--- title: "T_231, sumi ink on paper | Crucible Year" url: https://peteryuill.art/works/T_231 description: "T_231 by Peter Yuill: A single ink loop climbs from a black wedge at lower left, over a streaked arc, and back through grey, closing round a pale eye of paper. Sumi ink on Red Star Mo She Imitation Antique Chu Bark, Exhibition Edition, half-raw, 97 × 180 cm, 2026.04.18. Crucible Year." source: generated from the Crucible Year master database --- ![A huge dark ink loop sweeps across a beige sheet, black at lower left and upper right, enclosing a pale eye-shaped clearing at centre.] ![T_231, tone-stretched: what the model was shown] ![T_231: every pixel as the measuring code classes it] 97 × 180 cm · the whole sheet, uncropped # T_231 The engine's reading A single ink loop climbs from a black wedge at lower left, over a streaked arc, and back through grey, closing round a pale eye of paper. Record - **Date:** 2026.04.18 - **Dimensions:** 97 × 180 cm - **Paper:** [Red Star Mo She Imitation Antique Chu Bark, Exhibition Edition, half-raw](https://peteryuill.art/papers/S10) - **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_231](https://peteryuill.art/enquiries?work=T_231) Availability, price or a studio visit. Peter replies himself; asking commits you to nothing. The pale eye at the centre is the pitch, and the dark loop around it is the crowd, seen from the top of the stand where the cheap seats are. I go for the noise, not the game. Along the top the brush has run in long bright streaks, which is the wave going round, every row standing a moment after the one beside it, so the stadium looks like it is breathing. It always dies somewhere. Here it breaks at the dark knot on the right, where the home fans keep their arms folded on principle. Down at the left the black wedge is the tunnel mouth. The players are about to come out of it, and the pitch is still empty and lit, waiting for the first boot. 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_231#details)[The reading](https://peteryuill.art/works/T_231#reading)[How it was read](https://peteryuill.art/works/T_231#read)[Date](https://peteryuill.art/works/T_231#date)[Materials](https://peteryuill.art/works/T_231#materials)[Related](https://peteryuill.art/works/T_231#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 looping stroke, black wedge left, dark knot upper right, grey return below - **Movement:** circular, rising left to right across the top, returning low - **Coverage:** ink on about nine tenths of the paper - **Tone:** three tonal steps, weighted to the middle greys - **Layering:** pale grey ground, mid-grey loop, black overlays; readable in the upper half - **Edges:** crisp along the upper arc; soft and cloudy in the lower band; ragged at lower left - **Feibai:** present along the upper arc, streaking right into the dark knot - **Open paper:** eye-shaped clearing at centre, inside the loop - **Chance marks:** blooms through the lower grey band; spatter and drips at right edge - **Frame:** wash runs off top, left and right; lower corners partly open One loop fills the paper. It rises from a black wedge at lower left, rolls over the top into a dark knot at upper right, and swings back underneath as a broad grey band, closing round a pale eye of bare paper. The circular drive reads at once. The top of the loop is where the brush is most alive. Along that arc the hairs part into long streaks of flying white, all running the same way, and the tone steps down in bands into a knot that stays grainy instead of shutting. The half-sized paper keeps each pass where it fell, so the black lies cleanly over the grey beneath it at upper left. Below, that clarity goes. Greys laid into damp greys have bloomed into round blotches, the order of passes is lost, and the walls of the return band dissolve into cloud. The black wedge is near-uniform inside, a slab with a ragged foot. Wash crowds almost every corner, so the eye finds little rest. A typical sheet, then: an arc worth stopping for, a well-shaped clearing, and a loop whose lower half never firms up. 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_231] ![T_231, tone-stretched] ![T_231, classed by brightness] 90% 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: 0.053 (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 confident looping arc with a good open centre and dry-brush texture at the top. The black diagonal is blunt and flat, the lower wash is cloudy and blotched, and near-total coverage crowds the sheet.” Form · BUILT Looping arc holds as one coherent form and the upper sweep follows the brush, but the left dark diagonal is bulky and blunt, and the lower arc's edges are soft. WEAKEST Slab-like dark diagonal at left with ragged base STRONGEST Upper arc sweeping right with dry-brush travel Tonal depth · MODELLED Upper arc shows banding and grain, and the right dark clump has stepped density. The left black diagonal is mostly uniform. Three tonal steps; modulation 0.053 is only modest. WEAKEST Left dark diagonal mass largely flat inside STRONGEST Upper arc banding and dry-brush streaks Layering · LEGIBLE Grey arc pass, black diagonal and dark right clump overlap legibly. Lower-arc passes merge into a mottled wash, and their order is hard to read. WEAKEST Lower grey arc passes blur into cloudy wash STRONGEST Black diagonal laid over grey arc, legible Composition · WORKING Clear circular movement around the central void, but 90% coverage leaves little shaped paper. The left and top corners are cluttered with scrappy wash. WEAKEST Crowded corners; ink covers nearly the whole sheet STRONGEST Open eye-shaped void at centre of loop Material and surface · FLAWED The lower arc wash is milky and mottled, with round blotches and soft rings visible in colour. Scattered drips sit at top right. The overall warm tint looks like discolouration. WEAKEST Cloudy, blotchy lower grey arc STRONGEST Dry-brush streaks along upper arc FLAWS ## 6 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 6 distinct places, 17 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 13 edge segments, 23% crisp, 62% soft or bloomed, 15% 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_231). ## Date 2026.04.18, day 111 of the Crucible Year, one of 12 paintings from that date (8 shown). 56 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_231 among all 402 Every painting of the year by date; this one is outlined. [Every painting from 2026.04.18](https://peteryuill.art/days/2026-04-18) · [This date in the year](https://peteryuill.art/year?follow=2026-04-18) ## Materials - **Paper:** [Red Star Mo She Imitation Antique Chu Bark, Exhibition Edition, half-raw](https://peteryuill.art/papers/S10), China Xuan Paper Co., Ltd. (中国宣纸股份有限公司), made 2026.01.14 - **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 94 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 · 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_229](https://peteryuill.art/works/T_229) [Back to all works](https://peteryuill.art/works) [Next T_234](https://peteryuill.art/works/T_234) ## Where next [T_229 same date, with 6 others](https://peteryuill.art/works/T_229)[T_312 same paper and inks, 2026.05.24](https://peteryuill.art/works/T_312)[2026.04.18 12 paintings on this date](https://peteryuill.art/days/2026-04-18)[Paper S10 every work on it](https://peteryuill.art/papers/S10)