Designing with Color and Light for Emotional Impact

The great contemporary animated film artist Nathan Fowkes describes how, in his movie design art with DreamWorks Animation, he employs the power of different color combinations to elicit various responses from the audience.  He believes that "the visual storytelling process can be designed to powerfully affect viewers' emotions through the subtle use of color, light, shape and space".

Fowkes' preliminary illustration studies often focus virtually entirely on color and light.  He delineates only big shapes, with smaller details reduced to the point of abstraction:

Fowkes states that, for example, an image using bright yellow lighting usually looks cheerful and uplifting.  If one takes the same image, however, and begins to desaturate the yellows, a dry and desolate effect is achieved.  Even further desaturation of yellows in the same image can actually create a dank and moldy appearance.  Blue lighting in the ultramarine range tends to look peaceful, while blue lighting in the cyan range tends to look creepy, and so forth.  

In his wonderful recent book Color and Light - A Guide for the Realist Painter, fantasy and science fiction artist James Gurney also discusses the emotional impact of various color and lighting combinations.  Gurney recommends a study technique called "serial painting".  This is the creation of multiple versions of the same subject under different lighting conditions.  One of the most famous examples of a serial painting study is Monet's 1890s series of over 30 paintings depicting the Rouen Cathedral under various light and weather conditions:

Testing these Ideas
I recently decided to study the emotional effect of various light and color combinations in my own work with the following quick serial painting exercise.  I penciled in the same invented scene six times - each image just a small 2.5" x 3" in size to help me keep my design focus on big shapes only.  I then proceeded to watercolor each scene with a different combination of color and lighting to see how the emotional impact of the image would be transformed:

I attempted to focus on variations of mood as I explored each lighting and color combination.  Here are the results:

Variation 1:
Mood: Cheerful yet stately. 
Lighting: Full warm daylight from the front, upper left.  Crisp shadows cast toward the right.  Cool ambient light from the bright blue sky.  Warm reflected light from the ground plane.
Values: Dark trees, medium tone sky, light focal building with dark accents.
Colors: The full color wheel is represented - blue and yellow in the sky, orange in the pathways, green and red in the trees, violet in the shadows.  Colors are generally subdued slightly through blending and wet-on-wet mixing to avoid too many overly pure hues which could become cloying.

Variation 2:
Mood: Somber and autumnal. 
Lighting: Warm subdued orange back light from the left.  Slightly cooler ambient light to provide a subtle contrast of color temperatures across forms.  Reflected light is almost entirely absent to help give an impression of a low intensity lighting from the setting sun.
Values: Dark trees, light sky, medium value focal building with subdued details.
Colors: Colors are various saturations within the red-orange range.  Complementary contrast is introduced with a touch of ultramarine blue which was used to mute the foreground trees into the appearance of a foggy mist. 

Variation 3:
Mood: Romantic and earnest. 
Lighting: Warm direct sunlight from the front low right.  Cool violet ambient light to tone the shadows.  As in the previous example, reflected light is almost entirely absent to help give an impression of a low intensity lighting from the sun.
Values: A subdued value range with darker trees, medium toned sky, and lighter value focal building with crisp dark accents.
Colors: A muted blue-orange complementary contrast is employed.  Colors are tinted with a subtle warm rose hue to introduce a romantic note.  Saturations are kept fairly low to avoid tipping the emotional impact into the saccharine.  

Variation 4:
Mood: Enchanting. 
Lighting: Warm light from within the building.  Very muted violet ambient light from the sky.  Strong reflected light from the ground plane.  Up-lighting of trees and architecture.
Values: Light windows, darkly silhouetted building forms and trees, medium value sky.
Colors: A muted violet-yellow complementary contrast is employed.  As in the previous example, colors are tinted with a subtle warm rose hue to introduce a magical, romantic note.  

Variation 5:
Mood: Mysterious. 
Lighting: Warm light from a point source on the ground in front of the building.  Low key ultramarine ambient light from the sky.  Strong reflected light from the ground plane.  Up-lighting of trees and architecture similar to the previous example.
Values: Light architecture, dark trees, medium value sky.  Crisp shadows to indicate a strong primary light source.  The building's windows are almost identical in value to the building facade creating a "facelessness" that lends a sense of mystery.  (If the windows had instead been rendered strongly visible, this color and light combination would likely have taken on a grand and perhaps even triumphant appearance).
Colors: A fairly full spectrum of hues with blues, violets, reds, yellows, and greens, but almost all greatly muted with intermixing to create harmony. 

