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Browse the storeA shade is a color mixed with black. Navy is a shade of blue, maroon is a shade of red. From Caravaggio's shadows to Rothko's dark fields, learn how shades work.
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Caravaggio painted shadows so dark that for centuries people thought he worked in a dark room with a single lamp. He did not. He worked in the Roman sun, in studios with windows. But he understood that the deepest shadows are not black. They are shades: colors mixed with black, retaining the ghost of their original hue even in the darkest passages. The shadow in The Calling of Saint Matthew (c. 1599-1600) is not black. It is a shade of brown, a shade of red, a shade of the earth colors that Caravaggio used to build his dark backgrounds. The difference between black and a shade is the difference between a hole in the painting and a space in the painting.
A shade is created by adding black to a pure hue. The more black you add, the darker and deeper the color becomes. Shades decrease value (lightness) while reducing saturation (intensity). The hue itself does not change. A shade of red is still red. It is just a darker, less intense version of red. In everyday language, many shades have their own names: navy (shade of blue), maroon (shade of red), forest green (shade of green), burgundy (shade of red-violet).
This entry covers what shades are, how they work in color theory, how artists have used them throughout history, and how to mix and apply them.
In color theory, a shade is a mixture of a pure hue with black. The black lowers the value of the color, making it darker. At the same time, the black reduces the saturation, making the color less intense. A fully saturated blue at medium value becomes a deep, dark navy when black is added. The more black, the darker and less saturated the shade.
Shades are the dark counterpart to tints (hue plus white). Together, tints and shades define the value range of a hue. The lightest tint is white. The darkest shade is black. Between them lies the full range of value that a single hue can produce. This range is the foundation of chiaroscuro, the technique of using strong light-dark contrast to model form and create dramatic effect.
The Munsell Color System, developed by Albert Henry Munsell in 1905, places shades along the vertical axis of the color solid, below the pure hue. Moving downward from the pure hue toward black produces shades. Moving upward produces tints. The Munsell system provides a precise, standardized way to describe any shade in terms of its hue, value, and chroma.
One technical note: adding black to a color can cause a slight hue shift. This is called the Bezold-Brucke shift, named after the German physicist Wilhelm von Bezold and the Austrian physiologist Sigmund Exner, who documented it in the 1870s. When black is added to a hue, the perceived hue shifts. Red shifts toward rose or purple. Yellow shifts toward green. Painters correct for this by adding a small amount of the adjacent hue to bring the shade back in line with the parent color. Alternatively, some painters avoid black entirely and darken colors by adding their complementary color, which neutralizes the hue without causing the Bezold-Brucke shift.
The use of shades is as old as painting itself. Cave painters at Lascaux (c. 17,000 years ago) used charcoal to darken their red and yellow ochres, creating shades for the shaded sides of animal forms. The control of shade was the primary tool for creating the illusion of three-dimensional form on a flat surface, and it remained so until the invention of color photography.
The Renaissance systematized the use of shades. Leonardo da Vinci (1452-1519) wrote about chiaroscuro in his notebooks, describing how light falls on three-dimensional objects and how the shaded sides reveal form. Mona Lisa (c. 1503-1519) uses shades to model the face, with the shaded sides of the cheeks and nose built from darker versions of the flesh tones. The sfumato technique depends on the ability to create infinitesimally small transitions between tints and shades.
Caravaggio (1571-1610) made shade the subject of painting. His chiaroscuro technique uses extreme contrast between light and shade, with figures emerging from deep, dark backgrounds. The Calling of Saint Matthew (c. 1599-1600) uses a beam of light crossing a dark room, with the figures in light and the background in shade. The shades are not black. They are deep browns, deep reds, and deep greens, retaining enough hue to create atmosphere rather than emptiness. Caravaggio's influence on the use of shade in painting was enormous, extending through Rembrandt, La Tour, and the entire Baroque tradition.
Rembrandt van Rijn (1606-1669) used shades to create emotional depth. The Jewish Bride (c. 1665) uses deep shades of red, gold, and brown for the shaded areas of the figures and the background. The shades are built from layers of translucent glazes, creating a luminous darkness that feels warm and intimate rather than merely dark. Rembrandt's shades are not the absence of light. They are the presence of color at low value.
Georges de La Tour (1593-1652) used shades for dramatic effect in his candlelit scenes. Magdalene with the Smoking Flame (c. 1640) uses deep shades for the entire composition except for the area lit by the candle. The shades create a sense of isolation and contemplation that would be impossible in a brighter palette.
The 19th century used shades differently. James Abbott McNeill Whistler (1834-1903) used shades in his Nocturne series to paint night scenes. Nocturne in Black and Gold (1875) uses deep shades of blue, green, and brown for the night sky and river, with small flecks of warm color for the fireworks. The shades create atmosphere and distance, not drama.
