A large house at dusk with five gables, every roofline run lit the same cool blue, the lawn and the trees dark in front of it.

Permanent lighting colors Color does not have to mean loud.

Most nights your roofline wears a warm white that makes the whole house look finished. On the nights you want more, the same lights hold millions of colors, and you change them from your phone. Nothing new goes up and nobody gets on a ladder.

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Most nights

Most evenings it is warm white, and the house looks finished

Warm white along the eaves and gables reads as part of the architecture, not as something hung on it. It is the setting the installers hand your house over on, running on a schedule, so it comes on at dusk every night without you thinking about it.

Color is there for the nights you want it. If you never touch it, you still bought the right lights, and the FAQ says why under do I have to use the colors.

A long single story house at night with warm white light along every eave, gable and garage line, the windows lit warm and the drive running out of frame. — By day the channel behind those lines sits tucked up under the trim, out of sight from the street.

Two whites

Warm or cool, and you can change your mind tonight

Warm white behaves like lamplight. It flatters brick, stone and anything with a yellow in it, and it makes the front of a house feel lived in. Cool white behaves like moonlight. It holds a crisp edge against white trim, gray stone and black window frames, and reads more like architectural lighting than decoration.

Neither costs more and neither is the upgrade. Pick the one that suits the house you have, and if you change your mind later it is a tap in the app, not a service call. The FAQ entry on warm white or cool white goes further into how to choose. For our plain explainer on color temperature and RGBW, see Permanent LED Lighting Explained.

A single story house at dusk with warm white light along the fascia and all three gables, the garage under the left one, the stone and siding reading yellow under it.

The same house from the same spot with the same runs in cool white, the stone and siding reading gray and blue under it.

Pick a white

Warm whiteCool white

Both whites come out of the same lights, so choosing one now never locks you out of the other.

From across the street

White draws your house in clean lines

Up close you can pick out single lights. From across the street you see one continuous line, and white keeps that line reading as part of the building instead of as something strung along it.

A house with five gables at blue hour, every roof rake and eave traced in white against a deep blue sky. — The house at the top of this page, from the same spot, with the blue swapped for white. Same lights, a different evening's choice.

A low roofed stucco and stone house photographed head on down the entry walk at dusk, cool white light along every deep eave and the entry canopy, red flowers in the beds either side. — No gables to follow? The line runs along your eaves and entry canopy instead, and a modern front turns into a stack of lit edges.

A steep roof and a low one want different runs. That gets worked out on your actual house at the free estimate, not guessed at from a page.

One house, six states

This is what changing a color actually looks like

Same roofline, same lights, six settings. Press any of them, or sit back and let it play through once. Every one of these is a few taps away on your phone on any evening you like.

A long single story house at dusk, deep red on the garage end, the tall center section and the far wing, with a soft cream run on the wing between them.

Green at the garage end, yellow on the wing beside it, violet on the tall center section and orange on the far wing, the same house with each wall lit to match.

Red and white points alternating along every roofline, with pink light washing down the stucco, the stone and the shrubs.

Red, white and blue points alternating along every run, the near wing washed violet and magenta and the entry stone reading magenta rather than its own color.

Blue on the garage wing, red across the tall center section and the far wing, magenta on the entry stone between them.

Magenta along the near roofline, pink across the center and the far wing, the whole front reading one color family.

Choose a state

Six looks, one set of lights, and not one of them needed anything added to the house.

The sky shifts a little from state to state because these are six photographs across one dusk, not one picture tinted six ways. The camera did not move between them, and neither did anything on the roof.

Want to see your kind of scheme before anybody comes out? You can build one yourself on the configurator.

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The whole range

It does not have to pick one

The same house can run every color at once. It is not an everyday look and it is not meant to be, but it is the clearest picture of what you are buying: every color on this page, and the millions between them, out of one line of lights.

A long single story house at blue hour with its roofline running a continuous spectrum, green at the garage end through yellow and amber at the entry to red at the far wing, and blue along the upper roof. — Not a Tuesday setting. Proof that the lights you buy for warm white can do all of this as well.

Light by light

The color can change along one run

Every light on the line is set on its own, so one run can fade across a gable, alternate light by light, or hold a single color end to end. That is the difference between lights that change color and lights you can actually design with.

Three board and batten dormers at night photographed close, the points along every gable rake, window hood and the long eave below stepping through the spectrum and starting it over again, the colors washing down the walls. — A fade that walks along every gable and starts over. Put it on for a party, and back to warm white before bed.