Variation 6:
Mood: Serene and ethereal. 
Lighting: Cool direct light from the front upper right - perhaps moonlight.  Low key ultramarine-cyan ambient light from the sky.  Very weak reflected light from the ground plane to help indicate a subdued primary light source.
Values: Light architecture, dark trees, medium value sky.  Soft shadows to indicate a subdued primary light source.  Darkened windows introduce a feeling of peaceful slumber, but also a slightly mysterious air.
Colors: The entire image is in the ultramarine-cyan blue range.  Ultramarine tends to look peaceful, while the slight cyan cast perhaps lends a bit of a mysterious feel to the scene.

Amazon: Color and Light - A Guide for the Realist Painter (by James Gurney) 

When They Must Leave Their Cars Behind, How Quickly Can People Learn to Enjoy a More Urban, Walkable Environment?

Answer:
Instantly.

Main Street USA - Walt Disney World, Orlando, FL

I visited Walt Disney World recently with my family, and was struck by the high design quality of the urban environment of Main Street USA, the park's primary gathering place. I was further struck by the fact that visitors to the park - many of whom no doubt come from highly suburban, auto-oriented environments - seemed to adapt to this urban environment seamlessly and were having a wonderful time!

Walt Disney World is designed specifically so that visitors must leave their cars behind. A massive parking lot intercepts those arriving by car. Visitors must then dramatically and memorably traverse the large Seven Seas Lagoon via ferry boat or monorail in order to reach the park itself:

Once arriving by transit at the ferry boat landing or the monorail station, the entrance to The Magic Kingdom is dramatically framed by arches under the picturesque station of the small replica train that encircles the perimeter of the park:

Once passing under the train station, one immediately enters a beautiful and well-shaped town square:

This square then leads to Main Street USA, which frames the iconic view of the focally-placed Cinderella's Castle in the distance:

Looking from Cinderella's Castle, a vista is framed of the beautiful train station back at the arrival end of Main Street USA:

This "theme park stage set" creation actually forms a strikingly effective urban spatial sequence: 

The fundamental details that are critical for walkable places are incorporated so convincingly that Allan Jacobs includes Disney's Main Street USA in his seminal book Great Streets.  (Jacobs documents the entrance to Disneyland in California, which is urbanistically virtually identical to the example in Walt Disney World in Florida):

Jacobs documents that Disney's Main Street USA:

• Is approximately 54 feet wide from building face to building face.
• Features 12 foot wide sidewalks.
• Has frequent doorways, one every 18 feet on average.
• Has an appearance of many buildings, one every 22 feet on average.
• Represents an idealized dream-memory of what made a great street, with stage set physical qualities that exist on the best streets: buildings lining the street, architectural details over which light constantly moves, transparency at ground level, pedestrian comfort, a hint of housing and habitation, a beginning and an ending.
• Is an example of how little area it takes to create a sense of urbanity.

As Walt Disney planned Disneyland and Disney World during the 1950s and 60s, he seemed to be painfully aware that the automobile, among other forces, was transforming the physical fabric of American towns and cities, often to detriment.  Main Street USA was inspired by Walt Disney's memories of his own hometown of Marceline, Missouri:

With additional stylistic influences from main streets in other regions of the United States, Main Street USA attempts to capture for posterity the character of a turn-of-the-century small American town.

Walt Disney said about his creation, "For those of us who remember the carefree time it recreates, Main Street will bring back happy memories. For younger visitors, it is an adventure in turning back the calendar to the days of their grandfather's youth." 

Thanks to Disney's Main Street USA, today over 17 million annual Walt Disney World visitors get to experience how enjoyable a more urban, walkable place designed around people (rather than just their cars) can be.  

Amazon: Great Streets (by Allan B. Jacobs)   

Kid-Friendly Urban Spaces

I’m teaching 2nd Year Architecture Studio at the University of Miami this semester.  The focus of the class is town planning to create walkable urbanism.  I and the other 2nd Year instructors recently took our students on a cross-state odyssey to visit the new beachfront resort town of Seaside, FL.  Seaside is the landmark project that, designed by Andres Duany and Elizabeth Plater-Zyberk 30 years ago, began the international revival of traditional town planning.  Seaside has continued to mature and grow more complete over the decades, and today is a wonderfully vibrant example of a highly walkable place.

Seaside is the cover image of the seminal book The New Urbanism, by Peter Katz:

I’ve been to visit Seaside a number of times in the past, but never the way I would on this trip.  I decided to add a few extra days to the trip, give my wife Krisztina a little break, and take my 20 month-old son Benji with me - turning the journey into a father son road trip!

