--- title: "T_224, sumi ink on paper | Crucible Year" url: https://peteryuill.art/works/T_224 description: "T_224 by Peter Yuill: A wide grey arc bridges a dark curved band at the left and a dripping black blot at the right, over pale horizontal slabs on raw bark paper. 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 and black ink strokes on pale paper: a dark curved band at left, a wide grey arc across the top, a black blot upper right.] ![T_224, tone-stretched: what the model was shown] ![T_224: every pixel as the measuring code classes it] 97 × 180 cm · the whole sheet, uncropped # T_224 The engine's reading A wide grey arc bridges a dark curved band at the left and a dripping black blot at the right, over pale horizontal slabs on raw bark paper. 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_224](https://peteryuill.art/enquiries?work=T_224) Availability, price or a studio visit. Peter replies himself; asking commits you to nothing. The arc is a transfer orbit. Launch from the dark band on the left, a long grey coast over nothing much, then the arrival at the far end, which was less a landing than a decision to splash. The colony ship came down as a black lump and sprayed itself in every direction. The domes stayed in their crates. The flight recorder is all static from the middle of the trip, a stretch where the crew slept and the instruments dreamed of fog. I kept the recorder. Held to the light, the first second still plays: the launch, every bristle of exhaust streaking clean and parallel into the dark. 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_224#details)[The reading](https://peteryuill.art/works/T_224#reading)[How it was read](https://peteryuill.art/works/T_224#read)[Date](https://peteryuill.art/works/T_224#date)[Materials](https://peteryuill.art/works/T_224#materials)[Related](https://peteryuill.art/works/T_224#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:** dark curved band at left, grey arc across top, black blot at right - **Movement:** left to right along the arc; lower-right wedges push downward against it - **Coverage:** ink on about three quarters of the paper - **Tone:** three tonal steps, weighted to the middle greys - **Layering:** pale slabs, grey arc, dark strokes; readable at left, merged in the centre - **Edges:** blunt squared base on left band; soft around the blot; broken in the fan - **Feibai:** present in the fanned outer strokes of the left band, upper left - **Open paper:** pale margin around the cluster, widest at the right and corners - **Chance marks:** spatter across sheet; rings and drip pools at left; blooms below left band - **Frame:** grey runs off the bottom edge at centre; left and right stay open A grey arc spans the top of the sheet, rising out of a dark curved band at the left and coming down into a black blot at the right. The eye crosses it in one movement, and that crossing is the sheet's clearest idea. The left band is the reason it stands. At the upper left its outer strokes fan open, the hairs parting into fast parallel streaks of bare paper that the raw bark holds cleanly. Inside, the black steps down in streaked bands, so the dark has grain. Beneath it the pale horizontal slabs still read as an earlier pass. The middle is where it slackens. Grey laid over grey on raw paper spreads and sinks together, and the centre settles into one crinkled haze with no readable order. At the far end the blot is a flat, dense lump that stops the arc without shaping it. Drip rings at the left and creases through the arc are absorbed without harm. What is left is one good band and a clear route, hung on a cloudy middle. A sound sheet, plain and uneven, worth standing in front of for its left side. 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_224] ![T_224, tone-stretched] ![T_224, classed by brightness] 73% of the sheet carries ink TONAL STEPS ## 3 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: 0.054 (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 busy grey sheet with a working arc structure and a left fan with good bristle detail. The flat right blot, the cloudy centre, and the rings and drip pools near the left mass hold it at around the ordinary level.” Form · BUILT The left dark fan and the central arc hold as nameable forms. The right dark blot is bulky and the lower-right grey wedge is ragged and stiff. WEAKEST Bottom-right ragged grey wedge with no clear shape STRONGEST Large grey arc sweeping across the top centre Tonal depth · MODELLED The left fan has bristle banding and stepped density. The right black blot is flat inside. Mid-greys dominate; measured modulation is 0.054 across three tonal plateaus. WEAKEST Dark blot at upper right is dense, flat black STRONGEST Left dark fan with streaked bands inside Layering · LEGIBLE Pale horizontal bands, the grey arc and the dark strokes read as separate passes. In the centre the greys fuse into a hazy mid-tone. WEAKEST Central overlaps go cloudy and mid-grey STRONGEST Left fan laid over pale horizontal bands Composition · WORKING The arc carries the eye from the left mass to the right blot. Ink covers 73% of the sheet, so the empty paper is mostly a leftover margin, and the centre is crowded. WEAKEST Crowded hazy grey centre STRONGEST Arc linking the left fan to the right blot Material and surface · FLAWED Circular rings and pale drip pools sit beside the lower-left mass. The paper surface is creased and crackled through the grey arc, and spots and blotches are scattered across the sheet. WEAKEST Ring marks and drip pools around the left mass STRONGEST Dry-brush streaking in the left fan FLAWS ## 8 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 8 distinct places, 22 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), 8 enclosed voids at true size in their grid cells (amber), the main gesture from start to end (red). Of 15 edge segments, 47% crisp, 53% soft or bloomed, 0% 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_224). ## 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_224 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_223](https://peteryuill.art/works/T_223) [Back to all works](https://peteryuill.art/works) [Next T_225](https://peteryuill.art/works/T_225) ## 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)