--- title: "T_228, sumi ink on paper | Crucible Year" url: https://peteryuill.art/works/T_228 description: "T_228 by Peter Yuill: A grey fan at lower left climbs on one long diagonal sweep toward a black, split-legged V and a dense knot of ink at upper right. 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 brushed washes at left rise diagonally toward a dense black V-shaped mass at right, with spatter and pale drops across the centre.] ![T_228, tone-stretched: what the model was shown] ![T_228: every pixel as the measuring code classes it] 97 × 180 cm · the whole sheet, uncropped # T_228 The engine's reading A grey fan at lower left climbs on one long diagonal sweep toward a black, split-legged V and a dense knot of ink at upper right. 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_228](https://peteryuill.art/enquiries?work=T_228) Availability, price or a studio visit. Peter replies himself; asking commits you to nothing. The streaks in the lower middle all lean the same way, which is how sleet arrives across a February field: sideways, certain, with somewhere to be. The big black shape on the right is the storm that sent it, already over the hill and sulking. The pale rings are where the first fat drops landed before the wind got serious. Constable would have stopped for this sky on Hampstead Heath; the calendars never do. It is no hurricane. It is the afternoon the sheep go and stand behind the wall, ears flat, steaming a little, patient as stones, while the sky tips one grey bucket after another onto the grass and a single crow rides it out on the fence post, furious and wet. 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_228#details)[The reading](https://peteryuill.art/works/T_228#reading)[How it was read](https://peteryuill.art/works/T_228#read)[Date](https://peteryuill.art/works/T_228#date)[Materials](https://peteryuill.art/works/T_228#materials)[Related](https://peteryuill.art/works/T_228#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 fan at left, black V at right, joined by a rising sweep - **Movement:** rising diagonal, lower left to upper right; end arcs curl back against it - **Coverage:** ink on about three quarters of the paper - **Tone:** six tonal steps, weighted to the middle greys - **Layering:** pale washes, mid-grey sweeps, black strokes; readable left and right, blurred in right cluster - **Edges:** splayed and crisp on the black V; soft on grey washes; broken in arcs - **Feibai:** in the grey arcs at lower right and the sweeps along the right edge - **Open paper:** ragged central band, top centre down to bottom centre - **Chance marks:** pale ringed drops centre and top; drip trail lower centre; slanting spatter; bloom in left fan - **Frame:** ink runs off left, right, top right and both lower corners; top and bottom centre open The sheet moves on one long rise. From a grey fan at lower left, a sweep climbs through the middle to a black knot at upper right, and the eye travels with it. Two masses and a road between them: the structure is clear from across the room. Everything good is on the right. A black V drops from the upper mass, and its walls hold. The raw bark paper grips a dry brush hard, so each edge of the V breaks into a fringe of fast, separate hairs. Beneath it, translucent grey arcs stay legible through the black, the best layering on the sheet. The costs sit at the ends of the road. Above the V, the black core is flat inside: dense ink sank to the paper's limit and the mark stopped breathing. In the left fan, a dark blot sits ragged and lobed, with no travel in it. And the open centre is peppered with pale rings and a drip trail, so the empty paper reads as residue rather than space. A fair sheet: a confident stroke and a clear route, gaining about as much as it loses. 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_228] ![T_228, tone-stretched] ![T_228, classed by brightness] 76% 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: 0.061 (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 “This gestural sheet is close to R2. Grey passes stay legible and a diagonal sweep links the left fan to the right V. Scattered ringed water stains, a ragged left blot and a flat black core hold it at ordinary or below.” Form · BUILT Right dark V and top-right mass read as made strokes with travel; left dark patch is a ragged blob; the central diagonal sweep holds. WEAKEST Left dark blot, ragged and lobed STRONGEST Right V-shaped dark stroke with splayed edges Tonal depth · MODELLED Six tonal steps; the grey washes show grain and banding at left and centre, but the black core at top right is dense and flat. WEAKEST Top-right black core flat inside STRONGEST Left grey fan with granulated banding Layering · LEGIBLE Several translucent grey passes overlap at left and right and stay readable; black passes sit on top, and the order blurs in the right cluster. WEAKEST Right washes muddled under the dark V STRONGEST Translucent grey planes overlapping at left Composition · WORKING Two masses joined by a rising diagonal give direction; the top-centre and lower-centre paper is cluttered with drops and lacks shape. WEAKEST Centre-bottom spatter field feels leftover STRONGEST Diagonal sweep linking left fan to right V Material and surface · FLAWED Many pale ringed blots with tide edges scattered across centre and top-centre; a vertical drip trail at lower centre; milky cloudy wash at left. WEAKEST Ringed droplet stains across the centre STRONGEST Dry-brush streaks at right edge washes FLAWS ## 5 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 5 distinct places, 20 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), 5 enclosed voids at true size in their grid cells (amber), the main gesture from start to end (red). Of 17 edge segments, 35% crisp, 35% soft or bloomed, 29% 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_228). ## 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_228 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 Just before and after 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_227](https://peteryuill.art/works/T_227) [Back to all works](https://peteryuill.art/works) [Next T_229](https://peteryuill.art/works/T_229) ## Where next [T_219 same date, with 6 others](https://peteryuill.art/works/T_219)[T_229 the next shown painting in the sequence](https://peteryuill.art/works/T_229)[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)