I’ll admit that I was a bit daunted by the prospect of travelling solo with Benji for 5 days.  The drive from Miami to Seaside takes about 10 hours, traversing the entire State.  And Benji is a very energetic little boy!  I planned the trip with two days to travel in each direction, giving plenty of time to stop, stretch our legs, and to show Benji some of my favorite places in Florida along the way.

My epiphany: on this journey, I discovered that the destinations in Florida that I love for their lively urban spaces are also wonderful kid-friendly places!

Stop 1: Winter Park, FL
Our first stop was Winter Park, just north of Orlando.  Winter Park has a great main street, Park Avenue, where Benji and I stopped for lunch.  Dover, Kohl & Partners, the office I work for, helped to plan for the refurbishment of this street a number of years ago.  Park Avenue has a wide sidewalk, narrow travel lanes, on-street parking, street trees, and other details that make activities like outdoor dining work well.  These same details made Park Avenue a great location for Benji to stretch his legs!

Park Avenue also has a great collection shops along pedestrian passages leading to beautiful mid-block courtyards with fountains.  These passageways, such as Greeneda Court shown here, were a perfect place to let Benji run and explore:

In one of the courtyards, the owners of the little cafe were thoughtful enough to place a couple of toy boats in the fountain for kids!  Benji could play while I sat just steps away with a coffee - a perfect kid-friendly and adult-friendly urban space!

Just steps away on the other side of Park Avenue is a large square called Central Park.  After our lunch, I took Benji there to run around before the next leg of our trip:

Stop 2: Gainesville, FL
Our next big stop was Gainesville.  We visited the University of Florida campus and the central quadrangle was a great safe place to let Benji run free.  He especially loved playing on the gator statue:

Stop 3: Madison, FL
Our last stop before Seaside was the little town of Madison, in Florida's panhandle.  The town's square has a great gazebo, monuments and fountains that Benji loved exploring!

Seaside, FL!
At long last, after 10 hours of driving over two great days, Benji and I arrived in Seaside!

We met up with the University of Miami students in the town square near Seaside's little classical Post Office, originally the first structure built.  Seaside has a great variety of urban spaces and Benji really enjoyed exploring them all!  

A farmers market was being held in the town square - another great example of a place where a kid can run free in an environment that is interesting and stimulating for all ages:

The famous Airstream Trailer food truck roundup in Seaside's town square:

Seaside's open-air market bazaar near the beach:

Cool and shady Ruskin Square, surrounded by rowhouses and small shops:

Seaside does have a wonderful, quiet, shady children's playground that Benji enjoyed for a bit, but he was soon ready to get back to the action of the rest of the town!

A testament to Seaside's well-connected, narrow, traffic-calmed streets - I could play with Benji right in the street and not worry about speeding cars!

Benji loved climbing up into the little gazebo in the middle of the roundabout at the end of Tupelo Street.

In the evening, I bought Benji a little toy guitar at a shop on the town square, and then we strolled through the market bazaar, and down one of Seaside's well-marked public beach accesses.  The whole route was so easy to follow that I was able to walk behind Benji as he found his own way from the town square to the water's edge!

Alys Beach, FL
After Seaside, we took the University of Miami students to visit nearby Alys Beach, another new walkable beachfront resort town also designed by Elizabeth Plater-Zyberk and Andres Duany.  This next-generation project has continued to evolve the state-of-the-art in pedestrian-friendly (and therefore kid-friendly) urban spaces.

Alys Beach incorporates a fascinating blend of influences from places with great walkable urbanism optimized for hot climates including: Bermuda, St Augustine, the Greek islands, Dutch South Africa and the cities of North Africa.  The growing town features a number of exquisitely designed, narrow streets and intimate squares that are often free from motorized vehicles.

In conclusion: 
Main streets, urban courtyards, parks with fountains, academic quadrangles, farmers markets, food truck roundups, open air market bazaars, pedestrian-friendly streets and squares are all wonderful places to spend one's time, and even better when spending time with a child! 


Amazon: The New Urbanism (by Peter Katz)

The Earliest Known Portrait of a Town

According to art historian J.G. Links in his book Townscape Painting and Drawing (1972), the earliest known true townscape is this relief by a sculptor of Avezanno, in the Abruzzi region of Italy (photo: Alinari):

Links defines "townscape" as a work of art in which a street, town or city itself is the subject.

The sculpture dates from the 1st century AD, when this region was the site of several bustling Roman towns on the edge of Lake Fucine.  The town depicted in the relief exhibits a clear separation between built and unbuilt landscapes.  Several blocks of structures are arranged compactly within a high gated wall.  A villa and several other individual structures are visible amid the rugged open countryside outside the wall.

