--- title: "T_198, full record | Crucible Year" url: https://peteryuill.art/archive/works/T_198 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_198 [The work as shown](https://peteryuill.art/works/T_198). 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:** SA: save, archive (Peter's early system, since retired) ## Measured · V23 (v23.8) - **V23 rating:** 5.3 - **Form:** 2 - **Tonal depth:** 2 - **Layering:** 2 - **Composition:** 2 - **Material and surface:** 1.4 - **Ink cover:** 57% - **Dark share:** 18% - **Tonal steps:** 4 - **Flaws named by the reads:** other 10, bloom 3 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:** 5 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_198] ![T_198, tone-stretched] ![T_198, classed by brightness] 57% of the sheet carries ink TONAL STEPS ## 4 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: 0.048 (under 0.045 reads as flat). FIVE READS ## Five reads, agreeing on 4 of 5 qualities. Each quality placed on its ladder by each read, and the mean the engine keeps. Where reads differ, they differ by one rung; close calls resolve down. 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 2 SOUND 1 FLAWED 2 SOUND 1 FLAWED 1 FLAWED 1.4 ### READ 1, IN ITS OWN WORDS “This is a gestural sheet like R2. It has a strong left column, a textured grey sweep in the centre, and lumpy dark blots. The empty paper at the lower right is unshaped. It is ordinary across all five ladders.” Form · BUILT Left dark column holds with a coherent tapering tail; the central grey sweep is textured but loose; the top-right dark mass and lower-centre blot are lumpy and blob-like. WEAKEST Top-right dark blob, lumpy with hole, blob-like STRONGEST Left vertical dark stroke with tapering drip trail Tonal depth · MODELLED Central grey mass is richly grained with crinkle lines; left dark column shows some soft grading; dark modulation is 0.048, barely above flat; the top-right blob is mostly uniform. WEAKEST Top-right dark blob fairly flat inside STRONGEST Central grey sweep with streaked grain and ridges Layering · LEGIBLE Pale grey diagonal sweeps sit under the darker strokes and stay readable, with about two or three passes; the dark blots simply sit on top without building depth. WEAKEST Dark blobs sit on top, little interplay STRONGEST Grey diagonal washes crossing beneath left column Composition · WORKING Ink mass rises from left to upper right with outward spatter, which gives the sheet direction; the lower right third is empty and unshaped, and the scattered blots weaken the focus. WEAKEST Bottom-right empty paper is leftover STRONGEST Diagonal sweep from left column to upper right Material and surface · SOUND Dry-brush texture is used in the centre; paper creases cut through the grey mass; there is a bleached hole in the top-right blob; the spatter appears intended; no tide lines are visible. WEAKEST Crinkle/crease lines through central grey mass STRONGEST Dry-brush streaking in the central grey sweep FLAWS ## 4 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 4 distinct places, 13 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: 2 principal ink masses traced (cyan), 5 enclosed voids at true size in their grid cells (amber), the main gesture from start to end (red). Of 15 edge segments, 53% crisp, 13% soft or bloomed, 33% broken. RULE 1 Two tonal steps or fewer Tonal depth held at rung 1. 4 steps: not applied RULE 2 A major flaw Material held at rung 1. Mild waves in the unmounted paper are never a flaw. 3 major flaws: applied RULE 3 Any quality below 0.5 The rating cannot exceed 4. lowest 1.4 RULE 4 At least two valid reads A read that breaks the reply format is discarded. 5 of 5 valid THE ARITHMETIC ## V23 rating 5.3. 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 1.88 (2.0 + 2.0 + 2.0 + 2.0 + 1.4) ÷ 5 → RAW 4.76 1 + 2 × 1.88 → RATING 5.3 5 + 2.086 × (4.76 − 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)