Charcoal, black and deep green exteriors are everywhere in Melbourne, and they look superb. They also behave differently from a mid or light colour in ways that affect how long the job lasts and, in a few cases, whether you are allowed to do it at all.
None of this is a reason not to go dark. It is a reason to go dark deliberately.
Dark surfaces get far hotter than you think
A white or light wall reflects most of the solar radiation hitting it. A near-black one absorbs most of it. On a clear Melbourne summer afternoon the difference in surface temperature between a light and a very dark wall is large enough to be uncomfortable to touch.
That heat has consequences beyond comfort:
- Everything expands and contracts more. The coating, the cladding and the fixings all move further each day, and that cycling is what opens joints and cracks over time
- Timber moves most of all. On weatherboard, a dark colour works the boards harder and the end joints and butt joints are where it shows
- Render under a dark colour puts more stress through any existing hairline cracking. Our guide to render cracks covers when that matters
- Metal is the most extreme case, which is why Colorbond and galvanised steel have their own rules
- Heat transfers inside. A dark west-facing wall makes the rooms behind it warmer in the afternoon, which shows up on your cooling
Some substrates have a minimum lightness, and it is not optional
This is the part that genuinely catches people, including tradespeople.
Many lightweight cladding systems, foam and EPS-based products and some proprietary render systems specify a minimum light reflectance value for the finish coat, commonly somewhere around 40. The reason is that the substrate itself can be damaged by the heat a very dark coating generates, not just the paint.
If your house has a lightweight or foam-backed cladding system, the manufacturer’s specification decides what colours are permitted, and going darker than it allows can void the system warranty. Check it before you choose a colour, not after. Solid brick, cement render over masonry and traditional timber weatherboard do not carry the same restriction.
Dark colours fade more visibly
Two things combine. Deep colours carry a much heavier pigment load, and many of the organic pigments used to achieve rich darks break down under ultraviolet light faster than the inorganic pigments in whites and earth tones.
In practice:
- Deep reds and strong blues fade fastest and most obviously
- Blacks and charcoals tend to go chalky and grey rather than changing hue
- North and west elevations fade first, so a house can end up two different colours
- Sheltered returns and south walls stay close to the original, which makes the difference more noticeable, not less
This is why a dark exterior repainted in sections never quite matches. On a dark house, repaint whole elevations rather than patching.
Heat-reflective dark colours are worth asking about
The main paint manufacturers now offer dark colours formulated to reflect infrared while still looking dark to the eye. They work by reflecting the part of the spectrum that carries most of the heat rather than the part you see.
They are not magic and they are not free, but on a large dark exterior taking afternoon sun they meaningfully reduce surface temperature, which reduces the thermal movement and extends the life of the coating. If you are set on a dark colour for a west-facing wall, this is the conversation to have before the product is ordered.
Expect a shorter maintenance cycle
Plan for it rather than being surprised by it.
A light or mid-tone exterior in a sheltered Melbourne position can go eight to ten years. A very dark exterior on an exposed northern or western elevation will usually want attention sooner, and near the bay sooner again, where salt and sun work together. Our notes on why exterior paint peels cover the other failure modes.
That is not a reason to avoid dark. It is a reason to quote it honestly and to budget for recoating the exposed faces on a shorter cycle than the sheltered ones.
Where dark works best
If you want the look without the full cost of it:
- Front door, window frames, gutters and downpipes in a deep colour against a lighter body. Most of the visual impact, a fraction of the exposed area
- Dark on the south and east elevations, lighter on north and west, which many architects do deliberately
- Dark on smaller elements such as a garage door or a fence rather than the whole house
- Full dark where the house is genuinely shaded, by trees or by a neighbouring building
And if the house sits in a heritage overlay, a very dark scheme may simply not be accepted on street-facing elevations. Check before you commit, and see our heritage colour schemes guide.
One practical warning about samples
Dark colours look very different at scale. A charcoal that reads as a soft grey on an A4 sample will read as near-black across a two-storey facade, because the eye judges colour relative to what surrounds it.
Paint a large sample, at least a square metre, on the actual wall, and look at it in full afternoon sun as well as in shade. The same discipline we recommend for choosing a white applies double at the dark end.
What we do
- Check cladding and render system specifications for minimum LRV before quoting a dark colour
- Specify heat-reflective formulations where the elevation warrants it
- Quote exposed and sheltered elevations separately, with realistic recoat intervals for each
- Large on-wall samples before anything is ordered
- Honest advice on where dark will look excellent and where it will cost you
We are based in Richmond and work across Melbourne, the bayside suburbs and coastal Victoria.
Call 0404 330 332. If you know what cladding your house has, mention it, because on some systems the colour decision is made for you.
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