--- title: "T_200, sumi ink on paper | Crucible Year" url: https://peteryuill.art/works/T_200 description: "T_200 by Peter Yuill: A pale grey brushed ring turns across a wide sheet of raw bark paper, gathering a rough dark wedge, a black cloud and a heavy black slug. 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: a pale grey brushed ring circles an open centre, with dark masses at left, upper right and bottom, and scattered spatter.] ![T_200, tone-stretched: what the model was shown] ![T_200: every pixel as the measuring code classes it] 97 × 180 cm · the whole sheet, uncropped # T_200 The engine's reading A pale grey brushed ring turns across a wide sheet of raw bark paper, gathering a rough dark wedge, a black cloud and a heavy black slug. 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_200](https://peteryuill.art/enquiries?work=T_200) Availability, price or a studio visit. Peter replies himself; asking commits you to nothing. The black at the bottom came down like a ship that forgot to slow. Heavy hull, thin cable trailing back toward the left, as if it towed something all the way from orbit and let go at the last moment. I like the crew already. They brought no windows. They brought density, and a plan to stay dense here for good. Up in the grey, the old orbit is still turning, scratched pale where something scraped the atmosphere on the way in. Across the gap a dark world throws its spray at the sky, hailing them. The hull does not answer. They are busy unpacking the one thing they carried, which is weight, and setting it down on the sand. 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_200#details)[The reading](https://peteryuill.art/works/T_200#reading)[How it was read](https://peteryuill.art/works/T_200#read)[Date](https://peteryuill.art/works/T_200#date)[Materials](https://peteryuill.art/works/T_200#materials)[Related](https://peteryuill.art/works/T_200#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 ring joining left cluster, upper-right dark cloud and bottom black slug - **Movement:** circular sweep from left, under the centre, up to the right; nothing against it - **Coverage:** ink on about half of the paper - **Tone:** three tonal steps, weighted light - **Layering:** two kinds, grey sweep under dark accents; readable at left and bottom - **Edges:** crisp on bottom slug and left wedge; soft on right cloud; broken in ring - **Feibai:** present in the ring's lower sweep and the upper stroke reaching right - **Open paper:** oval centre held inside the ring; clear strip down the right edge - **Chance marks:** spatter at left edge and upper right; pale drips lower right; bloom upper left - **Frame:** ink touches the left edge and top left; right and bottom stay open A grey ring sweeps across the paper. It starts in the clotted cluster at the left, runs down under the centre, and climbs toward a dark cloud at the right. Three dark anchors sit on that ring, and one turn holds them together around an open centre with a clear shape. The ring is the best thing on the sheet. In its lower sweep, and in the upper stroke that reaches toward the right, the hairs of the brush part and leave long, even streaks of bare paper. Raw bark paper grips a drying brush hard, so each streak stays sharp and keeps the direction of travel. The right mass answers it: dense at the rim, lighter at the core. The costs sit at either end. The upper left is crowded, with wash, dark wedge, grain and drips stacked into one corner and watery blots running down the edge beside them. The black lozenge at the bottom is blunt, and its ink lies almost flat inside, so it carries weight and very little else. The sheet does its main work well, and the ring earns that. The crowded corner and the flat black hold 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_200] ![T_200, tone-stretched] ![T_200, classed by brightness] 53% 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: 0.054 (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 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 2 SOUND 2 SOUND 1 FLAWED 2 SOUND 1.6 ### READ 1, IN ITS OWN WORDS “This is an energetic circular sweep with three dark anchors and is ordinary overall. The arc is fluent, but the bottom black is bulky and flat. Watery blots and puddles around the masses lower the surface; the sheet is close to R2.” Form · BUILT The large grey circular sweep follows the brush's travel. The bottom-centre black lozenge and the right black mass are bulky. The left dark wedge holds its shape. WEAKEST Bottom dark slug is a bulky, blunt lozenge STRONGEST Grey sweeping arc with dry-brush striations Tonal depth · MODELLED The tone-stretched view shows a lighter core and arcs inside the right mass, and banding in the left wedge. The bottom lozenge is mostly uniform. Modulation is 0.054 with three tonal steps. WEAKEST Bottom black lozenge is nearly flat inside STRONGEST Right dark mass with a pale core and arcs Layering · LEGIBLE There is a translucent grey sweep pass, then black accents and spatter. Overlaps at the left and bottom-right stay readable, but the sequence stays simple. WEAKEST Black passes sit on the grey but do not build depth STRONGEST Grey arc overlapping the left textured dark passage Composition · WORKING A ring movement carries the eye around three dark anchors, and the centre of the paper is shaped by the arc. The left side is cluttered and the floating grey dabs in the centre are weak. WEAKEST Upper-left cluster is busy and crowded STRONGEST Circular sweep linking three dark anchors Material and surface · FLAWED Watery grey blots run down the far left, and pale puddle drops sit at the lower right beside the arc. A cloudy wash sits in the upper-left mass, visible in the colour view. WEAKEST Pale drip blots and watery puddles beside the masses STRONGEST Dry-brush striations in the grey 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, 16 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 16 edge segments, 56% crisp, 38% soft or bloomed, 6% 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_200). ## 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_200 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_199](https://peteryuill.art/works/T_199) [Back to all works](https://peteryuill.art/works) [Next T_208](https://peteryuill.art/works/T_208) ## Where next [T_183 same date, with 9 others](https://peteryuill.art/works/T_183)[T_208 the next shown painting in the sequence](https://peteryuill.art/works/T_208)[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)