--- title: "T_183, sumi ink on paper | Crucible Year" url: https://peteryuill.art/works/T_183 description: "T_183 by Peter Yuill: A broad grey arc rises from a clouded left mass, swings over the top of the paper, and comes down in a black tip around a rounded white. Sumi ink on Red Star Mo She Special Effect Xieyi Edition, raw, 97 × 180 cm, 2026.04.08. Crucible Year." source: generated from the Crucible Year master database --- ![A broad grey brushstroke arcs left to right over a white oval, ending in a black tip at right; grey wash and black blots crowd the left.] ![T_183, tone-stretched: what the model was shown] ![T_183: every pixel as the measuring code classes it] 97 × 180 cm · the whole sheet, uncropped # T_183 The engine's reading A broad grey arc rises from a clouded left mass, swings over the top of the paper, and comes down in a black tip around a rounded white. Record - **Date:** 2026.04.08 - **Dimensions:** 97 × 180 cm - **Paper:** [Red Star Mo She Special Effect Xieyi Edition, raw](https://peteryuill.art/papers/S11) - **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_183](https://peteryuill.art/enquiries?work=T_183) Availability, price or a studio visit. Peter replies himself; asking commits you to nothing. Find the black at the far right, and the small pale hole in it. That is a lit window. Every tower in this city has one at four in the morning: somebody's kitchen, somebody's insomnia, a lamp left on for a cat. The whole night swings around it, the elevated track bending over the roofs, the steam off the vents, the market on the west side spilling crates and puddles into the street. Whoever is in that window is not looking out. They are reading the back of a cereal box, or deciding whether to call. I give them the skyline. The train goes round the bend, the puddles fill with rings, and the window stays on, small and stubborn, burning a hole in the dark it lives in. 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_183#details)[The reading](https://peteryuill.art/works/T_183#reading)[How it was read](https://peteryuill.art/works/T_183#read)[Date](https://peteryuill.art/works/T_183#date)[Materials](https://peteryuill.art/works/T_183#materials)[Related](https://peteryuill.art/works/T_183#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:** one great arc joined to a clotted left mass by a shared grey sweep - **Movement:** clockwise, left to right and down; lower-left strokes slant against it - **Coverage:** ink on about three fifths of the paper - **Tone:** five tonal steps, weighted to the middle greys - **Layering:** grey wash, black loaded strokes, spatter; readable along the arc, clouded at left - **Edges:** crisp on the arc's inner rim; soft on black lobes; broken at left - **Feibai:** present along the upper rim of the arc, top right - **Open paper:** rounded white oval inside the arc, centre right, open below - **Chance marks:** spatter upper and lower left; ringed drops in left wash; drops bottom right - **Frame:** ink and spatter reach the left edge; top, right and bottom right stay open One grey arc sets the whole sheet moving. It rises out of a clouded mass at the left, travels over the top of the sheet and comes down hard at the right in a dark, tapered tip, closing a rounded white at its centre. The eye goes clockwise and lands in that white. The upper rim of the arc is the best passage on the paper. Raw bark paper grips a fast, dry brush, and the hairs have split into parallel streaks of bare paper that hold the curve to the end. Just below, a dark band lies over translucent grey, and the order of the passes reads plainly. The left half pays for it. Black lobes sit there as bulky blots. The grey wash is pocked with ringed drops where water dried at its edges on the raw paper, and spatter crowds the margin until the passes cloud together. At the right, the black tip is flat inside, with a small bleached hole near its end. That leaves a good arc with a heavy, unsettled half attached. Plain, uneven work. 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_183] ![T_183, tone-stretched] ![T_183, classed by brightness] 58% of the sheet carries ink TONAL STEPS ## 5 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: 0.044 (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 “Gestural sweeping arc around a strong white void, close to R2. The left mass is clotted and pocked with ringed drops, and the darks are mostly flat inside. Ordinary sheet with a material weakness.” Form · BUILT The big right arc follows the brush's travel and tapers cleanly. The left mass is clotted, with blobby dark lobes, and the bottom-centre dark lump is bulky. WEAKEST Bottom-centre dark blob and left-edge clotted patches STRONGEST Right sweeping arc ending in tapered dark tip Tonal depth · MODELLED The left grey field has grain and veining, and the top-right dark band shows banding. The right-tip and bottom darks are flat inside; modulation is 0.044, below the flat threshold. WEAKEST Right arc dark terminus is flat inside STRONGEST Left grey mass with grain, veining and stepped density Layering · LEGIBLE The translucent grey arc pass shows under the dark strokes, top right, and the order can be read. On the left, the passes clot together and are less legible. WEAKEST Left mass where darks clot into the grey STRONGEST Dark band laid over translucent grey arc, top right Composition · WORKING The large arc carries the eye from left to right around a shaped white void in the centre. The left third is crowded and busy with spatter; the bottom-right drops are a weak afterthought. WEAKEST Crowded, spattered left third STRONGEST Sweeping arc enclosing a shaped white void Material and surface · FLAWED The left grey wash carries many ringed, tide-edged drops and pocks beside the principal masses, plainly visible in the colour view. There is also a white void in the right dark tip. WEAKEST Ringed drops and pocked spots in left grey wash STRONGEST Dry-brush streaking along top of arc 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, 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: 4 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 21 edge segments, 76% crisp, 19% soft or bloomed, 5% 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_183). ## Date 2026.04.08, day 101 of the Crucible Year, one of 22 paintings from that date (11 shown). 37 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_183 among all 402 Every painting of the year by date; this one is outlined. [Every painting from 2026.04.08](https://peteryuill.art/days/2026-04-08) · [This date in the year](https://peteryuill.art/year?follow=2026-04-08) ## Materials - **Paper:** [Red Star Mo She Special Effect Xieyi Edition, raw](https://peteryuill.art/papers/S11), China Xuan Paper Co., Ltd., made 2025.12.08 - **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 121 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 · 10 Same paper and inks, other dates · 1 [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_179](https://peteryuill.art/works/T_179) [Back to all works](https://peteryuill.art/works) [Next T_184](https://peteryuill.art/works/T_184) ## Where next [T_184 same date, with 9 others](https://peteryuill.art/works/T_184)[T_172 same paper and inks, 2026.04.03](https://peteryuill.art/works/T_172)[2026.04.08 22 paintings on this date](https://peteryuill.art/days/2026-04-08)[Paper S11 every work on it](https://peteryuill.art/papers/S11)