--- title: "T_193, sumi ink on paper | Crucible Year" url: https://peteryuill.art/works/T_193 description: "T_193 by Peter Yuill: A grey wheel of dragged brushstrokes runs between two black masses, with a column of soft drops falling through the open paper below. 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 --- ![Wide ink painting: grey sweeping arcs in a rough circle, black masses at top left, top right and lower right, spatter across pale lower left.] ![T_193, tone-stretched: what the model was shown] ![T_193: every pixel as the measuring code classes it] 97 × 180 cm · the whole sheet, uncropped # T_193 The engine's reading A grey wheel of dragged brushstrokes runs between two black masses, with a column of soft drops falling through the open paper below. 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_193](https://peteryuill.art/enquiries?work=T_193) Availability, price or a studio visit. Peter replies himself; asking commits you to nothing. The old ones tell of a wheel left spinning grey on a riverbank, and of two things that came out of the dark to claim it. The one on the left was the greedy one. It drank too fast, swelled into a lump with no road through it, and the river would not carry it. The one on the right was patient and sat down on the rim. Neither claimant won. In these stories, a wheel promised to two people just goes on turning. I was there for the reckoning, such as it was. A pocket somewhere had a hole in it. Below the wheel the drops still fall in a line toward the bottom of the world, a trail for a child who has not set out 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_193#details)[The reading](https://peteryuill.art/works/T_193#reading)[How it was read](https://peteryuill.art/works/T_193#read)[Date](https://peteryuill.art/works/T_193#date)[Materials](https://peteryuill.art/works/T_193#materials)[Related](https://peteryuill.art/works/T_193#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:** black masses top left and top right, joined by grey arcs, dark slab lower right - **Movement:** a broad sweep from top left round to the right; dot trails fall against it - **Coverage:** ink on about two thirds of the paper - **Tone:** three tonal steps, spread across the range - **Layering:** pale grey sweeps, mid-grey dry brush, black masses; readable on the right - **Edges:** crisp at grey stroke ends and the lower slab; soft, dissolved lobes top left - **Feibai:** present in the right-hand grey arcs and the long lower-right curve - **Open paper:** broad irregular field lower left; pale oval held inside the arcs at centre - **Chance marks:** spatter across the lower centre; soft bled drops in a column; brown specks lower left - **Frame:** ink runs off the left, top and right edges; the bottom stays open A wide grey wheel turns across the paper. It leaves the black cloud at top left, drops through the centre in long dragged arcs, and comes round on the right, where a second black mass and a dark slab ride its rim. The eye goes round once before it settles anywhere. The wheel is the reason to look. In the right-hand arcs the brush moved fast over raw bark paper, and the paper's rough grip split the hairs into parallel streaks of white that hold their curve to the end. Near the lower-right slab the grey turns grained and banded, so even the darkest corner has weather in it. The blacks are heavier company. The top-left mass is a lobed blot with no path through it. The thirsty paper has softened its edges, and its interior is nearly flat. On the right the blacks sit on the grey rather than build from it. Lower left, the paper is simply left over, crossed by drifting spatter and a column of blurred drops. That leaves a good, sound sheet. It has one real movement, and the grey earns it. The black holds it back from more. 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_193] ![T_193, tone-stretched] ![T_193, classed by brightness] 67% 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: 0.049 (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 1 BLUNT 2 BUILT 2 BUILT 2 BUILT 2 BUILT 1.8 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 “An energetic gestural sheet close to R2. The grey arcs are fluent, but the principal black masses are blobby and fairly flat. The layering reads, though without depth. The lower left is weak, and the surface is mostly sound.” Form · BLUNT The grey arcs follow the brush, but the top-left black mass and the top-right mass have bulky, lobed edges. The lower-right wedge is a stiff slab. WEAKEST Top-left black mass: lobed blob without a stroke path STRONGEST Grey sweeping arc strokes across the centre Tonal depth · MODELLED Interior modulation of 0.049 is only just above flat. The lower-right wedge and grey arcs show grain and streaks. The top-left black is mostly uniform inside. WEAKEST Top-left black mass: nearly flat inside STRONGEST Lower-right wedge with grained grey interior Layering · LEGIBLE There are grey arc washes, a black-mass pass and spatter. The overlaps at the right stay readable, but the passes do not build ordered depth. WEAKEST Black masses cover the grey passes beneath them STRONGEST Translucent grey arcs under the right-hand black masses Composition · WORKING A swirling arc carries the eye from the top-left mass to the right cluster. The lower left is leftover paper with scattered spatter, and the right side feels crowded. WEAKEST Lower-left quarter: empty paper and scattered spatter STRONGEST Sweeping arc linking the left and right dark masses Material and surface · SOUND The ink is generally controlled and the dry-brush streaks are used well. There are small brownish specks on the lower left and fuzzy, bled drops at the bottom centre. Neither sits in a principal mass. WEAKEST Blurred, soft-edged drops at bottom centre STRONGEST Dry-brush streaking in the right-hand grey arcs FLAWS ## 4 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 4 distinct places, 9 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: 3 principal ink masses traced (cyan), 8 enclosed voids at true size in their grid cells (amber), the main gesture from start to end (red). Of 18 edge segments, 39% crisp, 22% soft or bloomed, 39% 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_193). ## 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_193 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_192](https://peteryuill.art/works/T_192) [Back to all works](https://peteryuill.art/works) [Next T_194](https://peteryuill.art/works/T_194) ## 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)