|Sanford Gifford, Kauterskill Clove|
Above is a painting by Sanford Gifford that is suffused with the color of the light. Her has pretty much used the color of his light to paint everything that takes light from the sky. If it turns towards the sun, it gets the yellow mixture into its' note.
Here is another Sanford Gifford with golden light. One of the things that routinely happens in nature is that the color of the shadow is, or at least contains, the complement of the color of the light. So a golden sunset will call for blue or violet shadows. If you have the color of your lights it is easy to come up with an opposite color to add to your shadows. The complement of the light will form a major part of your shadow note and can be fed into those to establish the shadow color.
When I paint outside I have a pile of paint that is the color of my lights, I use it for underpainting the sky to get light in that, and I use it to more easily and swiftly create the color of things in the light.
I don't really make a shadow color, but I am always aware of what it is. On a sunny day I like to feed cobalt violet into my shadows, so that functions as a premixed shadow. I also like to throw ultramarine and burnt sienna at my shadows, by varying the mix of the two I can control my color temperature there. Burnt sienna is great for heating up shadows, particularly in their reflected lights. I like to heat up my deepest shadows. the darkest accents work best if they are fiery hot. Often I am installing this because I like the way it looks rather than because I have observed it.
Having a standard color laced into my lights tends to unify a painting. rather than a mosaic of unrelated colors the lights are "coded" through by a constant note. If something out in nature has an interesting color that doesn't conform to this system I am free to disregard my systematized light. But generally the light does have a color and that influences every surface it hits and determines the shadow color too with its complement.
The Sanford Gifford above was painted using a systematic color for the light. This painting was no doubt done in a studio from a drawing made on location, or a painted sketch. He did not stand out in the field with that canvas matching the colors of a sunset. He invented it and imposed it onto his drawing. Gifford "fixed" a color for his light and used it through out his painting.He got a believable light effect and the painting is suffused with his light color that he has sown into the entire tableau.