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Originally Posted by Paul Foxton
Richard, I didn't quite get the headroom part . . .
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My misapplication of the term, Paul. What I meant is that in life, we're presented with a value range from the brilliance of the sun itself to near absence of light in deep shadow. In comparison, art materials provide only a severely truncated range between black and white, so successful illusions rely upon further compressing this limited range so the viewer may "believe" our white is a sunburst, or our black a stygian shadow. The better the control of a compressed range of values, the more "headroom" remains available for ultimate contrasts by reserving the limits of our range for accents.
Chroma (or intensity) presents similar limitations and problems. If all the elements of a painting are high-chroma, there's no "headroom" for stating the incredible intensity of , say, a flower, or using the power of intense color to make a statement or emphasize, or lead the eye.
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