--- title: "T_196, sumi ink on paper | Crucible Year" url: https://peteryuill.art/works/T_196 description: "T_196 by Peter Yuill: A wide grey fan of dry brush rolls over a wedge of white paper, answered by a darker lower sweep and two black slabs on raw bark paper. 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 wide grey brushstroke arcs across white paper above a darker grey sweep, with black vertical marks at right and left and scattered spatter.] ![T_196, tone-stretched: what the model was shown] ![T_196: every pixel as the measuring code classes it] 97 × 180 cm · the whole sheet, uncropped # T_196 The engine's reading A wide grey fan of dry brush rolls over a wedge of white paper, answered by a darker lower sweep and two black slabs on raw bark paper. 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_196](https://peteryuill.art/enquiries?work=T_196) Availability, price or a studio visit. Peter replies himself; asking commits you to nothing. That is a heron. It stands on the right on a mooring post, stiff as a boot, with a string of drops rising off its head like breath on a cold morning. Behind it the weather is coming over in one long grey roll, the kind of front that flattens a whole hillside of bracken. The heron does not look up. It has decided it is a post. I admire that, the way you admire a man who keeps his hat on in a gale. When the rain comes it will come all at once, and afterwards the bird will still be there, shining, wet to the bone, facing the wrong way. 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_196#details)[The reading](https://peteryuill.art/works/T_196#reading)[How it was read](https://peteryuill.art/works/T_196#read)[Date](https://peteryuill.art/works/T_196#date)[Materials](https://peteryuill.art/works/T_196#materials)[Related](https://peteryuill.art/works/T_196#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:** large grey arc above, darker crescent below, black slabs at upper left and right - **Movement:** arc sweeps left to right; lower crescent counters it back toward the right edge - **Coverage:** ink on about half of the paper - **Tone:** four tonal steps, spread across the range - **Layering:** three kinds of pass: grey arc, dark hatching, black slabs; readable at centre-left - **Edges:** crisp on the black slabs; soft and bristled at the arc's ends - **Feibai:** present in the upper sweep of the grey arc - **Open paper:** white wedge between arc and crescent, opening toward bottom centre - **Chance marks:** spatter at left edge and around slabs; crease lines through centre; pale patches lower right - **Frame:** crescent runs off the right edge, thin tail off the bottom; top and left open A great grey fan of brush swings up from the left and rolls over to the right. Below it a darker sweep answers from the lower right and runs off the edge. Between the two the paper stays white, a clean wedge of light that both movements shape together. The arc is where the sheet lives. Its upper sweep opens into flying white, the hairs parting into long parallel bands of bare paper, and the raw bark paper grips each dry hair so the grain reads as speed. At centre-left a pass of dark broken hatching lies over the grey, and the order of the two stays clear. The black is the trouble. The vertical slab at right is filled flat to its walls, with nothing moving inside, and it sits on the grey without entering it. The club-shaped mark at lower left drifts away from everything, trailing drops. Crease lines cross the centre of the arc and pale patches cloud the lower crescent. The sheet absorbs them. That leaves a good, solid painting. The grey is fine work. The blacks are heavier than they are alive, and they hold the whole thing down. 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_196] ![T_196, tone-stretched] ![T_196, classed by brightness] 53% 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: 0.047 (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 sheet close to R2. A fluent dry-brush grey arc and crescent play against blunt, flat black slabs. The layering is legible and the composition works. Small creases and milky patches keep it ordinary.” Form · BUILT The big grey arc and the bottom-right crescent follow the stroke well. The right black slab and the bottom-left blob are bulky, stiff fills. WEAKEST Right vertical black slab, blunt and filled-in STRONGEST Large grey arc following the brush's sweep Tonal depth · MODELLED The arc has striated grain and the centre has stippled, stepped density. The right and bottom-left black masses are uniform inside; modulation 0.047 is barely above flat. WEAKEST Right vertical black slab, flat inside STRONGEST Dry-brush banding inside the grey arc Layering · LEGIBLE A grey arc pass, a grey crescent and black gestural marks over them. The overlaps stay legible, but there are only about two passes and no built depth. WEAKEST Black slabs simply sit over the grey STRONGEST Black flecks over the grey arc at centre-left Composition · WORKING The arc and the lower crescent make a strong countermovement around shaped white at the centre-right. The bottom-left figure and the left spatter feel detached. WEAKEST Isolated bottom-left black figure and spatter STRONGEST Sweeping arc carrying the eye left to right Material and surface · SOUND The dry-brush grain is used well in the arc. Fold or crack lines cross the centre, and pale milky streaks sit inside the bottom-right grey mass. They are small but visible. WEAKEST Crease lines and milky patches in lower crescent STRONGEST Dry-brush grain shaping the grey arc 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, 11 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 19 edge segments, 42% crisp, 11% soft or bloomed, 47% 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_196). ## 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_196 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_194](https://peteryuill.art/works/T_194) [Back to all works](https://peteryuill.art/works) [Next T_197](https://peteryuill.art/works/T_197) ## 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)