In the 19th century, Prince Alessandro Torlonia had Lake Fucine drained and converted to fertile farmlands.  During the drainage process many artifacts from the earlier Roman settlements, including this relief, were discovered.  These artifacts formed the core of the Torlonia Collection, one of the world's finest private collections of artworks from antiquity.

Amazon: Townscape Painting and Drawing (by J.G. Links)

The Rule of Building Fronts and Backs

“We shape our buildings; thereafter they shape us.” – Winston Churchill

How do we go about designing a nurturing built environment - one that makes us feel safe, interested, and connected?

One of the golden rules of urban design – one that has unfortunately been disregarded to grave effect all too often over the last half century – is the rule of building fronts and backs.  

This rule is quite simple:

Buildings have front sides and they have back sides.  A building’s front side should face the public realm; its back side should not. 

Consider that virtually every contributive urban building in the history of city-making adheres to this rule.  (Stand-alone buildings, particularly those in rural settings such as Palladio’s Villa Rotunda, are exempted – we are talking about urban fabric buildings here).  

Where this rule is violated, we usually sense that something is wrong – the environment will often feel incomplete, unengaging, uncared-for, and frequently unsafe.

Jane Jacobs describes the rule of building fronts and backs famously in The Death and Life of Great American Cities: “…there must be eyes upon the street, eyes belonging to those we might call the natural proprietors of the street.  The buildings on a street equipped to handle strangers and to insure the safety of both residents and strangers, must be oriented to the street.  They cannot turn their backs or blank sides on it and leave it blind.”

  

Interestingly, groups of buildings in urban settings follow many of the same basic rules of sociability that humans follow when in groups.  Think of a group of people in lively communication – like the group gathered around the dinner table in Norman Rockwell’s famous painting “Freedom from Want”.  The group all faces inward toward one-another.  The space between them, above the dining table, fairly vibrates with conviviality.  Imagine the upset that would occur if one of this dinner party decided to sit with their back to the table.  This would immediately communicate a rude and disturbing detachment, perhaps even disgust with the proceedings.  This closely mimics the damage done to the civility of a public space if a building is designed to not face it properly.

The arrangement of figures in Rockwell's painting above bears a tremendous similarity to the arrangement of the buildings fronting the great public space of the Piazza San Marco in Venice as depicted in the 1720 painting by Canaletto below:

So - what do we mean by a building front, and by a building back?  This was self-evident in earlier times, and it is really quite simple:

1. A building front is the building’s presentation face.  It contains the front door and it has a high degree of window area to provide permeability.  Door and window openings allow the building to communicate with the space in front of it, much like the eyes and mouth on the front of a person’s head.  Expanses of blank wall must be avoided at all costs on a building’s front, as this is as off-putting as it would be to attempt to communicate with a person with no facial features or expressions.

2. A building back contains service functions which do not belong on the presentation face, such as loading docks, dumpster enclosures, and parking lots.  Permeability is much less critical on a building’s back side.  The back of the building is also the private side, and may feature enclosed private outdoor open space.  Exposing a building’s back elements to the public realm is a bit like turning the wrong way in public while wearing a hospital gown open in the back – rear exposure of private areas can be quite awkward! 

When building fronts and backs are confused:

All too often today, designers have unfortunately become accustomed to designing structures floating randomly on their sites.  The grammar of fronts and backs often becomes so confused that no side is a true presentation face.  For example, we have all seen buildings wrecked by ground floor loading docks abutting the sidewalk.

Another common error made all too often nowadays is backing buildings up to large streets.  This unfortunate configuration is commonly seen along arterial and collector roadways on the edges of suburban housing subdivisions.  When large streets are assumed to be poor addresses and are instead faced with the backs of buildings, a self-fulfilling prophesy is initiated – backing buildings up to a street guarantees a bleak and pedestrian-repellent public space.

Designing for an optimal fronts-backs arrangement:

The rule of building fronts and backs goes hand in hand with the discipline of proper block design.  When a pattern of blocks is set up with fronts and backs in mind, buildings can be oriented properly with very little effort.  Blocks should be configured so that the fronts of lots face outwards toward the street, and the backs of lots are grouped toward the middle of the block.  When multiple blocks designed this way are combined to form a neighborhood, building fronts and backs are much easier to organize, and will add up to form convivial, well-shaped, well-fronted public spaces.

    

Amazon: The Death and Life of Great American Cities (by Jane Jacobs)