--- title: "T_212, sumi ink on paper | Crucible Year" url: https://peteryuill.art/works/T_212 description: "T_212 by Peter Yuill: A broad black wheel over a pale grey disc swings through a thick neck of ink into a heavy dark mass crowding the upper right. 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 black circular sweep over a grey disc at left, joined by a thick dark neck to a heavy black mass at upper right.] ![T_212, tone-stretched: what the model was shown] ![T_212: every pixel as the measuring code classes it] 97 × 180 cm · the whole sheet, uncropped # T_212 The engine's reading A broad black wheel over a pale grey disc swings through a thick neck of ink into a heavy dark mass crowding the upper right. 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_212](https://peteryuill.art/enquiries?work=T_212) Availability, price or a studio visit. Peter replies himself; asking commits you to nothing. Rain started on the left pond before the storm arrived. Small rings, each one certain it was the first. I stood at the edge in a wet coat and did not count them. Then the weather came in from the east like a cow through a gate: heavy, a little stupid, entirely sure of itself, and it leaned its whole black shoulder on the water until pond and storm were one animal breathing. The pond was not consulted. The pond kept its rings anyway, down under the dark, small and round and stubborn, humming through the argument. By evening the cow had lain down in the reeds, steaming. Out in the grey, the rings were still opening. 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_212#details)[The reading](https://peteryuill.art/works/T_212#reading)[How it was read](https://peteryuill.art/works/T_212#read)[Date](https://peteryuill.art/works/T_212#date)[Materials](https://peteryuill.art/works/T_212#materials)[Related](https://peteryuill.art/works/T_212#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:** circular vortex at left, dark lobed mass at upper right, joined by central neck - **Movement:** figure-eight rotation, left to right through centre; right mass pulls downward against it - **Coverage:** ink on about four fifths of the paper - **Tone:** five tonal steps, spread across the range - **Layering:** grey washes under black arcs; readable at left, buried under darks at right - **Edges:** crisp on left arcs, ragged on right lobes, soft along grey washes - **Feibai:** present in lower left arcs of the vortex and streaked left flank of the right mass - **Open paper:** narrow wedge at top centre, ragged field below the bridge at lower centre - **Chance marks:** drop rings inside left disc, blotches at top centre, tide line below bridge, spatter around edges - **Frame:** ink runs off left, bottom left and top right; right edge and top left mostly open Two masses meet in the middle and turn the sheet into a figure eight. A wide vortex fills the left half, a heavier dark block crowds the upper right, and a thick neck of black joins them just right of centre. The eye enters at the left and is carried round and across. The left wheel is the live part. Its black arcs follow the brush all the way round, and at the lower left the hairs split into flying white, so the curve keeps its speed while the paper shows through. Beneath, a pale grey disc stays readable, because half-sized bark paper holds each pass where it lands. The right side spends that. Its streaked left flank has grain, but the block above is a slab of nearly even black with nothing moving inside it, and the neck that feeds it is clumsy. Within the wheel itself the greys cloud together, pocked with drop rings, and the order of passes goes soft. Ink takes most of the paper, so the white at top centre and below the bridge does little shaping. The plan is clear and the wheel is good. The rest is the year's usual work: committed, uneven, carried by its left half. 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_212] ![T_212, tone-stretched] ![T_212, classed by brightness] 81% 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: 0.052 (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 “An energetic double vortex close to R2. The left spiral is fluent, while the right mass is heavy and crowded. Drop rings and blooms in the pale left disc mark the surface. Tone and layering are ordinary.” Form · BUILT The left circular sweep has fluent, curved stroke walls. The right dark mass is heavy, with ragged lobes, and the bridging neck is clumsy. WEAKEST right mass: bulky, slab-like dark block, top right STRONGEST left spiral arcs following the brush's sweep Tonal depth · MODELLED Modulation is 0.052, just above flat. The right mass shows grain and banding. The left crescent darks are mostly uniform. Five tonal steps. WEAKEST dark crescent at the lower left is fairly flat inside STRONGEST right mass: grainy, banded interior greys Layering · LEGIBLE Pale grey circular washes sit under the black arcs and stay readable at the left. On the right, later dark passes largely cover the earlier greys. WEAKEST grey passes under the right mass are partly smothered STRONGEST pale grey disc showing through the left spiral Composition · WORKING Two linked vortices make a figure-eight flow, with paper shaped at the top centre and lower centre. Coverage of 0.81 crowds the sheet, and the right block is dense. WEAKEST right mass is heavy and crowds the right edge STRONGEST linked double vortex moving the eye from left to right Material and surface · FLAWED The left disc interior has many circular drop rings and milky blotches beside the dark arcs. There is a pale cloudy wash edge at the lower centre. Visible in the colour view. WEAKEST drop rings and blooms inside the pale left disc STRONGEST dry-brush grain in the right mass 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: 1 principal ink mass traced (cyan), 4 enclosed voids at true size in their grid cells (amber), the main gesture from start to end (red). Of 18 edge segments, 39% crisp, 33% soft or bloomed, 28% 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_212). ## 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_212 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_210](https://peteryuill.art/works/T_210) [Back to all works](https://peteryuill.art/works) [Next T_213](https://peteryuill.art/works/T_213) ## 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)