Yellow will allow a larger range of light levels to register in the paper negative before the thing blocks up to black in the highlight values.
This presumes enough exposure is made to get shadows where texture is desired to register in the negative as values above pure white.
Most paper is made with a far higher contrast slope than film. The Yellow/orange end filters ie 0 or 00 printing filters flattens it out the most.
The ISO range numbers of the printing with filters are just Dr log values muliplied by 100. I think from memory 00 is given a range of ISO180 or something like that.
Film has a lower slope to allow the wide range of light levels in the scene being imaged
Say a scene being imaged has 7 stops of brightlness that you want to capture in the negative between all white and black.
This can alternately be thought of as noted as range in log form of log 2.1, since each stop amounts to log 0.3.
With the 00 filter, if it gives Dr of 180, the paper neg will not be able to fully map a brightness range of log 2.1.
With no filter the paper is likely to have a range of about log 1.2, and will accurately map a real world scene even less, if it contains more than 4 stops of light from shadow to the brightest highlight you want detial in.
Most traditional film negatives imaging a typical scene as we are talking here map the image to a density range, Dr, of log 1.2 or so as the negative, with appropriate developer, development time dilutution and agitation.
That maps well to a #2 paper, which prints a full white to black range when exposed to a negative of Dr log1.2.
I have not experimented with manipulating the development of a paper negative to try to change its contrast like I have with film, but it should work. The steeper contrast of the material will make it trickier to manipulate easily.
I hope that the math of logs is not too big a turn off. It will help you analyze the situation, I hope.