--- title: "T_061, ink on paper | Crucible Year" url: https://peteryuill.art/works/T_061 description: "T_061 by Peter Yuill: Stacked grey panes and a toothed black stroke push from the left edge into bare paper, above a narrow neck and a pale streaked block. Ink on Qing Yi Half-Raw Xuan, 140 × 70 cm, 2026.02.16. Crucible Year." source: generated from the Crucible Year master database --- ![Dark and grey overlapping ink masses enter from the left of a tall pale sheet, with a black toothed stroke above a grey block.] ![T_061, tone-stretched: what the model was shown] ![T_061: every pixel as the measuring code classes it] 140 × 70 cm · the whole sheet, uncropped # T_061 The engine's reading Stacked grey panes and a toothed black stroke push from the left edge into bare paper, above a narrow neck and a pale streaked block. Record - **Date:** 2026.02.16 - **Dimensions:** 140 × 70 cm - **Rating:** [5.5](https://peteryuill.art/method#combined) - **Paper:** [Qing Yi Half-Raw Xuan](https://peteryuill.art/papers/S6) - **Ink:** [Kuretake Shogei Kiwami](https://peteryuill.art/inks/MB1), [Yi De Ge Zhonghua](https://peteryuill.art/inks/MB2), [Boku-Undo Bokkou](https://peteryuill.art/inks/MB3) [Enquire about T_061](https://peteryuill.art/enquiries?work=T_061) Availability, price or a studio visit. Peter replies himself; asking commits you to nothing. Those fingertips at the top right, black and rounded, press down hard enough to leave a bruise. I know that grip. It is the hand on the back of your neck at a kerb when you are small and the traffic is large. You hated it. You went limp under it, you dragged your feet, you were steered home anyway. Decades later the person is gone and the hand has kept going, a warm pressure below the hairline that arrives at crossings, in the rain, with a bag of shopping in each fist. I stand there and let the lights change. Then I step off the kerb with my head tipped slightly forward, the way a dog walks on a short lead. Neon [Who Neon is](https://peteryuill.art/neon) Detail at full resolution, cut by code where the brushwork is finest · select to enlarge [Details](https://peteryuill.art/works/T_061#details)[The reading](https://peteryuill.art/works/T_061#reading)[The rating](https://peteryuill.art/works/T_061#rating)[How it was measured](https://peteryuill.art/works/T_061#read)[Date](https://peteryuill.art/works/T_061#date)[Materials](https://peteryuill.art/works/T_061#materials)[Related](https://peteryuill.art/works/T_061#related) The engine's reading ## The reading Written by the engine after V23's reads, from the settled findings, and checked by hand before approval. It explains V23's numbers and may not change them. - **Structure:** stacked planes and squarish mass joined at left, narrow neck down to block - **Movement:** rightward thrust from left edge; vertical descent through neck runs against it - **Coverage:** ink on about two thirds of the paper - **Tone:** four tonal steps, spread across the range - **Layering:** translucent washes and dry-brush passes; readable at top, merged centre-left and lower - **Edges:** crisp on upper planes, serrated on comb stroke and lower mass, soft lower left - **Feibai:** present in the vertical streaks of the bottom block - **Open paper:** broad irregular band down the right, widening at top and lower right - **Chance marks:** spatter upper and middle right; water stain in lower mass; faint stain low right - **Frame:** ink runs off left and bottom; top and right stay open Dark masses shove in from the left edge and stop against bare paper, the upper like a stack of tilted panes, the lower a squarish bulk with a serrated rim. Below them the ink narrows to a neck and drops into a pale block that runs off the bottom. The empty right side takes its shape from those bitten edges, and the spatter thrown across it sits there without harm. The top is the place to stand. Grey planes overlap with their edges intact, so the order they went down can be followed. Across them lies the toothed black stroke at upper right, its bristles parted into fingers, its density stepping down into grain. Lower, that order is lost. Half-sized xuan takes wet passes into the fibre, and at centre-left they have fused into murk. The lower mass has a soft outline and cloudy water-stained mottling inside it, and the big dark plane above stays cloudy too. The block, streaked with flying white, just stands there on its neck. A competent, middling sheet: alert at the top, heavy for most of its length, and good for about as much looking as that allows. Read and measured ## The rating THE RATING ## T_061, rated 5.5 The combined score, out of 10: V23's reading of the photograph as the read half and V24's twelve tests on the 16-bit file as the measured half, added and divided by 10. The scale is relative to this archive. How each half is made is on the Method page. READ HALF 25.0 V23's rating, 5.0, × 5 + MEASURED HALF 30.3 twelve tests, of 50 → RATING 5.5 55.3 ÷ 10 THE READ HALF, V23 - **Form:** 2.0 · built - **Tonal depth:** 2.0 · modelled - **Layering:** 2.0 · legible - **Composition:** 2.0 · working - **Material and surface:** 1.0 · flawed THE MEASURED HALF, V24 - **Mass:** 6.1 of 10 - **Tone:** 7.8 of 14 - **Void:** 6.4 of 8 - **Flow:** 6.8 of 10 - **Balance:** 3.2 of 8 Measured ## How it was measured FROM THE 16-BIT FILE ## What V24 measured. Plain physical facts with no model