--- title: "T_213, sumi ink on paper | Crucible Year" url: https://peteryuill.art/works/T_213 description: "T_213 by Peter Yuill: A broad grey arc climbs from the lower left over a dense black block and comes down the right side, above a hollow of white 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 --- ![A wide grey brushed arc over white space, a dense black rectangle at centre, and black spatter scattered across pale paper.] ![T_213, tone-stretched: what the model was shown] ![T_213: every pixel as the measuring code classes it] 97 × 180 cm · the whole sheet, uncropped # T_213 The engine's reading A broad grey arc climbs from the lower left over a dense black block and comes down the right side, above a hollow of white 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_213](https://peteryuill.art/enquiries?work=T_213) Availability, price or a studio visit. Peter replies himself; asking commits you to nothing. The creases cross the black like the lines on my grandfather's palm, which he laid flat on the kitchen table so I could read his future, most of it already spent. Heart line, head line, and a deep fold where a gate once caught him. He let me trace them with a wet finger. The oilcloth under his hand had worn pale in a square where his elbow rested every morning. I could not read anything there. I told him long life. He said good, and closed the hand, and the lines went into the dark of the fist the way a map goes back into a coat pocket. 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_213#details)[The reading](https://peteryuill.art/works/T_213#reading)[How it was read](https://peteryuill.art/works/T_213#read)[Date](https://peteryuill.art/works/T_213#date)[Materials](https://peteryuill.art/works/T_213#materials)[Related](https://peteryuill.art/works/T_213#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:** one broad arc over a central black block, with pale rectangles behind it at upper left - **Movement:** left to right, rising then falling; spatter at upper right flies outward against it - **Coverage:** ink on about four fifths of the paper - **Tone:** five tonal steps, weighted to the middle greys - **Layering:** three kinds of pass: pale washes, grey arc, then black and spatter; readable at upper left - **Edges:** crisp on the black block and pale planes; soft in the left arc; broken in streaks - **Feibai:** present along the dark band at the top right of the arc - **Open paper:** a white hollow under the arch at bottom centre, and thin margins along the top - **Chance marks:** blooms and ringed drops in left arc; blots lower right; spatter at top and right - **Frame:** grey wash meets the left edge; spatter runs off top and right; bottom mostly open A single grey arc runs the sheet. It rises from the bottom left, climbs over the middle and comes down on the right, and the eye travels with it the whole way. Beneath the arch the paper stays white, a shaped hollow at bottom centre that gives the curve something to stand over. The arc is best where the brush shows. At the top right the hairs part and the dark band thins into parallel streaks of bare paper, quick and clean. At upper left, pale square washes lie under the darker sweep and stay visible through it. Half-sized paper keeps each pass from soaking into the last. The centre is where it fails. The black block is a blunt slab, dense and nearly even inside, with fold creases crossing it, and the arc runs into it and stops. Inside the left arc, drops let into the wet grey have opened into cloudy blooms and rings, and the stroke goes blotchy. The sheet sits squarely at the middle of the archive. The arc moves and the edges of its passes are alive. The middle is a weight the arc never lifts. 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_213] ![T_213, tone-stretched] ![T_213, classed by brightness] 83% 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: 0.065 (under 0.045 reads as flat). FIVE READS ## Five reads, agreeing on 3 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 3 COMMANDING 2 WORKING 2.2 Material and surface 1 FLAWED 1 FLAWED 1 FLAWED 2 SOUND 1 FLAWED 1.2 ### READ 1, IN ITS OWN WORDS “An arc-driven, mid-grey-heavy sheet, close to R2. The left arc has some real tonal life, but the black block is stiff and flat. Cloudy washes and blotched drop clusters crowd the paper and hurt the surface.” Form · BUILT Large arc of grey strokes sweeps left to right and holds; central black is a stiff block; drop clusters lower right are blobby. WEAKEST Central black block, blunt slab-like rectangle STRONGEST Left grey arc sweep following brush travel Tonal depth · MODELLED Five tonal steps, mid-heavy; left arc shows drops, banding, granulation; central black mostly uniform with crease marks only; modulation 0.065. WEAKEST Central black block fairly flat inside STRONGEST Left arc with pooled drops and graded grey Layering · LEGIBLE Pale grey rectangular washes at upper left sit under the darker arc and stay readable; black block and drops sit atop, overlaps partly murky. WEAKEST Black block covers rather than layers over greys STRONGEST Pale translucent planes under the dark arc Composition · WORKING Arc gives clear direction around a pale inner space; coverage 83% leaves little shaped paper; spatter scattered across top and right adds clutter. WEAKEST Busy lower right drop cluster and spatter STRONGEST Sweeping arc carrying eye left to right Material and surface · FLAWED Cloudy milky grey washes across lower centre and right, blotchy drop clusters bleeding into the arc, crease lines through the black block visible at viewing distance. WEAKEST Cloudy pale grey washes with tide-like edges STRONGEST Granulated pooled drops in left arc FLAWS ## 6 distinct places, 2 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, 18 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: 2 principal ink masses traced (cyan), 7 enclosed voids at true size in their grid cells (amber), the main gesture from start to end (red). Of 18 edge segments, 33% crisp, 33% soft or bloomed, 33% 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_213). ## 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_213 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_212](https://peteryuill.art/works/T_212) [Back to all works](https://peteryuill.art/works) [Next T_219](https://peteryuill.art/works/T_219) ## Where next [T_208 same date, with 2 others](https://peteryuill.art/works/T_208)[T_219 the next shown painting in the sequence](https://peteryuill.art/works/T_219)[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)