--- title: "T_151, sumi ink on paper | Crucible Year" url: https://peteryuill.art/works/T_151 description: "T_151 by Peter Yuill: A long black stroke hooks in from the left, runs low over a dry grey sweep, and rises into a heavy, fingered mass at the right. 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 pale sheet with a long black curving stroke from lower left rising into a large dark mass at right, grey washes behind.] ![T_151, tone-stretched: what the model was shown] ![T_151: every pixel as the measuring code classes it] 70 × 180 cm · the whole sheet, uncropped # T_151 The engine's reading A long black stroke hooks in from the left, runs low over a dry grey sweep, and rises into a heavy, fingered mass at the right. 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_151](https://peteryuill.art/enquiries?work=T_151) Availability, price or a studio visit. Peter replies himself; asking commits you to nothing. Fingers on the top edge, round at the tips, and fingers mean it climbed. I know the type. Late at night, something too big hauling itself over the parapet of the parking garage, its long tail still down on the ramp, the front half already sure it has arrived. The guard's radio crackles once and goes quiet. Up here the vents breathe and the sodium lights turn everything the same tired grey. It gets an elbow over, then most of its weight, then just sits there catching its breath, which is most of what climbing is. Beside it, a small ring of wet on the concrete where it stopped to rest. 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_151#details)[The reading](https://peteryuill.art/works/T_151#reading)[How it was read](https://peteryuill.art/works/T_151#read)[Date](https://peteryuill.art/works/T_151#date)[Materials](https://peteryuill.art/works/T_151#materials)[Related](https://peteryuill.art/works/T_151#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:** long hooked tail joined to a broad dark mass by one low arc - **Movement:** crescent rising from lower left to right; nothing runs against it - **Coverage:** ink on about nine tenths of the paper - **Tone:** three tonal steps, spread across the range - **Layering:** pale washes, dry-brush sweep, dark pass; readable together at lower centre - **Edges:** crisp on tail and tide lines; feathered on right mass; broken in lower sweep - **Feibai:** present in the grey sweep across the lower centre, beneath the dark arc - **Open paper:** pale band along the top centre, and a wedge inside the arc - **Chance marks:** blots upper left, small ring near top right, blooms and runs on mass - **Frame:** ink runs off left, bottom and right edges; top centre stays open A long dark stroke enters low at the left, hooks, and runs along the bottom before rising into a heavy black body at the right. The eye travels that crescent once, cleanly, from tail to head. The tail is the sheet's best thinking. Its outer edge holds firm, and inside it the ink has settled into bands and veins that follow the brush. Beneath it, a fast grey sweep crosses the lower centre, its hairs parted into parallel streaks of bare paper that the raw paper keeps sharp. The dark arc lies over that sweep and both stay legible: the one place where passes stack into depth. The right mass spends what the tail builds. It swells, its top breaks into round-tipped runs, and the raw paper pulls the wet edges into feathered blooms around a core of flat black that barely moves. Upper left, pale washes have dried into cloudy tide lines around a stray blot, and the space goes unshaped. Creases and a small ring sit on the surface and the sheet absorbs them. A clear movement and a well-made tail, with the rest given over to weight and haze: the sheet sits squarely in the archive's common run, sure at one end only. 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_151] ![T_151, tone-stretched] ![T_151, classed by brightness] 87% 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: 0.067 (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 1 FLAWED 1 FLAWED 1 FLAWED 1 FLAWED 2 SOUND 1.2 ### READ 1, IN ITS OWN WORDS “The crescent sweep is strong and the left stroke has good banding, but the right mass is bulky and lobed. The background washes are cloudy with tide edges, and a ring and a blot mar the surface. It sits near R2.” Form · BUILT Left crescent stroke sweeps coherently to bottom centre; right dark mass holds its walls but is bulky, with blobby finger lobes along its upper edge. WEAKEST Right mass: bulky lobed top with drip-like fingers STRONGEST Left curving tail stroke following brush travel Tonal depth · MODELLED Left stroke shows banding and veining; centre-right mass has grain and cloudy greys; the darkest right-hand core reads mostly flat black. WEAKEST Right black head nearly flat, dense core STRONGEST Banded arcs inside left curving stroke Layering · LEGIBLE Grey background washes, dry-brush sweeps at bottom, and dark crescent read as distinct passes; overlaps legible but order not building depth across sheet. WEAKEST Pale left background washes vague, cloudy STRONGEST Dry-brush grey strokes legible under dark crescent Composition · WORKING One crescent movement carries the eye from left to the heavy right mass; top-left grey wash area is murky leftover space with a stray blot. WEAKEST Upper-left quarter of washes, dead and unshaped STRONGEST Long crescent sweep crossing sheet left to right Material and surface · FLAWED Ring mark beside the right dark mass top, tide-edged cloudy washes top-left, isolated blot top-left, and cloudy pale patching inside the central mass visible in colour view. WEAKEST Cloudy tide-edged washes and ring near right mass STRONGEST Grainy feathered edges on left crescent stroke FLAWS ## 7 distinct places, 3 major. Each read must name every flaw and where it is, in a ninth of the sheet. Here the reads named flaws in 7 distinct places, 24 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), 7 enclosed voids at true size in their grid cells (amber), the main gesture from start to end (red). Of 18 edge segments, 33% crisp, 61% soft or bloomed, 6% 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_151). ## 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_151 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_150](https://peteryuill.art/works/T_150) [Back to all works](https://peteryuill.art/works) [Next T_154](https://peteryuill.art/works/T_154) ## 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)