Same house, same eaves, same lights in both of these: alternating in the first and holding one color in the second.

Red and green alternating point by point along every roofline and gable rake of a stone and stucco ranch, the stone below picking up both. — Red and green, light by light, with no box of bulbs to untangle first.

One blue held the whole way along every eave, gable and rake of the same ranch, the stone washed blue and the entry glowing warm through the door. — One calm blue on the same house. Nothing had to come down to get here.

Zones

Different colors on different parts of the house

Group the runs and set each group on its own: the garage wing one color, the main roof another, the entry left warm white so your front door still looks like a front door. Where the groups fall is worked out on your house when the system is set up, and you can change any of them from the app afterwards.

A courtyard between two wings of a modern house at night, the left eave violet, the far wing and the right eave teal and green, with a warm lit sitting area under the pergola in the middle. — Each wing is its own zone, so the back of the house can put on a show for guests while the front stays calm.

Chosen as a set and lit plane by plane, three colors read from the street as one deliberate scheme rather than three colors arguing.

It is also how a holiday works without the whole house shouting: two colors on the roof, the stone left warm, and the entry doing its normal job.

A stone and stucco house at night, the garage wing lit teal, the center gable violet over warm uplit stone, and the far gable violet and blue, with the entry left warm. — The entry stays warm white, so under all that color it still looks like home.

Two palettes

A scheme is not a commitment either

Same house, same spot, two nights: a mixed scheme with the gables and the porch doing different things, then one violet across everything. The busy one is no harder to set than the simple one, and going back costs you nothing.

A two story farmhouse at night, the outer two dormer gables traced in blue and the middle one in red, the long eave run under all three red the whole way, and the porch roof below it red at both ends and blue across the entry.

The same house from the same spot with every run set to a single violet, the board and batten front and the porch ceiling reading one even color.

Pick a palette

Blue and redOne violet

Try the full scheme on a Friday and a single color on Saturday. Neither one asks anything of you but the choice.

Saturated

Bold is one evening, not a commitment

Strong color gets a bad name because most of it is done badly. On clean lines, with the light washing the building instead of pointing at the street, it reads as intent. These two are the same entry from the same spot on two different nights.

A modern low roofed entry at dusk with the left wall washed red, the eave lines running red at their ends and blue through the middle, and the entry court reading violet where the two meet. — The night somebody felt like it.

The same entry from the same spot in warm white, the eaves and the entry canopy traced in warm points, the stone and stucco reading their own colors. — The same entry back in warm white. Nothing was added to the house or taken off it in between.

If what you are picturing is a permanent carnival, relax. The loud look is a setting, and it goes away the moment you stop choosing it.

A single color across a whole elevation is the safest way in: it reads as one decision rather than as decoration. The FAQ answers the blunt version under will it look tacky.

A white stucco two story house at dusk with every gable, dormer and eave line running the same green, the walls washed green under a gray sky. — One green on every line. It looks chosen, because it was.

At your own door

And then most nights it is just this

Every picture above is from across a lawn, which is where a scheme gets judged. This is the distance you actually live at: walking up to your own front door on an ordinary evening.

What a schedule feels like from your own front walk: the lines are already on when you get home.

Through the year

Every holiday, from the lights already on your roof

No ladder, no box in the garage, no second set of lights. Every palette on this list comes out of the same lights you run warm white on: pick it on the night, or schedule it once and let it take care of itself.

Green and white in short alternating blocks along every roofline of the same long single story house, the stone and stucco washed green. — The house from the chooser above, in green and white. Nothing went up for it and nothing has to come down after.

Valentine's DayRed and pink
St Patrick's DayTwo greens
EasterPastels
Fourth of JulyRed, white and blue
HalloweenOrange and purple
ThanksgivingAmber, rust and brown
HanukkahBlue and white
ChristmasRed and greenSee the Christmas page
New Year's EveWhite, then color at midnight

Christmas has a page of its own with pictures to match. The argument is the same: the lights are already up, so a holiday only costs you the choosing. A team's two colors work the same way, on the game day page. See the Halloween and Thanksgiving colors, and the green for Veterans Day.

A stone and stucco house at night with its gables and timber trusses traced in cyan blue, a single tree uplit warm at the right and the last of the sunset on the horizon.

Pick the color on your own roofline

Every picture on this page is the same kind of system, set differently on a different evening. The only real decision is whether you want those lines on your house, and the estimate is free. Tell us about the house and the installers will work out the rest.

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If the next question is what it costs, that page walks through what moves the price on a house like yours.