--- title: "T_237, full record | Crucible Year" url: https://peteryuill.art/archive/works/T_237 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_237 [The work as shown](https://peteryuill.art/works/T_237). Every value below comes from vae.db, the master database of the Crucible Year. ## Recorded - **Date:** 2026.04.18, day 111 - **Size:** 97 × 180 cm - **Paper:** S10, Red Star Mo She Imitation Antique Chu bark, Exhibition Edition - **Inks:** MB4, MB5, MB6 - **Phase:** P2 The Switch - **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 - **Form:** 2 - **Tonal depth:** 2 - **Layering:** 2 - **Composition:** 2 - **Material and surface:** 1 - **Ink cover:** 86% - **Dark share:** 57% - **Tonal steps:** 4 - **Flaws named by the reads:** tide line 5, bloom 6, other 5, water stain 4 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:** 7 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_237] ![T_237, tone-stretched] ![T_237, classed by brightness] 86% 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: 0.049 (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 strong sweeping black arc over grey bands gives the sheet a working structure. The black interior is fairly flat, the left side is crowded and blotchy with tide-line blooms, and drips mar the bottom. Ordinary, near R2.” Form · BUILT The main black arc holds and curves with the brush, and the right descending band is coherent. The left slab and lower-left washes are bulky and blotchy. WEAKEST Left grey slab and blotchy lower-left wash forms STRONGEST Upper dark arc band following the brush's sweep Tonal depth · MODELLED Modulation is 0.049, just above flat. The right band and upper-right greys show arcs and grain. The central black band is mostly even, with dry-brush streaks only at its lower edge. WEAKEST Main black band interior is largely uniform STRONGEST Right descending grey band with circular arcs and grain Layering · LEGIBLE Four tonal steps. The black arc sits legibly over a grey arc, and the right band crosses the earlier greys. On the left, the passes clump together and are harder to read. WEAKEST Lower-left overlaps blur into cloudy wash STRONGEST Black arc over grey arc, upper band order legible Composition · WORKING The large arc gives clear movement, and the white lower-centre paper is shaped by the bands. Ink covers 86% of the sheet, which crowds it, and the left side is congested. WEAKEST Crowded, murky left third STRONGEST Sweeping arc carrying the eye from left to lower right Material and surface · FLAWED Hard tide-line blooms and cloudy patches in the upper-left and left greys sit against the principal masses and are visible in the colour view. A drip trail runs across the bottom centre. WEAKEST Tide-lined blooms in the left wash masses STRONGEST Dry-brush streaking at lower edge of black band FLAWS ## 5 distinct places, 2 major. Each read must name every flaw and where it is, in a ninth of the sheet. Here the reads named flaws in 5 distinct places, 20 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: 1 principal ink mass traced (cyan), 6 enclosed voids at true size in their grid cells (amber), the main gesture from start to end (red). Of 16 edge segments, 25% crisp, 69% soft or bloomed, 6% 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. 7 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)[2026.04.18 every painting from this date](https://peteryuill.art/days/2026-04-18)