saturation but is based on different mathematical formulas.

Layer Modes LCh Chroma
LCh Chroma
LCh Color

  Example for layer mode LCh Color

  Top layer at 100% opacity using LCh Color mode.

  LCh Color mode is a combination of LCh Chroma and LCh Hue, and corresponds to HSV Color, but is based on different mathematical formulas. See A tutorial on GIMP's very awesome LCH Blend Modes for information on using this layer mode.

Layer Modes LCh Color
LCh Color
LCh Lightness

  Example for layer mode LCh Lightness

  Top layer at 100% opacity using LCh Lightness mode.

  LCh Lightness mode corresponds to HSV Value, but is based on different mathematical formulas. See A tutorial on GIMP's very awesome LCH Blend Modes for information on using this layer mode.

Layer Modes LCh Lightness
LCh Lightness
Luminance

  Example for layer mode Luminance

  Top layer at 100% opacity using Luminance mode.

  Luminance mode is similar to CIE luminance, but does not alter saturation. It divides the upper layer luminance by the lower layer luminance; then uses that result to multiply with the lower layer component.

Layer Modes Luminance
Luminance

Layer Modes
Layer Modes
Layer Blending Modes
Blending Modes
Modes of layers
Color Merging layer Modes