--- title: "T_192, sumi ink on paper | Crucible Year" url: https://peteryuill.art/works/T_192 description: "T_192 by Peter Yuill: A dark hook with a feathered head sweeps up around a white clearing, under a crowded band of black blocks and beside a heavy slab at left. 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 --- ![Black and grey ink shapes: a dark slab at left, blocks along the top, a curved feathered stroke around white space at right.] ![T_192, tone-stretched: what the model was shown] ![T_192: every pixel as the measuring code classes it] 97 × 180 cm · the whole sheet, uncropped # T_192 The engine's reading A dark hook with a feathered head sweeps up around a white clearing, under a crowded band of black blocks and beside a heavy slab at left. 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_192](https://peteryuill.art/enquiries?work=T_192) Availability, price or a studio visit. Peter replies himself; asking commits you to nothing. The colony built the arm before it built the ship. Curved, feathered at the grip, reaching for an empty bay of white where something was supposed to dock. Every morning the crew checked the bay. Every morning, nothing. They kept the arm greased anyway, because a docking arm with no ship is still a promise, and promises are cheap to maintain on a world with this much weather. Up the hill the cargo containers sat jammed together where the last freighter dropped them, unopened, stencilled in a language the colony stopped teaching. I liked that colony. The colony produced no heroes. They swept the pad, logged the silence, and left the floodlights burning over a round of empty ground, humming. 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_192#details)[The reading](https://peteryuill.art/works/T_192#reading)[How it was read](https://peteryuill.art/works/T_192#read)[Date](https://peteryuill.art/works/T_192#date)[Materials](https://peteryuill.art/works/T_192#materials)[Related](https://peteryuill.art/works/T_192#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:** left slab, top-left lobe, central wedge, top blocks, top-right band, lower-right hook - **Movement:** horizontal drift left to right; the hook curls upward against it - **Coverage:** ink on about three quarters of the paper - **Tone:** three tonal steps, weighted dark - **Layering:** pale grey horizontal washes under dark strokes, readable in centre and right - **Edges:** feathered on fans and hook head; blunt on left slab; grainy at right edge - **Feibai:** none - **Open paper:** rounded white clearing at centre right, held inside the hook - **Chance marks:** speckled wash and tide lines at right edge; droplet rings below top-centre strokes - **Frame:** ink runs off left, top and right; bottom edge mostly open The eye goes to the hook first. It rises from the lower centre, swings right and opens into a feathered head, curling around a white clearing that the rest of the sheet leans toward. Everything else stacks in heavy darks along the top and down the left side. The hook carries the sheet. Its body follows the travel of the brush, and on raw bark paper the wet head has drunk outward into fine feathers that still hold the stroke's shape. Above it, the top-right band has the most life of any dark here, with arcs of tone banded inside. Pale grey washes run beneath the central strokes and still read as an earlier pass. The costs gather at the left and the top. The left slab is a blunt wall of nearly flat black. The top-centre blocks stand shoulder to shoulder with no air between them. The dark pass mostly covers the greys instead of building on them, and at the right edge a cloudy wash has dried into speckle and tide lines beside the hook. One good gesture, one rich band, and a great deal of weight doing little. A plain, typical sheet. 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_192] ![T_192, tone-stretched] ![T_192, classed by brightness] 75% 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: 0.046 (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 “A dense, energetic sheet. The hook and the top band are its best parts. The left half is crowded and bulky, layering is modest, and a mottled stained wash at the right edge counts against the material.” Form · BUILT The hook stroke at lower right and the top-right band hold their shape and follow the brush. The upper-left lobe and left wedge are bulky, and some joins look clumsy. WEAKEST Bulky upper-left dark lobe with dissolved bottom edge STRONGEST Lower-right sweeping hook stroke with feathered head Tonal depth · MODELLED The top-right band has banding and the hook shows feathered gradation. The left wedge base is near-uniform black. Dark modulation is 0.046, just above the flat threshold. WEAKEST Left vertical dark wedge, fairly flat dark bottom STRONGEST Top-right band with banded arcs inside Layering · LEGIBLE Pale grey horizontal washes run beneath the dark verticals in the centre and the hook. Two or three passes can be read, but the darks mostly sit on top instead of building depth. WEAKEST Dark marks largely cover the pale washes STRONGEST Pale grey horizontal bands under the central dark strokes Composition · WORKING The hook and the top band frame a shaped white void at centre-right. The left half is crowded with blocky masses, and the top-centre strokes are jammed together. WEAKEST Crowded, jammed top centre column strip STRONGEST Hook curving around the central white void Material and surface · FLAWED At the right edge, a pale wash beside the hook is mottled with granular specks and blotches, and droplet rings sit near the top-centre strokes. These are visible in the colour view next to principal masses. WEAKEST Mottled cloudy grey wash at right edge STRONGEST Feathered edges of the hook and the flower-like burst FLAWS ## 6 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 6 distinct places, 19 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: 3 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 25 edge segments, 48% crisp, 52% soft or bloomed, 0% 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_192). ## 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_192 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_189](https://peteryuill.art/works/T_189) [Back to all works](https://peteryuill.art/works) [Next T_193](https://peteryuill.art/works/T_193) ## 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)