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Here the source color output is unchanged. The backdrop will be ignored.
In this mode, the backdrop and source color values are multiplied. The result color is always at least as dark as either of the two constituent colors. Multiplying any color with black produces black. Multiplying with white leaves the original color unchanged. Painting successive overlapping objects with a color other than black or white produces progressively darker colors.
This mode multiplies the complements of the backdrop and source color values, then complements the result. The result color is always at least as light as either of the two constituent colors. Screening any color with white produces white. Screening with black leaves the original color unchanged. The effect is similar to projecting multiple photographic slides simultaneously onto a single screen.
This mode multiplies or screens the colors, depending on the backdrop color. Source colors overlay the backdrop while preserving its highlights and shadows. The backdrop color is not replaced, but is mixed with the source color to reflect the lightness or darkness of the backdrop.
Here the darker of the backdrop and source colors is selected. The backdrop is replaced with the source color where the source is darker; otherwise it is left unchanged.
Here the lighter of the backdrop and source colors is selected. The backdrop is replaced with the source color where the source is lighter; otherwise it is left unchanged.
This mode brightens the backdrop color to reflect the source color. Painting with black produces no change.
This mode darkens the backdrop color to reflect the source color. Painting with white produces no change.
Here the color will be darkened or lightened, depending on the source color value. If the source color is lighter than 0.5, the backdrop is lightened, as if it were dodged. This is useful for adding highlights to a scene. If the source color is darker than 0.5, the backdrop is darkened, as if it were burned in. The degree of lightening or darkening is proportional to the difference between the source color and 0.5. If it is equal to 0.5, the backdrop stays unchanged. Painting with pure black or white produces a distinctly darker or lighter area, but does not result in pure black or white. The effect is similar to shining a diffused spotlight on the backdrop.
Here the color will be multiplied or screened, depending on the source color value. If the source color is lighter than 0.5, the backdrop is lightened, as if it were screened. This is useful for adding highlights to a scene. If the source color is darker than 0.5, the backdrop is darkened, as if it were multiplied. This is useful for adding shadows to a scene. The degree of lightening or darkening is proportional to the difference between the source color and 0.5. If it is equal to 0.5, the backdrop stays unchanged. Painting with pure black or white produces pure black or white. The effect is similar to shining a harsh spotlight on the backdrop.
Here the darker of the two constituent colors is subtracted from the lighter. Painting with white inverts the backdrop color. Painting with black produces no change.
This mode produces a similar effect to that of the 'Verschil' mode, but lower in contrast.
