--- title: "T_222, sumi ink on paper | Crucible Year" url: https://peteryuill.art/works/T_222 description: "T_222 by Peter Yuill: Grey washes at the upper left and a splintered black fan at the right edge ring an open pale centre scattered with drips. 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 --- ![Grey washes upper left, jagged black mass at the right edge, a pale arc across the top, dark drips scattered over an empty pale centre.] ![T_222, tone-stretched: what the model was shown] ![T_222: every pixel as the measuring code classes it] 97 × 180 cm · the whole sheet, uncropped # T_222 The engine's reading Grey washes at the upper left and a splintered black fan at the right edge ring an open pale centre scattered with drips. 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_222](https://peteryuill.art/enquiries?work=T_222) Availability, price or a studio visit. Peter replies himself; asking commits you to nothing. The pale empty middle is the floor where the rug lay, a shade lighter than the boards around it because the sun never got at it. Moving day. Everything else has gone in the van. The grey at the upper left is the dust that was living under the sofa, and the dry arc across the top is my broom, already tired. The dots across the open floor are what the furniture left: marks from the feet of the table, a drawing pin, the chip where a pan was dropped in the first week. I sweep round them. You cannot sweep a dent. At the right the dark is the door, swinging shut in a gust, and the empty room rings once like a bowl. 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_222#details)[The reading](https://peteryuill.art/works/T_222#reading)[How it was read](https://peteryuill.art/works/T_222#read)[Date](https://peteryuill.art/works/T_222#date)[Materials](https://peteryuill.art/works/T_222#materials)[Related](https://peteryuill.art/works/T_222#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:** grey cluster upper left, black fan right edge, dry arc joining across top - **Movement:** clockwise sweep over the top into the right corner; long grey horn curls back - **Coverage:** ink on about two thirds of the paper - **Tone:** six tonal steps, weighted to the middle greys - **Layering:** pale wash, mid grey, black; readable at right, hazy at upper left - **Edges:** crisp at right shard tips; soft, tide-lined in left washes; broken along top arc - **Feibai:** present in the concentric arc across the top and inside the right dark sweep - **Open paper:** broad pale bowl filling the centre and lower middle - **Chance marks:** drips across the centre; mottled bloom under the top-right grey arc; creases upper left - **Frame:** ink runs off top, left and right edges; bottom edge mostly open A loose ring of ink circles a pale, empty middle. Grey washes gather at the upper left, a black fan breaks open at the right edge, and a dry arc across the top joins them, so the eye travels clockwise and drops into the right corner. The right side holds the weight. Pale grey shards lie under black strokes and every pass stays legible, the dark tapering into points that run off the edge. Inside the black the hairs have parted into streaks of bare paper, and the raw bark paper, which grips a dry brush hard, keeps each streak clean. The arc above repeats that speed in grey scratches. The left does not answer. On this fast, thirsty paper the big grey washes spread and dried cloudy, with tide lines and creases, and where they overlap the order of passes sinks into haze. A blunt dark blot near the left edge goes nowhere. Below, the lower centre is open paper sprinkled with drips that read as leftovers. So the sheet is one convincing corner and a frame around it. The ring holds, but only half of it is drawn with conviction, and the empty middle waits for a reply the left side never sends. 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_222] ![T_222, tone-stretched] ![T_222, classed by brightness] 64% 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: 0.067 (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 “The strong part is the dark fan of shards on the right, framed by an arc and grey washes. The upper-left wash is cloudy and blotched, the lower centre is empty, and stray drips land on it. An ordinary sheet, close to R2.” Form · BUILT Right dark mass has strong tapering shards following the stroke; left cluster's grey washes and the small dark blob at left are lumpy, so some bulk remains. WEAKEST Upper-left grey wash: diffuse, cloudy lobe edges STRONGEST Right-edge dark fan of tapering shards Tonal depth · MODELLED Six tonal steps; dark modulation 0.067. Right mass has streaks and graded greys; upper-left grey wash reads cloudy and uniform. WEAKEST Pale grey left wash flat and cloudy inside STRONGEST Right dark mass with streaked, graded interior Layering · LEGIBLE Pale arc wash, mid-grey shards and black strokes read as separate passes on the right; on the left the overlaps soften toward haze. WEAKEST Left cluster overlaps blur into grey haze STRONGEST Right mass: dark strokes over legible grey shards Composition · WORKING Two masses at the edges bracket a curving empty centre with circular dry-brush arc at top; lower-middle is dead paper with scattered drops. WEAKEST Lower centre empty except scattered drips STRONGEST Arc sweeping from left down to right mass Material and surface · FLAWED Upper-left grey wash is cloudy with mottled blotches and crease lines; speckled bloom spots in grey arc upper right; random drips across centre. WEAKEST Cloudy blotched grey wash in upper left STRONGEST Dry-brush arc texture at top centre 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, 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 14 edge segments, 14% crisp, 71% 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_222). ## 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_222 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_220](https://peteryuill.art/works/T_220) [Back to all works](https://peteryuill.art/works) [Next T_223](https://peteryuill.art/works/T_223) ## 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)