involved. Across the year they track how the practice changes. On one sheet they cannot say whether a mark is any good. Millimetres read a few percent high, because the photographs are cropped just inside the paper's edge. MASS WIDTH 102 mm The width of the ink mask along its medial axis. DEPTH OF THE DARKS 1.40 Optical density at the 75th percentile of the sheet. LARGEST VOID 168 mm The radius of the largest circle of open paper. DIRECTIONS 0.11 How far the marks align across the sheet. Lower means they run several ways. BALANCE 0.84 Left and right asymmetry of the ink. Lower is more even. THE FILE 3.63 Pixels to the millimetre in the TIFF these were measured from, with the studio light removed. Read by the Visual Analysis Engine, version 23.13, on 2026.11.04: 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_061] ![T_061, tone-stretched] ![T_061, classed by brightness] 81% 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: 0.057 (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 “Layered translucent masses thrust rightward from the left edge with a lively comb stroke and shaped paper, but ordinary overall: the lower mass is cloudy and bulky, overlaps murk at centre-left, and the bottom block sits static.” Form · BUILT Upper translucent planes and comb stroke hold as made forms; lower central mass is bulky and loosely bounded; bottom block is slab-like with stiff walls. WEAKEST Lower central mass, its outline soft and bulky STRONGEST Comb-ended black stroke at upper centre Tonal depth · MODELLED Comb stroke, lower mass and bottom block show grain, banding and stepped density; upper-left dark plane stays comparatively cloudy. Modulation clears the flat limit without being deep. WEAKEST Large dark plane at upper left, broadly cloudy inside STRONGEST Banded dry-brush grain in the bottom grey block Layering · LEGIBLE Upper planes stack translucently and their edges read clearly; lower down at centre-left the passes merge, so the sequence is not legible across the whole sheet. WEAKEST Centre-left overlaps merging into murk between the two masses STRONGEST Translucent planes overlapping at the top of the upper mass Composition · WORKING Two masses push from the left edge against shaped pale paper at right, with a column descending to the block; the block sits static and the left is crowded. WEAKEST Bottom block, static and loosely attached to the masses above STRONGEST Masses thrusting rightward from left edge into shaped empty paper Material and surface · FLAWED Lower central mass has blotchy, cloudy mottling visible in the colour view and confirmed when stretched; bristle edges elsewhere are controlled; faint pale stain on paper lower right. WEAKEST Cloudy mottled wash inside the lower central mass STRONGEST Dry-brush bristle edges on comb stroke and bottom block FLAWS ## 5 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 5 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. V23's rules and arithmetic, and every figure under its own name, are in [the Archive record](https://peteryuill.art/archive/works/T_061). ## Date 2026.02.16, day 50 of the Crucible Year, one of 8 paintings from that date (1 shown). 31 works were registered in the fourteen days before. Paintings are dated by the day their batch was registered and photographed; each was finished that day or within the few days before. Phase: [P1 Warm-up](https://peteryuill.art/phases/P1) (working title). THE YEAR ## T_061 among all 419 Every painting of the year by date; this one is outlined. [Every painting from 2026.02.16](https://peteryuill.art/days/2026-02-16) · [This date in the year](https://peteryuill.art/year?follow=2026-02-16) ## Materials - **Paper:** [Qing Yi Half-Raw Xuan](https://peteryuill.art/papers/S6), Jingxian Sichijian Xuan Paper Arts & Crafts Co., Ltd., made unknown - **Ink MB1:** [Kuretake Shogei Kiwami](https://peteryuill.art/inks/MB1), Kuretake - **Ink MB2:** [Yi De Ge Zhonghua](https://peteryuill.art/inks/MB2), Yi De Ge (Beijing) - **Ink MB3:** [Boku-Undo Bokkou](https://peteryuill.art/inks/MB3), Boku-Undo When each paper was in use [S1](https://peteryuill.art/papers/S1)[S2](https://peteryuill.art/papers/S2)[S3](https://peteryuill.art/papers/S3)[S4](https://peteryuill.art/papers/S4)[S5](https://peteryuill.art/papers/S5)[S6](https://peteryuill.art/papers/S6)[S7](https://peteryuill.art/papers/S7)[S8](https://peteryuill.art/papers/S8)[S9](https://peteryuill.art/papers/S9)[S10](https://peteryuill.art/papers/S10)[S11](https://peteryuill.art/papers/S11)[S12](https://peteryuill.art/papers/S12)[S13](https://peteryuill.art/papers/S13)[S14](https://peteryuill.art/papers/S14) Jan Feb Mar Apr May Jun Jul Aug Sep Oct ## Related Same paper and inks, other dates · 2 [Across the year The combined score rises over the year, and the trend holds with the paper held constant.](https://peteryuill.art/oracle)[Across the year The measured half stepped up from 2026.06.03. T_061 is dated before that.](https://peteryuill.art/oracle) [Back to all works](https://peteryuill.art/works) [Next T_079](https://peteryuill.art/works/T_079) ## Where next [T_079 the next shown painting in the sequence](https://peteryuill.art/works/T_079)[T_079 same paper and inks, 2026.03.14](https://peteryuill.art/works/T_079)[2026.02.16 8 paintings on this date](https://peteryuill.art/days/2026-02-16)[Paper S6 every work on it](https://peteryuill.art/papers/S6)