During my career in architectural illustration, I was often directed by the client to give them a “happy” rendering: a bright light, a clear sky and a warm atmosphere. When the client was willing to take a different approach, I would often suggest something more unusual to catch the eye and sell the project.
I developed the following categories of types of light through my own work. It is not a complete list and is not scientific in any way, but will perhaps be useful to other illustrators in their own work.
BEAUX ART LIGHTING
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| Munich Theatre Project by L Lange 1864 |
This is the go-to approach used for more than 200 years. Traditionally, it uses a midday sun coming over the observer’s left shoulder and casting a 45-degree shadow on any orthographic projection (plan, section or elevation) or one-point perspective. Of course, light coming over the right shoulder works just as well.
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| Rockcreek Building, Wash. DC, Ehrenkranz Eckstut Arch. |
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| Fallingwater by FL Wright 1935 |
In a two-point perspective view, the light may strike one side of the building more directly than the other side, but the shapes of the building form are always strongly presented without ambiguity.
FRONTAL LIGHTING
This is a first cousin of Beaux Art lighting, albeit visually less clear and readable. It is essentially a sun directly above and behind the viewer, like a flash bulb held above the camera. It shows off the horizontal forms of a building, but often obscures the vertical elements.
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| US Post Office, Helena, MO 1898 |
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| Florida State Univ. Life Science Bldg. EMI Arch |
Applied to a two-point perspective, the source of the light must be adjusted to help differentiate the major sides of a building. The building in Helena above has the sunlight slightly off to downplay the right façade.
DUSK LIGHTING
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| The Mysterious Stranger by NC Wyeth 1916 |
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| L Sullivan Building Detail, Pastel |
The “golden hour” near sunset is a favorite time for many people because of its dramatic atmosphere. The warm horizontal rays of the sun create an emotional magic that is hard to beat. In my opinion it is a combination of Beaux Art and Saarinen lighting.
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| The Parthenon by F Church 1871 |
What dusk gains in drama, it loses in clarity and detail. While a freestanding building will tend to catch the sideways light over its entire façade, dusk in the city can provide an opportunity to emphasize one or another part of the building. The mystery inherent in this type of light is partly a matter of being vague in delineation; and details are often lost in the emotional flood.
SAARINEN LIGHTING
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| Woman with a Parasol by C Monet 1875 |
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| Helsinki Station Sketch by E Saarinen 1910 |
Named after the Finnish architect Eliel Saarinen, this approach is problematic but wonderfully dramatic. The viewer is practically looking into the sun. The building itself is mainly in silhouette, its details (doors, windows and ornament) delineated in a limited range of values, and color very subdued.
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| Rockefeller Center by J Wenrich 1931 |
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| Algae Harvester Plant, Illus. Studio AMD 2010 |
Although an unusual approach, this has been used regularly since Saarinen made it acceptable. With this light it is best to start with a building that has an interesting silhouette, but as the Wenrich rendering above shows, the compositional possibilities can be quite interesting.
AMBIENT LIGHTING
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| Panama-Pacific Exposition by McKim Mead & White 1915 |
An overcast day gave the perfect light for the early photography of Beaux Arts buildings. The diffuse, scattered light rays softly modeled the building’s forms without extreme glare or dark shadows.
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| Casa Italia Proposal by BBW Arch |
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| Marino Pedestrian Bridge |
Today ambient light is used less because of photographic limitations, and more to emphasize the building’s design. A colorful building may present well in diffuse light, or the atmosphere of mistiness may sell the idea in context. Indeed, the most radical ambient light idea might be a foggy-day view finished in pastel.
FERRISS LIGHTING
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| Chicago Tribune Bldg. by H Ferriss 1925 |
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| Chapel in the Woods by E Fay Jones Arch. 1980 |
Hugh Ferriss was best known for his drawings of tall buildings lit by the new electric streetlights. The use of artificial lighting has the obvious advantage of flexibility. You can light up the area of the façade you want from any angle you want. During my career I used this lighting whenever I could get away with it.
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| Union Square South, NYC, oil pastel |
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| Glass Cage Night View, computer tablet |
There are several disadvantages and pitfalls in working with this type of light. Ferriss worked in charcoal, avoiding the problem of exaggerated color. He was a master craftsman, but sometimes fell into overdramatization. I myself occasionally allowed the illustration to slip into Halloween mode: ending up with a jack-o’-lantern.
SPOT LIGHTING
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| Sherry Netherland Hotel, NYC |
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| The Star by E Degas 1878 |
A variation on both Ferriss and Saarinen lighting is the spot light. An afternoon shower can often produce an opening in the clouds that lets a beam of sunlight fall onto the ground. A beam of light striking a tall building at the end of a stormy day is even more common. The artificial spot light needs no explanation.
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| laCledes Landing, St. Louis by Ehrenkrantz Eckstut Arch |
A spot light suggests a rather small lit area, such as a building or part of a building. However, it can be used quite reasonably to light up a neighborhood or a large section of a city.
CONFETTI LIGHTING
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| Yellow Umbrella Cafe, computer tablet |
Finally, I have to note a type of lighting that crops up in a more limited context but is nevertheless a powerful image that is found in both urban and rural areas. Confetti (name stolen from James Gurney’s blog) lighting is a scattering of small light sources such as Times Square at night or the ground under a canopy of tree leaves.
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| Mending the Sail by J Sorolla 1896 |
Confetti light can be found all around us. After all, the world is astonishingly diverse. In spite of this, confetti is of very limited use to architectural illustrators, and I include it out of personal fascination.
I could point out many more types of light, but this list covers the most common and the ones that I have used. Hopefully it will spark discussion and exploration in young illustrators.
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Addendum:
The idea for a taxonomy of light came from 2 pages in a book I've had for some time: The Photographer's Handbook, by John Hedgecoe. The two pages are shown below.
This is a magnificent blog. A worthy addition to the history of architectural illustration. Thank you so much, it will take days for me to go through all this. Can't wait.
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