--- title: "T_220, sumi ink on paper | Crucible Year" url: https://peteryuill.art/works/T_220 description: "T_220 by Peter Yuill: A broad grey sweep and a black upright curve lean toward each other on raw bark paper, set in cloudy washes with spatter gathered low at left. Sumi ink on Red Star Mo She Special Effect Xieyi Edition, raw, 97 × 180 cm, 2026.04.15. Crucible Year." source: generated from the Crucible Year master database --- ![A wide grey ink sweep curves across the left, a black curved upright stroke stands at right, with cloudy pale washes and dark spatter at lower left.] ![T_220, tone-stretched: what the model was shown] ![T_220: every pixel as the measuring code classes it] 97 × 180 cm · the whole sheet, uncropped # T_220 The engine's reading A broad grey sweep and a black upright curve lean toward each other on raw bark paper, set in cloudy washes with spatter gathered low at left. Record - **Date:** 2026.04.15 - **Dimensions:** 97 × 180 cm - **Paper:** [Red Star Mo She Special Effect Xieyi Edition, raw](https://peteryuill.art/papers/S11) - **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_220](https://peteryuill.art/enquiries?work=T_220) Availability, price or a studio visit. Peter replies himself; asking commits you to nothing. The black column has a flood line at its ankle, the pale ring a river leaves on a fence post after it goes home. I like the post. It stood in the water all spring and did not lean. The water was less disciplined: it wandered the field, sat down wherever it pleased, left grey silt in patches and foam drying in the reeds. Rivers visit with everything they own and leave half of it behind. Crows came to inspect. A heron stood in the shallows and tested the depth with one careful foot. By June the field will be cracked mud with a fence post in it, dark to the knee, and the river already miles downstream, telling the sea about the post. 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_220#details)[The reading](https://peteryuill.art/works/T_220#reading)[How it was read](https://peteryuill.art/works/T_220#read)[Date](https://peteryuill.art/works/T_220#date)[Materials](https://peteryuill.art/works/T_220#materials)[Related](https://peteryuill.art/works/T_220#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:** wide grey arc at left, black curved column at right, washes between - **Movement:** left arc swings down and right; right column bends back against it - **Coverage:** ink on about three quarters of the paper - **Tone:** four tonal steps, weighted to the middle greys - **Layering:** pale washes, grey sweep, black stroke; readable where the strokes overlap washes - **Edges:** crisp walls on the black column; soft, ragged wash edges; hard tide edges top centre - **Feibai:** present in the lower tails of the left sweep and the pale arc below the black column - **Open paper:** uneven strip along the bottom, widest at lower left - **Chance marks:** spatter cluster lower left; tide lines and blooms beside and below the black column; stains top centre - **Frame:** washes run off the top, left and right edges; the bottom edge stays open Two strokes lean toward each other across a grey haze. On the left, a broad sweep curls down from a blocky start toward the lower middle. On the right, a black column bends the other way and stops on a blunt foot. The eye rides the left arc and lands hard on the black. The right column is where the sheet comes alive. Its upper half is combed into silvered streaks where the hairs dragged over raw bark paper, which grips a dry brush and keeps every bristle track. Lower down the black gathers through visible grain. The left sweep repeats that combing in its tails, fainter, laid over pale washes that still show beneath it. The trouble is in the ground. Raw paper drinks fast and spreads wide, so the pale washes dried into cloudy patches with hard tide edges, pocked beside the black stroke and crowding the top centre. The open paper loses its shape there. The black foot pools almost flat, and the sweep begins as a heavy block. The result sits squarely in the middle of the run. One passage rewards close looking, and the ground around it never settles. 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_220] ![T_220, tone-stretched] ![T_220, classed by brightness] 77% of the sheet carries ink TONAL STEPS ## 4 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: 0.077 (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 3 DEEP 3 DEEP 2.4 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 “Two sound gestural strokes in a working diagonal composition. The dark right stroke is the best part. The cloudy, mottled background washes with tide edges muddy the space and pull material down, so the sheet sits near R2.” Form · BUILT Right vertical stroke curves cleanly with a rounded, bristled foot. The left grey sweep arcs coherently, but its upper-left end is bulky and blurred into wash. WEAKEST Left sweep's ragged, washy upper-left end STRONGEST Right dark curved stroke following brush travel Tonal depth · MODELLED Modulation 0.077 and four tonal steps. Both strokes show bristle streaks and graded density, but the surrounding grey washes are cloudy and lifeless, so the range between them is thin. WEAKEST Cloudy, flat pale background washes STRONGEST Bristle-streaked gradation inside the right dark stroke Layering · LEGIBLE Pale washes go down first, then the grey sweep, then the black stroke. Each pass can still be read where they overlap, but the order does not build depth across the sheet. WEAKEST Background washes merge into a vague, cloudy layer STRONGEST Dark stroke laid clearly over grey washes Composition · WORKING The left sweep and the right column arc toward each other and give the sheet a direction. The top centre is filled with mottled wash, so the empty paper loses its shape. WEAKEST Busy, cloudy top-centre field between the strokes STRONGEST Two converging diagonal arcs setting up movement Material and surface · FLAWED Mottled, tide-edged grey washes sit at the top centre and to the right of the black stroke, and are visible in the colour view. The background reads as cloudy, not chosen. WEAKEST Mottled tide-edged washes beside the dark stroke STRONGEST Dry-brush streaking inside the right dark stroke FLAWS ## 7 distinct places, 3 major. Each read must name every flaw and where it is, in a ninth of the sheet. Here the reads named flaws in 7 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), 7 enclosed voids at true size in their grid cells (amber), the main gesture from start to end (red). Of 14 edge segments, 36% crisp, 50% soft or bloomed, 14% 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_220). ## Date 2026.04.15, day 108 of the Crucible Year, one of 11 paintings from that date (8 shown). 58 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). Made after one of the busiest fortnights of the previous two months: 58 works in the fourteen days before. THE YEAR ## T_220 among all 402 Every painting of the year by date; this one is outlined. [Every painting from 2026.04.15](https://peteryuill.art/days/2026-04-15) · [This date in the year](https://peteryuill.art/year?follow=2026-04-15) ## 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 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 128 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 · 7 Same paper and inks, other dates · 6 [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_219](https://peteryuill.art/works/T_219) [Back to all works](https://peteryuill.art/works) [Next T_222](https://peteryuill.art/works/T_222) ## Where next [T_219 same date, with 6 others](https://peteryuill.art/works/T_219)[T_320 same paper and inks, 2026.05.31](https://peteryuill.art/works/T_320)[2026.04.15 11 paintings on this date](https://peteryuill.art/days/2026-04-15)[Paper S11 every work on it](https://peteryuill.art/papers/S11)