--- title: "T_208, sumi ink on paper | Crucible Year" url: https://peteryuill.art/works/T_208 description: "T_208 by Peter Yuill: One great arc of stacked ink passes, pale at its rim and black at its low left end, throwing spatter off its right shoulder. Sumi ink on Red Star Mo She Special Effect Xieyi Edition, half-raw (June 2025 batch), 97 × 180 cm, 2026.04.12. Crucible Year." source: generated from the Crucible Year master database --- ![A wide dark arc sweeps from lower left over to lower right on white paper, with paler bands above and ink spatter at the right.] ![T_208, tone-stretched: what the model was shown] ![T_208: every pixel as the measuring code classes it] 97 × 180 cm · the whole sheet, uncropped # T_208 The engine's reading One great arc of stacked ink passes, pale at its rim and black at its low left end, throwing spatter off its right shoulder. Record - **Date:** 2026.04.12 - **Dimensions:** 97 × 180 cm - **Paper:** [Red Star Mo She Special Effect Xieyi Edition, half-raw (June 2025 batch)](https://peteryuill.art/papers/S12) - **Ink:** [Yi De Ge Refined Ink Juice](https://peteryuill.art/inks/MB4), [Boku-Undo Genso](https://peteryuill.art/inks/MB5), [Yi De Ge Yun Tou Yan](https://peteryuill.art/inks/MB6) [Enquire about T_208](https://peteryuill.art/enquiries?work=T_208) Availability, price or a studio visit. Peter replies himself; asking commits you to nothing. From the station window the planet is mostly night, and the night has slumped to one end, as if something settled there and never got up. I like the rim best. Four thin skins of air, each a shade paler, the sun coming through all of them at once. The colony ships leave from the bright side and shed their debris off the right shoulder in a long dirty fan. Kessler warned about this long before the colony: debris breeding debris, and orbit never swept. Someone in the galley says the dark pole has its own weather, and it never changes. I tell them that is not weather, that is a lid. Then the station turns, and the thin skins light one after another, doors opening down a long corridor. 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_208#details)[The reading](https://peteryuill.art/works/T_208#reading)[How it was read](https://peteryuill.art/works/T_208#read)[Date](https://peteryuill.art/works/T_208#date)[Materials](https://peteryuill.art/works/T_208#materials)[Related](https://peteryuill.art/works/T_208#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:** single broad arc built from concentric banded strokes - **Movement:** rises left, crests at top, falls right; nothing runs against it - **Coverage:** ink on about three quarters of the paper - **Tone:** five tonal steps, weighted dark - **Layering:** pale, mid and dark passes; readable along the upper rim only - **Edges:** crisp stepped edges at top; ragged lower edge; frayed right end - **Feibai:** present in the dark band right of centre and the frayed right end - **Open paper:** band across the top, widening into both upper corners - **Chance marks:** spatter at both ends; creases across dark; cloudy stain in lower band - **Frame:** spatter and drips reach the left and right edges; top stays open A single arc climbs from the lower left, crests across the top and comes down on the right, where it breaks into a fan of thrown spatter. It is built from the outside in: pale rims first, darker passes laid inside them, so the form deepens towards a black that sits low at the left. The top of the arc carries the sheet. Along the upper rim three or four translucent greys step outward like panes of stacked glass. Each pass stays distinct because the half-sized bark paper took one before the next arrived. Right of centre the dark band opens into flying white, the hairs parting into long streaks that keep the curve's direction. The left end does not keep up. It stops as a squared black slab, and inside it the dark is flat, sealed, with almost nothing moving. Along the lower band the passes went down wet and merged into cloudy grey, so the order that reads so clearly at the top is lost there. Creases cross the dark mass; the sheet carries them. That leaves a good, steady sheet. The upper rim earns it. The heavy left end keeps it 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_208] ![T_208, tone-stretched] ![T_208, classed by brightness] 77% of the sheet carries ink TONAL STEPS ## 5 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: 0.040 (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 2 SOUND 1 FLAWED 1 FLAWED 2 SOUND 2 SOUND 1.6 ### READ 1, IN ITS OWN WORDS “This sheet is a single banded arc in the manner of R3, with less to it. The upper layering is legible, but the black is flat, the lower-left end is blunt and the arc crowds the sheet. It is ordinary overall.” Form · BUILT One great arc built from banded strokes; upper bands are fluent, but the lower-left black end is a blunt wedge and the right end loosens into dissolving grey. WEAKEST Blunt dark slab end at lower left STRONGEST Upper translucent arc bands following brush travel Tonal depth · MODELLED Five tonal steps, with stepped greys and dry-brush streaks in the upper and right arc; the left black mass reads flat (modulation 0.040). WEAKEST Flat black interior of left mass STRONGEST Stepped grey bands along upper arc Layering · LEGIBLE Three or four arc passes stay legible as stepped bands at the top; underneath, the lower passes merge into a general grey, so the order is less clear. WEAKEST Lower band where passes blur together STRONGEST Stacked translucent bands along top edge Composition · WORKING A single arc fills 77% of the sheet and gives clear movement, but the empty paper is mostly leftover margin and the lower-right end goes soft. WEAKEST Crowded lower-right, little shaped paper STRONGEST Sweeping arc carrying eye left to right Material and surface · SOUND Ink is controlled and the spatter is deliberate. Paper creases cross the central dark and a slightly cloudy grey sits in the lower band; neither is a major disruption. WEAKEST Crease lines crossing dark mass STRONGEST Dry-brush streaking in upper bands 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, 13 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: 1 principal ink mass traced (cyan), 3 enclosed voids at true size in their grid cells (amber), the main gesture from start to end (red). Of 15 edge segments, 27% crisp, 53% soft or bloomed, 20% 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_208). ## Date 2026.04.12, day 105 of the Crucible Year, one of 13 paintings from that date (4 shown). 45 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: [P2 The Switch](https://peteryuill.art/phases/P2) (working title). THE YEAR ## T_208 among all 402 Every painting of the year by date; this one is outlined. [Every painting from 2026.04.12](https://peteryuill.art/days/2026-04-12) · [This date in the year](https://peteryuill.art/year?follow=2026-04-12) ## Materials - **Paper:** [Red Star Mo She Special Effect Xieyi Edition, half-raw (June 2025 batch)](https://peteryuill.art/papers/S12), China Xuan Paper Co., Ltd., made 2025.06.07 - **Ink MB4:** [Yi De Ge Refined Ink Juice](https://peteryuill.art/inks/MB4), Yi De Ge (Beijing) - **Ink MB5:** [Boku-Undo Genso](https://peteryuill.art/inks/MB5), Boku-Undo - **Ink MB6:** [Yi De Ge Yun Tou Yan](https://peteryuill.art/inks/MB6), Yi De Ge (Beijing) The sheet of paper was made 309 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 · 3 Same paper and inks, other dates · 8 [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_200](https://peteryuill.art/works/T_200) [Back to all works](https://peteryuill.art/works) [Next T_210](https://peteryuill.art/works/T_210) ## Where next [T_210 same date, with 2 others](https://peteryuill.art/works/T_210)[T_276 same paper and inks, 2026.05.07](https://peteryuill.art/works/T_276)[2026.04.12 13 paintings on this date](https://peteryuill.art/days/2026-04-12)[Paper S12 every work on it](https://peteryuill.art/papers/S12)