--- title: "T_184, sumi ink on paper | Crucible Year" url: https://peteryuill.art/works/T_184 description: "T_184 by Peter Yuill: A grey arc falls from the top left corner, sweeps low across the paper, and ends in a dark radiating burst with a pale crackled core. 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 grey arc sweeps from top left across the bottom into a dark radiating burst at right, with a dark blob below centre and spatter.] ![T_184, tone-stretched: what the model was shown] ![T_184: every pixel as the measuring code classes it] 97 × 180 cm · the whole sheet, uncropped # T_184 The engine's reading A grey arc falls from the top left corner, sweeps low across the paper, and ends in a dark radiating burst with a pale crackled core. 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_184](https://peteryuill.art/enquiries?work=T_184) Availability, price or a studio visit. Peter replies himself; asking commits you to nothing. The crackled pale core on the right is the landfall I would vote for. From orbit it reads as coastline, white veins of salt where a sea gave up. The black rays around it are weather, wind blowing outward for good. The long grey curve is our approach, burned in over slow passes, and the heavy dark thing at the bottom is the cargo pod we dropped early. It landed sulking and refused to unfold. I named it. Up in the empty sky a few ringed moons hang where the fuel vented. The colony will build on the lace. At night the children will lie on the white veins and listen to a signal arriving from a world that has not happened yet. 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_184#details)[The reading](https://peteryuill.art/works/T_184#reading)[How it was read](https://peteryuill.art/works/T_184#read)[Date](https://peteryuill.art/works/T_184#date)[Materials](https://peteryuill.art/works/T_184#materials)[Related](https://peteryuill.art/works/T_184#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:** grey arc from top left joining a radiating burst at right; dark mass bottom centre - **Movement:** one sweep down from top left and across; burst rays push outward against it - **Coverage:** ink on about two thirds of the paper - **Tone:** four tonal steps, spread across the range - **Layering:** grey wash, then dark dabs and burst; underlying wash readable along the arc - **Edges:** crisp on the arc's inner rim and drops; feathered burst rays; soft, bloomed bottom mass - **Feibai:** present in the grey arc at upper left and pale strokes at top right - **Open paper:** wide bowl at top centre, cupped by the arc - **Chance marks:** spatter top left and upper centre; ringed pale drops top centre; crackled bloom in burst core - **Frame:** ink runs off top, right and bottom edges; left edge stays open A grey arc drops out of the top left corner as a thin tail, thickens as it falls, and swings low across the paper into a dark burst on the right. The eye rides it the whole way. Inside the curve the paper stays clear, a wide bowl of light at top centre. The burst is the heart of the sheet. Its rays are feathered bristle strokes graded from black to smoke. Its centre is a pale crackled field where wet work broke through drying ink on raw bark paper and opened into lace. Beneath it, and beneath the dark dabs strung along the arc, the first grey wash still shows. The cost sits at bottom centre. A dark mass lands on the arc as a lobed lump, nearly flat inside, its walls softened where the fast paper drank and spread the ink. It buries the grey sweep and loads a lower band already crowded against the edge. Ringed drops in the open bowl are minor. Where that leaves it: a sure, well-made sheet, better than the usual run, with one passage of real quality and one weight it never lifts. 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_184] ![T_184, tone-stretched] ![T_184, classed by brightness] 70% 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: 0.053 (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 2 SOUND 2 SOUND 2 SOUND 2 SOUND 2 SOUND 2.0 ### READ 1, IN ITS OWN WORDS “A gestural arc sheet with a vivid radiating burst at right. A blunt, flattish dark mass and a crowded bottom edge hold it at ordinary level, close to R2.” Form · BUILT The grey arc and the radiating right burst follow the brush's travel. The bottom-centre dark mass is bulky and lobed, with soft walls. WEAKEST Bottom-centre dark mass, a blunt blob STRONGEST Sweeping grey arc from top-left down Tonal depth · MODELLED The right mass has a crackled interior, streaked rays and graded greys. The arc shows streaking. The bottom dark mass is mostly flat inside. Modulation is 0.053. WEAKEST Bottom-centre dark mass, fairly uniform inside STRONGEST Right burst: reticulated interior and radiating grey bristles Layering · LEGIBLE The translucent arc pass reads under the later dark dabs, spatter and the right burst. There are about two to three passes, and the order is readable without building depth. WEAKEST Bottom dark mass sits opaquely over the arc STRONGEST Grey arc wash under the dark dabs and burst Composition · WORKING The arc carries the eye from top left to the right burst and shapes the empty paper at top centre. The bottom edge is crowded, with mass jammed against the edge. WEAKEST Lower band, crowded and heavy across the bottom STRONGEST Large arc linking left to the right burst Material and surface · SOUND The reticulated bloom in the right burst looks built on purpose. Small tide-ringed drops sit in the open paper at top centre, away from the principal masses. WEAKEST Pale ring-edged drops in the top-centre paper STRONGEST Granulated crackle edges of the right burst FLAWS ## 5 distinct places, 0 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, 10 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. GEOMETRY ## Measured from the 16-bit master. The previous engine (V22) measured this sheet's master file: 5 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 19 edge segments, 42% crisp, 53% 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_184). ## 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_184 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_183](https://peteryuill.art/works/T_183) [Back to all works](https://peteryuill.art/works) [Next T_189](https://peteryuill.art/works/T_189) ## Where next [T_183 same date, with 9 others](https://peteryuill.art/works/T_183)[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)