The 20th century used shades for both abstraction and emotional weight. Mark Rothko (1903-1970) used shades in his late paintings, including the Black on Grey series (1969) and the Brown and Grey series (1969). These paintings use deep shades to create a sense of mortality and darkness that is a direct expression of Rothko's state of mind in his final years. Francisco Goya (1746-1828) used shades in his Black Paintings (1819-1823), including Saturn Devouring His Son (c. 1819-1823), where the deep shades of brown and black create a vision of horror that would be impossible in a lighter palette.
Leonardo's Mona Lisa (c. 1503-1519) uses shades to model the face through sfumato. The shaded sides of the cheeks, nose, and forehead are built from darker versions of the flesh tones, with infinitesimally small transitions between tints and shades. Leonardo wrote, "Where there is the greatest light, there is also the greatest shadow." His use of shade to model form became the foundation of Western painting for 400 years.
Caravaggio's The Calling of Saint Matthew (c. 1599-1600) uses extreme chiaroscuro, with figures in light against deep shades in the background. The shades are not black. They are deep browns and reds that retain enough hue to create atmosphere. Caravaggio's technique of tenebrism, where deep shades dominate the composition and light is reserved for the focal point, influenced the entire Baroque tradition.
Rembrandt's The Jewish Bride (c. 1665) uses deep shades of red, gold, and brown built from layers of translucent glazes. The shades are luminous, not flat. They create a sense of intimacy and emotional depth. Rembrandt's The Night Watch (1642) also uses shades to create dramatic lighting, with the figures emerging from a shaded background.
La Tour's Magdalene with the Smoking Flame (c. 1640) uses deep shades for the entire composition except for the area lit by a single candle. The shades create a sense of isolation and spiritual contemplation. La Tour's control of shade is so precise that the painting feels lit by a real candle, not by a painter's convention.
Goya's Black Paintings (1819-1823), including Saturn Devouring His Son, use deep shades of brown, black, and ochre to create images of horror and despair. The shades are not technical. They are emotional. Goya painted these works directly on the walls of his house, and the restricted, dark palette reflects his psychological state in his final years.
Rothko's late paintings, including the Black on Grey series (1969), use shades to create a sense of darkness and mortality. The paintings are almost entirely composed of shades, with the deepest values dominating the canvas. Rothko's shades are not about the absence of light. They are about the presence of darkness as a subject in itself.
To mix a shade, add black to a pure hue. Start with a small amount of black and increase gradually. The more black you add, the darker and less saturated the shade becomes. Test the shade on a dark surface to see how it reads against black, because shades can disappear against a black background.
Be aware of the Bezold-Brucke shift. When you add black to a hue, the perceived hue may shift. Red shifts toward purple. Yellow shifts toward green. To correct this, add a small amount of the adjacent warm hue. For red, add a touch of orange. For yellow, add a touch of red. This correction keeps the shade in line with the parent hue.
An alternative to black is to darken a color by adding its complementary color. Red can be darkened by adding green. Blue can be darkened by adding orange. This method neutralizes the hue while darkening it, producing a rich, warm shade rather than a flat, dead one. Many painters prefer this method because it avoids the Bezold-Brucke shift and produces more luminous shades. The drawback is that mixing complements can quickly produce a muddy neutral, so the addition must be controlled.
Shades have specific uses in composition. They create a sense of weight, depth, and drama. They feel serious, grounded, and often luxurious. They are useful for shadows, for backgrounds that need to recede, and for creating a low-key palette that feels dark and intense. A painting built primarily from shades feels heavy and dramatic. A painting with shades used only in shadows feels volumetric, with the shades defining the three-dimensional form of the subject.
Shades are one of three ways to modify a pure hue, alongside tints (hue plus white) and tones (hue plus gray). Color is the broader element that shades belong to. Value is the dimension that shades decrease. Saturation is the dimension that shades reduce. Hue is the name of the color that is being shaded. Complementary colors can be used to darken a hue without black. Chiaroscuro is the technique of using strong light-shade contrast. For more on color theory, read our post on color theory fundamentals, or explore our guide to reading a painting.
Choose a pure hue and create a shade scale. Start with the pure hue at full saturation. Add a small amount of black and paint a swatch. Add more black and paint another. Continue until you reach pure black. You should have a gradient from the pure hue through progressively darker shades to black. Repeat this exercise with a warm hue and a cool hue. The exercise teaches two things: how shades reduce saturation while decreasing value, and how the Bezold-Brucke shift changes the hue as black is added. Then try the same exercise using the complementary color instead of black, and compare the results. For more exercises, read our guide to color theory fundamentals and our entry on tints.
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