--- title: "T_210, sumi ink on paper | Crucible Year" url: https://peteryuill.art/works/T_210 description: "T_210 by Peter Yuill: A black mass at the left and a grey fan of strokes at the right, joined by one low dry-brush sweep beneath a drip-spotted wedge of bare paper. 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 --- ![Wide ink painting: dense black mass at left, grey hand-like shape and pale rectangles at right, joined by a low dry-brush arc, drips above.] ![T_210, tone-stretched: what the model was shown] ![T_210: every pixel as the measuring code classes it] 97 × 180 cm · the whole sheet, uncropped # T_210 The engine's reading A black mass at the left and a grey fan of strokes at the right, joined by one low dry-brush sweep beneath a drip-spotted wedge of bare paper. 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_210](https://peteryuill.art/enquiries?work=T_210) Availability, price or a studio visit. Peter replies himself; asking commits you to nothing. Below the grey hand at the right, a ring has been drawn and left unclosed. In the country I grew up in, that is how you summon something small: leave the circle open a finger's width, so whatever comes can also go. The hand above it looks like it knows the rule and is pretending not to. Up top the drops have already landed, a rain of dark coins from a treasury that went broke halfway through the spell. I gathered them for the tax collector. He wanted more. The ring stays open. Something the size of a wren steps through, looks at the cloud in the middle, and steps back out, shaking ink from its feet. 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_210#details)[The reading](https://peteryuill.art/works/T_210#reading)[How it was read](https://peteryuill.art/works/T_210#read)[Date](https://peteryuill.art/works/T_210#date)[Materials](https://peteryuill.art/works/T_210#materials)[Related](https://peteryuill.art/works/T_210#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 mass at left, grey fan and slabs at right, joined by a sweeping arc - **Movement:** left to right along the low arc; drips scatter across the top against it - **Coverage:** ink on about four fifths of the paper - **Tone:** six tonal steps, weighted to the middle greys - **Layering:** pale washes, grey slabs, black strokes; readable at right, clouded at centre - **Edges:** crisp tide lines on top-right slabs, broken bristle edges at left and arc, soft at centre - **Feibai:** present, in the long sweeping arc from lower centre towards the right fan - **Open paper:** pale wedge at top centre, broad open ground at lower right - **Chance marks:** drips and blots across upper paper, ring-like grey loop under right fan, bloom beside centre dark - **Frame:** ink runs off left edge and top corners; top centre and lower right stay open A black mass holds the left end of the paper and a grey fan of strokes holds the right. Between them one long dry-brush sweep swings low across the sheet, left to right. Above it a pale wedge of bare paper opens at the top centre, spotted with drips. The sweep is where the sheet comes alive. The bristles parted at speed and left streaks of white inside the stroke, and the half-sized bark paper held the dry hairs at its surface, so the streaks stay clean and directional. The left mass works the same way: inside its black, grain and streaks stay open, and the dark has a body you can see into. The centre gives that back. The black slab there is flat inside, and its left side melts into a cloudy, milky grey where wet washes ran together and the order of passes is lost. Drip rings crowd the greys around it. So the ends and the arc between them are well made, and the middle, where everything meets, never settles. It stands among the archive's usual sheets, lifted by its sweep and held down by its centre. 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_210] ![T_210, tone-stretched] ![T_210, classed by brightness] 78% of the sheet carries ink TONAL STEPS ## 6 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: 0.053 (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 gestural sheet close to R2. The dark masses on both sides are joined by a dry-brush arc. The centre is cloudy and crowded, and drips and a ring-like arc mar the surface. Most ladders sit at the ordinary rung.” Form · BUILT The left black mass and the right fan stroke are nameable shapes with clear brush travel. The centre dark mass is ragged and partly dissolved, and the top-right grey slab is stiff. WEAKEST centre dark mass, blotchy with a dissolved left edge STRONGEST sweeping dry-brush arc linking left mass to right Tonal depth · MODELLED The left mass shows dry-brush streaks and creases in the stretched view. The right fan has stepped greys. The centre black is mostly flat. Modulation is 0.053, barely above the flat line. WEAKEST centre dark mass, flatter inside STRONGEST left black mass, with grain and streaks inside Layering · LEGIBLE The grey slabs at top right and top centre sit under the dark strokes and stay readable. Near the centre the overlaps go cloudy and the order of passes is harder to read. WEAKEST centre, where grey wash and black merge cloudily STRONGEST top-right translucent slabs under the dark fan Composition · WORKING The masses at left and right are joined by a sweeping arc, and the pale top-centre paper is shaped. With 78% coverage the sheet feels crowded, and the centre is muddled. WEAKEST centre area, crowded and cloudy STRONGEST sweeping arc carrying the eye left to right Material and surface · FLAWED Scattered round drips and blots at top centre, a ring-like grey arc at bottom right, and a cloudy wash beside the centre dark are all visible in the colour view. WEAKEST drips and rings on the pale paper STRONGEST dry-brush grain in the left mass 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: 1 principal ink mass traced (cyan), 9 enclosed voids at true size in their grid cells (amber), the main gesture from start to end (red). Of 17 edge segments, 41% crisp, 24% soft or bloomed, 35% 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_210). ## 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_210 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_208](https://peteryuill.art/works/T_208) [Back to all works](https://peteryuill.art/works) [Next T_212](https://peteryuill.art/works/T_212) ## Where next [T_208 same date, with 2 others](https://peteryuill.art/works/T_208)[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)