--- title: "T_149, sumi ink on paper | Crucible Year" url: https://peteryuill.art/works/T_149 description: "T_149 by Peter Yuill: Black sweeps rise from the lower left of a long sheet into a broad mottled grey field, raked with dark streaks and crossed by pale tide lines. Sumi ink on Tanxi Thickened Grade A Special Jing Pi Small 6-Foot (raw), 70 × 180 cm, 2026.03.27. Crucible Year." source: generated from the Crucible Year master database --- ![Wide grey and black ink painting: dark sweeping strokes at lower left rise toward a large mottled grey mass with dark streaks on the right.] ![T_149, tone-stretched: what the model was shown] ![T_149: every pixel as the measuring code classes it] 70 × 180 cm · the whole sheet, uncropped # T_149 The engine's reading Black sweeps rise from the lower left of a long sheet into a broad mottled grey field, raked with dark streaks and crossed by pale tide lines. Record - **Date:** 2026.03.27 - **Dimensions:** 70 × 180 cm - **Paper:** [Tanxi Thickened Grade A Special Jing Pi Small 6-Foot (raw)](https://peteryuill.art/papers/S3) - **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_149](https://peteryuill.art/enquiries?work=T_149) Availability, price or a studio visit. Peter replies himself; asking commits you to nothing. The pale lines in the grey on the right are where water stopped and dried in place. My grandmother had a burn on her forearm from an oven door, a smooth shoreline of a scar, and she traced its edge with her thumb while she talked about other things. We never asked about it. It was the high-water mark of one bad afternoon, and she wore it like a watch. The grey here has a dozen of those shorelines, none of them asked about, each wet minute held exactly as far as it reached and not a hair further. I know a hand that goes back to the same edge. Her thumb on the ridge, the kettle ticking as it cooled. 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_149#details)[The reading](https://peteryuill.art/works/T_149#reading)[How it was read](https://peteryuill.art/works/T_149#read)[Date](https://peteryuill.art/works/T_149#date)[Materials](https://peteryuill.art/works/T_149#materials)[Related](https://peteryuill.art/works/T_149#related) The engine's reading ## The reading Written by the engine after the painting was rated, from the settled findings, and checked by hand before approval. It explains the numbers; it may not change them. - **Structure:** tapering dark sweep and lobed black core rising into broad grey right mass - **Movement:** rising diagonal, lower left to upper right; upper arc and centre hook curl back - **Coverage:** ink on about four fifths of the paper - **Tone:** seven tonal steps, weighted to the middle greys - **Layering:** pale washes, mid-grey sweeps, black strokes; distinct at left, merged at right - **Edges:** crisp tide lines upper right and centre; soft blurred walls on black core and right mass - **Feibai:** present in the curved grey arc upper left of centre - **Open paper:** wedge at top left and top centre, shaped by the arc - **Chance marks:** ringed pale drops top centre; tide lines and cloudy blooms across right mass - **Frame:** ink runs off bottom, right and lower left; top left stays open The eye lands on the black at left centre and is carried up and to the right, along a long rise that ends in grey filling most of the right half. The sheet leans one way, and it leans clearly. The left is where the painting happens. A tapering dark stroke sweeps in from the edge and thins to a dry tail, and beneath it pale grey wedges stay distinct as washes, so the order reads: grey first, black pulled over. Above, a curved arc breaks into parallel streaks of bare paper and gives the open paper at top left a real contour. The right half gives ground. Its grey mass is a slab with a ragged edge and no stroke inside to hold it. Raw paper takes ink fast and lets it spread, and here the passes have sunk together into cloudy mottling, crossed by pale tide lines where one wash dried against another. The dark spatter flying across cannot give that field a centre, and the central black is flat inside. That leaves a sheet with one strong side: a clear diagonal and a confident left, spent on a right side that never comes into focus. Measured ## How it was read 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_149] ![T_149, tone-stretched] ![T_149, classed by brightness] 80% of the sheet carries ink TONAL STEPS ## 7 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: 0.053 (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 “Rising diagonal gesture with a decent left black stroke over grey washes, but the right half is a crowded, cloudy mottled field with tide edges. Ordinary across the board, close to R2, and weaker on material.” Form · BUILT Sweeping left stroke and centre-right hooked stroke follow brush travel; the central black mass is a bulky lobed patch whose walls partly dissolve into the grey. WEAKEST Left-centre black mass, lobed and partly dissolved STRONGEST Long tapering dark stroke sweeping in from left edge Tonal depth · MODELLED Seven tonal steps; right mass and lower grey band show grain and streaking; dark interiors modestly modulated (0.053); upper-left grey wedge stays fairly uniform. WEAKEST Pale grey wash upper left is flat inside STRONGEST Right mass, grainy mottled greys with dark streaks Layering · LEGIBLE Pale grey washes, mid grey sweeps and black strokes sit as distinct passes on left; on the right the overlaps go cloudy and order is harder to read. WEAKEST Right mass passes blur into mottled texture STRONGEST Black stroke over translucent grey band, left-centre Composition · WORKING Strong left-to-right rising movement with shaped empty paper top left; right half is a dense, undifferentiated grey block covering most of the sheet. WEAKEST Right half crowded, mottled field without focus STRONGEST Rising diagonal sweep from lower left to upper right Material and surface · FLAWED Right grey mass shows blotchy cloudy mottling and pale tide-line edges visible in colour view; ringed drops top centre; spatter streaks controlled. WEAKEST Cloudy mottled wash with tide edges, right mass STRONGEST Dry-brush spatter streaks across right side FLAWS ## 3 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 3 distinct places, 15 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), 9 enclosed voids at true size in their grid cells (amber), the main gesture from start to end (red). Of 16 edge segments, 25% crisp, 50% soft or bloomed, 25% broken. The rating these readings produce, the rules applied and the arithmetic, with Peter's own rating where he gave one, are in [the Archive record](https://peteryuill.art/archive/works/T_149). ## Date 2026.03.27, day 89 of the Crucible Year, one of 10 paintings from that date (6 shown). 70 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). Made after one of the busiest fortnights of the previous two months: 70 works in the fourteen days before. THE YEAR ## T_149 among all 402 Every painting of the year by date; this one is outlined. [Every painting from 2026.03.27](https://peteryuill.art/days/2026-03-27) · [This date in the year](https://peteryuill.art/year?follow=2026-03-27) ## Materials - **Paper:** [Tanxi Thickened Grade A Special Jing Pi Small 6-Foot (raw)](https://peteryuill.art/papers/S3), Anhui Jingxian Tanxi Xuan Paper Art Products Co., Ltd., made 2015.11.19 - **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 The sheet of paper was made 3781 days before this painting. 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 From the same date · 5 Same paper and inks, other dates · 2 [Pattern V23 material and surface rung rose from 2026-05-24 on (rank-biserial +0.78, n 259)](https://peteryuill.art/oracle)[Pattern The floor of V23 Form rung raised in the later half of the practice (+2.30 SD, n 259)](https://peteryuill.art/oracle)[Pattern 45% of the variation in V23 Composition rung lies between batches (29 batches, n 259); with the month held constant 26%](https://peteryuill.art/oracle) [Previous T_148](https://peteryuill.art/works/T_148) [Back to all works](https://peteryuill.art/works) [Next T_150](https://peteryuill.art/works/T_150) ## Where next [T_146 same date, with 4 others](https://peteryuill.art/works/T_146)[T_157 same paper and inks, 2026.03.28](https://peteryuill.art/works/T_157)[2026.03.27 10 paintings on this date](https://peteryuill.art/days/2026-03-27)[Paper S3 every work on it](https://peteryuill.art/papers/S3)