A major, played on its own, will not sound any brighter or darker than Ab major. On their own, all chords of the same quality sound exactly the same (with identical tuning and ratios) and this is essentially the point of equal temperament tuning.
Similarly, is you shift everything up a half step so you are no longer playing flats (F#min->A->E->D) it will have the same quality as your original progression, despite the lack of flats. If you leave the Fmin off and only play Ab->Eb->Db they will sound a little brighter. Instead, it is the preceding Fmin that sets a certain precedence, suggesting that we are in a minor key, and effectively darkening the entire progression.
You are absolutely correct that the Ab, Eb and Db in your example feel a little less bright (a term I greatly prefer over happy) than an isolated major chord, but this has nothing to do with them being flat. While a chord's quality (major, minor, diminished, etc.) is the primary factor in determining how it "feels", the context around it also plays a significant role.
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