Darkness in the context of "Tint"

Night, or nighttime, is the period of darkness when the Sun is below the horizon. Daylight illuminates one side of the Earth, leaving the other in darkness. The opposite of nighttime is daytime. Earth's rotation causes the appearance of sunrise and sunset. Moonlight, airglow, starlight, and light pollution dimly illuminate night. The duration of day, night, and twilight varies depending on the time of year and the latitude. Night on other celestial bodies is affected by their rotation and orbital periods. The planets Mercury and Venus have much longer nights than Earth. On Venus, night lasts about 58 Earth days. The Moon's rotation is tidally locked, rotating so that one of the sides of the Moon always faces Earth. Nightfall across portions of the near side of the Moon results in lunar phases visible from Earth.

Organisms respond to the changes brought by nightfall: darkness, increased humidity, and lower temperatures. Their responses include direct reactions and adjustments to circadian rhythms governed by an internal biological clock. These circadian rhythms, regulated by exposure to light and darkness, affect an organism's behavior and physiology. Animals more active at night are called nocturnal and have adaptations for low light, including different forms of night vision and the heightening of other senses. Diurnal animals are active during the day and sleep at night; mammals, birds, and some others dream while asleep. Fungi respond directly to nightfall and increase their biomass. With some exceptions, fungi do not rely on a biological clock. Plants store energy produced through photosynthesis as starch granules to consume at night. Algae engage in a similar process, and cyanobacteria transition from photosynthesis to nitrogen fixation after sunset. In arid environments like deserts, plants evolved to be more active at night, with many gathering carbon dioxide overnight for daytime photosynthesis. Night-blooming cacti rely on nocturnal pollinators such as bats and moths for reproduction. Light pollution disrupts the patterns in ecosystems and is especially harmful to night-flying insects.

The contrast of white and black (light and darkness, day and night) has a long tradition of metaphorical usage, traceable to the Ancient Near East, and explicitly in the Pythagorean Table of Opposites.In Western culture as well as in Confucianism, the contrast symbolizes the moral dichotomy of good and evil.

Albanian paganism comprises the pagan customs, beliefs, rituals, myths and legends of the Albanian people. The elements of Albanian mythology are of ancient Paleo-Balkanic origin and almost all of them are pagan. Ancient paganism persisted among Albanians, and especially within the inaccessible and deep interior – where Albanian folklore evolved over the centuries in a relatively isolated tribal culture and society – it has continued to persist, or at most it was partially transformed by the Christian, Muslim and Marxist beliefs that were either to be introduced by choice or imposed by force. The Albanian traditional customary law (Kanun) has held a sacred – although secular – longstanding, unwavering and unchallenged authority with a cross-religious effectiveness over the Albanians, which is attributed to an earlier pagan code common to all the Albanian tribes. Indeed, the Kanun contains several customary concepts that clearly have their origins in pagan beliefs, including in particular the ancestor worship, animism and totemism, which have been preserved since pre-Christian times. Albanian traditions have been orally transmitted – through memory systems that have survived intact into modern times – down the generations and are still very much alive in the mountainous regions of Albania, Kosovo, Montenegro and western North Macedonia, as well as among the Arbëreshë in Italy, the Arvanites in Greece and the Arbanasi in Croatia.

The old beliefs in sun and moon, light and darkness, sky and earth, fire and hearth, water and springs, death and rebirth, birds and serpents, mountains, stones and caves, sacrifice, and fate are some of the pagan beliefs among Albanians. The Fire (Zjarri) rituals and the Sun (Dielli) and Moon (Hëna) worship are the earliest attested cults of the Albanians. The Sun holds the primary role in Albanian pagan customs, beliefs, rituals, myths, and legends; Albanian major traditional festivities and calendar rites are based on the Sun, worshiped as the god of light, sky and weather, giver of life, health and energy, and all-seeing eye; the sunrise is honored as it is believed to give energy and health to the body. The Moon is worshiped as a goddess, with her cyclical phases regulating many aspects of Albanian life, defining agricultural and livestock activities, various crafts, and human body. The morning and evening star Venus is personified with Prende, associated with dawn, beauty, love, fertility, health, and the protection of women. The cult of the Earth (Dheu) and that of the Sky (Qielli) have a special place. The Fire – Zjarri, evidently also called with the theonym Enji – is deified in Albanian tradition as releaser of light and heat with the power to ward off darkness and evil, affect cosmic phenomena and give strength to the Sun, and as sustainer of the continuity between life and afterlife and between the generations, ensuring the survival of the lineage (fis or farë). To spit into Fire is taboo. The divine power of Fire is used for the hearth and the rituals, including calendar fires, sacrificial offerings, divination, purification, and protection from big storms and other potentially harmful events. Fire worship and rituals are associated with the cult of the Sun, the cult of the hearth (vatër) and the ancestor, and the cult of fertility in agriculture and animal husbandry. Ritual calendar fires are associated with the cosmic cycle and the rhythms of agricultural and pastoral life. Besa is a common practice in Albanian culture, consisting of an oath (be) solemnly taken by sun, by moon, by sky, by earth, by fire, by stone and thunderstone, by mountain, by water, and by snake, which are all considered sacred objects. Associated with human life, bees are highly revered by Albanians. The eagle is the animal totem of all Albanians, associated with the Sky, freedom and heroism. A widespread folk symbol is the serpent (Gjarpër, Vitore, etc.), a totem of the Albanians associated with earth, water, sun, hearth and ancestor cults, as well as destiny, good fortune and fertility. The sun, the moon, the star, the eagle (bird), the serpent, and the bee, often appear in Albanian legends and folk art.

Black is a color that results from the absence or complete absorption of visible light. It is an achromatic color, without chroma, like white and grey. It is often used symbolically or figuratively to represent darkness. Black and white have often been used to describe opposites such as good and evil, the Dark Ages versus the Age of Enlightenment, and night versus day. Since the Middle Ages, black has been the symbolic color of solemnity and authority, and for this reason it is still commonly worn by judges and magistrates.

Black was one of the first colors used by artists in Neolithic cave paintings. It was used in ancient Egypt and Greece as the color of the underworld. In the Roman Empire, it became the color of mourning, and over the centuries it was frequently associated with death, evil, witches, and magic. In the 14th century, it was worn by royalty, clergy, judges, and government officials in much of Europe. It became the color worn by English romantic poets, businessmen and statesmen in the 19th century, and a high fashion color in the 20th century. According to surveys in Europe and North America, it is the color most commonly associated with mourning, the end, secrets, magic, force, violence, fear, evil, and elegance.

In color theory, a tint is a mixture of a color with white, which increases lightness, while a shade is a mixture with black, which increases darkness. A tone is produced either by mixing a color with gray, or by both tinting and shading. Mixing a color with any neutral color (black, gray, and white) reduces the chroma, or colorfulness, while the perceived hue can be affected slightly (see Abney effect and Bezold-Brücke shift).

In the graphic arts, especially printmaking and drawing, "tone" has a different meaning, referring to areas of continuous color, produced by various means, as opposed to the linear marks made by an engraved or drawn line.

Shading refers to the depiction of depth perception in 3D models (within the field of 3D computer graphics) or illustrations (in visual art) by varying the level of darkness. Shading tries to approximate local behavior of light on the object's surface and is not to be confused with techniques of adding shadows, such as shadow mapping or shadow volumes, which fall under global behavior of light.