--- title: "T_192, full record | Crucible Year" url: https://peteryuill.art/archive/works/T_192 description: "Crucible Year: a continuous year of sumi ink painting on paper by Peter Yuill, begun 29 December 2025." source: generated from the Crucible Year master database --- Archive · full record # T_192 [The work as shown](https://peteryuill.art/works/T_192). Every value below comes from vae.db, the master database of the Crucible Year. ## Recorded - **Date:** 2026.04.08, day 101 - **Size:** 97 × 180 cm - **Paper:** S11, Red Star Mo She Special Effect Xieyi, raw - **Inks:** MB1, MB2, MB3 - **Phase:** P1 Warm-up - **Shown on the site:** yes (V23 rating of 5.0 or higher) - **Early storage triage:** PT: probably trash (Peter's early system, since retired) ## Measured · V23 (v23.8) - **V23 rating:** 5 - **Form:** 2 - **Tonal depth:** 2 - **Layering:** 2 - **Composition:** 2 - **Material and surface:** 1 - **Ink cover:** 75% - **Dark share:** 58% - **Tonal steps:** 3 - **Flaws named by the reads:** water stain 6, ring 5, bloom 2, tide line 4, other 2 The V23 rating runs from 1 to 9, with 5 the middle of this body of work. It is the engine's reading, and the reference the archive is measured against. ## Older engine - **V7:** 4 From an earlier engine (V7). Its scale differs from V23's, so it is only ever compared with other readings by the same engine. ## How the number was made Read by the Visual Analysis Engine, version 23.8, on 2026.10.06: measured by code, then read 5 times by Claude Opus 5.5 against three reference paintings (R1 to R3), each read independent of the others. [How the engine works](https://peteryuill.art/method). WHAT THE CODE SEES ## Three views of one sheet. Left, the photograph. Centre, the tone stretch the model is shown beside it: the darkest 45% of tones spread over the whole range, so flat black, banding and stains show. Right, every pixel as the measuring code classes it: cyan black ink, deep teal translucent grey, stone the palest ink, near black bare paper. ![T_192] ![T_192, tone-stretched] ![T_192, classed by brightness] 75% of the sheet carries ink TONAL STEPS ## 3 families of tone. Every inked pixel's brightness in 64 bins, smoothed; each circled peak holds at least 4% of the ink. Life inside the black: 0.046 (under 0.045 reads as flat). FIVE READS ## Five reads, one answer. Each quality placed on its ladder by each read, and the mean the engine keeps. READ 1 READ 2 READ 3 READ 4 READ 5 MEAN Form 2 BUILT 2 BUILT 2 BUILT 2 BUILT 2 BUILT 2.0 Tonal depth 2 MODELLED 2 MODELLED 2 MODELLED 2 MODELLED 2 MODELLED 2.0 Layering 2 LEGIBLE 2 LEGIBLE 2 LEGIBLE 2 LEGIBLE 2 LEGIBLE 2.0 Composition 2 WORKING 2 WORKING 2 WORKING 2 WORKING 2 WORKING 2.0 Material and surface 1 FLAWED 1 FLAWED 1 FLAWED 1 FLAWED 1 FLAWED 1.0 ### READ 1, IN ITS OWN WORDS “A dense, energetic sheet. The hook and the top band are its best parts. The left half is crowded and bulky, layering is modest, and a mottled stained wash at the right edge counts against the material.” Form · BUILT The hook stroke at lower right and the top-right band hold their shape and follow the brush. The upper-left lobe and left wedge are bulky, and some joins look clumsy. WEAKEST Bulky upper-left dark lobe with dissolved bottom edge STRONGEST Lower-right sweeping hook stroke with feathered head Tonal depth · MODELLED The top-right band has banding and the hook shows feathered gradation. The left wedge base is near-uniform black. Dark modulation is 0.046, just above the flat threshold. WEAKEST Left vertical dark wedge, fairly flat dark bottom STRONGEST Top-right band with banded arcs inside Layering · LEGIBLE Pale grey horizontal washes run beneath the dark verticals in the centre and the hook. Two or three passes can be read, but the darks mostly sit on top instead of building depth. WEAKEST Dark marks largely cover the pale washes STRONGEST Pale grey horizontal bands under the central dark strokes Composition · WORKING The hook and the top band frame a shaped white void at centre-right. The left half is crowded with blocky masses, and the top-centre strokes are jammed together. WEAKEST Crowded, jammed top centre column strip STRONGEST Hook curving around the central white void Material and surface · FLAWED At the right edge, a pale wash beside the hook is mottled with granular specks and blotches, and droplet rings sit near the top-centre strokes. These are visible in the colour view next to principal masses. WEAKEST Mottled cloudy grey wash at right edge STRONGEST Feathered edges of the hook and the flower-like burst FLAWS ## 6 distinct places, 1 major. Each read must name every flaw and where it is, in a ninth of the sheet. Here the reads named flaws in 6 distinct places, 19 mentions in all across 5 reads; the number in each ninth is how many times a flaw was named there. Reads agreeing on a place strengthen the evidence for one flaw; they do not multiply it. A major flaw holds Material and surface at rung 1. GEOMETRY ## Measured from the 16-bit master. The previous engine (V22) measured this sheet's master file: 3 principal ink masses traced (cyan), 7 enclosed voids at true size in their grid cells (amber), the main gesture from start to end (red). Of 25 edge segments, 48% crisp, 52% soft or bloomed, 0% broken. RULE 1 Two tonal steps or fewer Tonal depth held at rung 1. 3 steps: not applied RULE 2 A major flaw Material held at rung 1. Mild waves in the unmounted paper are never a flaw. 4 major flaws: applied RULE 3 Any quality below 0.5 The rating cannot exceed 4. lowest 1.0 RULE 4 At least two valid reads A read that breaks the reply format is discarded. 5 of 5 valid THE ARITHMETIC ## V23 rating 5.0. Engine v23.8, 5 reads. Fixed arithmetic, the same for every painting; the constants were set on 24 randomly chosen paintings so the median sheet scores 5. The scale is relative to this archive, not to painting in general, and a difference of less than half a point between two paintings is noise. MEAN RUNG 1.80 (2.0 + 2.0 + 2.0 + 2.0 + 1.0) ÷ 5 → RAW 4.60 1 + 2 × 1.80 → RATING 5.0 5 + 2.086 × (4.60 − 4.60) ## Where next [Every record the full archive](https://peteryuill.art/archive)[2026.04.08 every painting from this date](https://peteryuill.art/days/2026-04-08)