I want to discuss how I approach painting very dark and very light extremes in a composition — the management of the very deepest darks and the very brightest lights, which together set the key of the painting.

The key concept: dynamic range. Every painting occupies some portion of the full scale from black to white. A high-key painting has most values in the upper range (bright). A low-key painting has most values in the lower range (dark). The choice of key should match the emotional register of the subject.

The pure black rule: true black should be used sparingly and strategically. Where pure black appears, it draws the eye. I usually reserve it for the single most important shadow area — the deepest occlusion shadow in the focal area.

The pure white rule: similarly, the purest whites in the painting should be reserved for the brightest specular highlight on the focal element. A white in the background at the same value as the focal white competes for attention.

Calibrating the scale: before finishing any piece, I check that I'm using the full value range I intended. An unintentionally narrow range makes the painting feel muddy. A deliberate narrow range (high key or low key) creates a specific mood.