--- title: "T_079, ink on paper | Crucible Year" url: https://peteryuill.art/works/T_079 description: "T_079 by Peter Yuill: A great grey slab falls in a long arc over stepped pale sheets to a small dark triangle, a tapered dark horn curving down inside it. Ink on Qing Yi Half-Raw Xuan, 70 × 140 cm, 2026.03.14. Crucible Year." source: generated from the Crucible Year master database --- ![Large grey mass with curved top falling rightward, paler blocks at upper right, dark curved stroke at left, dark triangle lower right.] ![T_079, tone-stretched: what the model was shown] ![T_079: every pixel as the measuring code classes it] 70 × 140 cm · the whole sheet, uncropped # T_079 The engine's reading A great grey slab falls in a long arc over stepped pale sheets to a small dark triangle, a tapered dark horn curving down inside it. Record - **Date:** 2026.03.14 - **Dimensions:** 70 × 140 cm - **Rating:** [5.3](https://peteryuill.art/method#combined) - **Paper:** [Qing Yi Half-Raw Xuan](https://peteryuill.art/papers/S6) - **Ink:** [Kuretake Shogei Kiwami](https://peteryuill.art/inks/MB1), [Yi De Ge Zhonghua](https://peteryuill.art/inks/MB2), [Boku-Undo Bokkou](https://peteryuill.art/inks/MB3) [Enquire about T_079](https://peteryuill.art/enquiries?work=T_079) Availability, price or a studio visit. Peter replies himself; asking commits you to nothing. Those hairlines running off the dark wedge are illegal power. I know a roof like that, a concrete hutch with cables pirated off the neighbours, humming under a sky the colour of old dishwater. I lived up there most of a winter, because it was cheap and because a stolen current runs warmer than a paid one. The landlord came up once, looked at the wires, and asked for a cigarette. Some buildings are only their debts, and they stand anyway, lit on somebody else's account. Last night the whole block went down before dawn. Up on that roof a kettle was still ticking as it cooled, and the wires ran out over the street, carrying nothing, pulled tight. 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_079#details)[The reading](https://peteryuill.art/works/T_079#reading)[The rating](https://peteryuill.art/works/T_079#rating)[How it was measured](https://peteryuill.art/works/T_079#read)[Date](https://peteryuill.art/works/T_079#date)[Materials](https://peteryuill.art/works/T_079#materials)[Related](https://peteryuill.art/works/T_079#related) The engine's reading ## The reading Written by the engine after V23's reads, from the settled findings, and checked by hand before approval. It explains V23's numbers and may not change them. - **Structure:** wide arc-topped slab over fanned upper-right blocks and pale left arc; horn inside; triangle at its end - **Movement:** long fall from upper left to lower right, countered by the fan and horn - **Coverage:** ink on about four fifths of the paper - **Tone:** three tonal steps, weighted to the middle greys - **Layering:** broad translucent washes under darker narrow strokes, readable at upper-right and left overlaps - **Edges:** crisp on horn and triangle, firm along slab top, broken at slab's lower-right end - **Feibai:** none - **Open paper:** narrow margins at left and right, widest beside the stepped fan - **Chance marks:** spatter at right, hairline ink trails at both ends, tide line at upper-right block - **Frame:** ink runs off top and bottom; left and right stay open, crossed by hairlines A great grey slab fills the paper from the left, its top edge falling in a long arc to the lower right, where a small dark triangle stops it. Paler sheets fan out behind at upper right, and a pale arc swells at the left. The slimmest passages are the best. The horn at left tapers as it curves down, the form in all that bulk that follows the brush. Where the slab's edge crosses the upper-right block, each wash stays translucent, so the order of passes reads. At the slab's lower-right end the grey breaks into streaks, and for a moment the mass moves. The mass is the trouble. Its left wall is stiff and straight. Its lower centre clouds over, the passes blurring into each other, and a web of fine cracks has caught ink across it. A jagged tide line marks the upper slab. Even the horn and triangle are flat inside, and true black is scarce, so depth stops at the overlaps. That leaves a clear plan in a heavy body: a legible, competent sheet from the middle of the archive, too full and too grey to lift. Read and measured ## The rating THE RATING ## T_079, rated 5.3 The combined score, out of 10: V23's reading of the photograph as the read half and V24's twelve tests on the 16-bit file as the measured half, added and divided by 10. The scale is relative to this archive. How each half is made is on the Method page. READ HALF 23.5 V23's rating, 4.7, × 5 + MEASURED HALF 29.3 twelve tests, of 50 → RATING 5.3 52.8 ÷ 10 THE READ HALF, V23 - **Form:** 2.0 · built - **Tonal depth:** 1.2 · thin - **Layering:** 2.4 · legible - **Composition:** 2.0 · working - **Material and surface:** 1.0 · flawed THE MEASURED HALF, V24 - **Mass:** 7.3 of 10 - **Tone:** 3.2 of 14 - **Void:** 4.8 of 8 - **Flow:** 6.0 of 10 - **Balance:** 8.0 of 8 Measured ## How it was measured FROM THE 16-BIT FILE ## What V24 measured. Plain physical facts with no model involved. Across the year they track how the practice changes. On one sheet they cannot say whether a mark is any good. Millimetres read a few percent high, because the photographs are cropped just inside the paper's edge. MASS WIDTH 122 mm The width of the ink mask along its medial axis. DEPTH OF THE DARKS 0.93 Optical density at the 75th percentile of the sheet. LARGEST VOID 159 mm The radius of the largest circle of open paper. DIRECTIONS 0.21 How far the marks align across the sheet. Lower means they run several ways. BALANCE 0.43 Left and right asymmetry of the ink. Lower is more even. THE FILE 3.49 Pixels to the millimetre in the TIFF these were measured from, with the studio light removed. Read by the Visual Analysis Engine, version 23.13, on 2026.11.04: 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_079] ![T_079, tone-stretched] ![T_079, classed by brightness] 82% 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: 0.020 (under 0.045 reads as flat). FIVE READS ## Five reads, agreeing on 3 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 1 THIN 1 THIN 2 MODELLED 1 THIN 1 THIN 1.2 Layering 3 ORDERED 2 LEGIBLE 3 ORDERED 2 LEGIBLE 2 LEGIBLE 2.4 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 “Translucent layers read clearly and a strong diagonal gives direction, but the bulky central slab dominates, its interiors stay flat and cloudy, and cracks web the principal masses. Layering outperforms form, tone and surface.” Form · BUILT Horn, dark diagonal wedge and bottom-right triangle hold as nameable forms; the dominant central slab stays bulky and filled-in, with a stiff left wall, despite its curved top edge. WEAKEST Huge central slab with stiff, straight left edge STRONGEST Tapered curved horn stroke at upper left Tonal depth · THIN Measured dark modulation 0.020 is flat; wedge and triangle read as even dark planes, the slab as cloudy mid-grey. Tone mostly steps at overlaps; surface grain adds little depth. WEAKEST Central slab interior: cloudy mid-grey with little real change STRONGEST Dark diagonal wedge with mottled density at centre right Layering · ORDERED Left semicircle, top arc, upper-right fan, central slab, wedge and horn stay translucent and in readable order across the sheet; only the lower centre grows murky. WEAKEST Cloudy lower centre where passes blur into each other STRONGEST Upper-right slab and arc reading through the central slab Composition · WORKING The curved diagonal carries the eye from upper left to the dark triangle, and right-side paper is shaped; but 82% ink coverage leaves the heavy lower-centre block static. WEAKEST Massive central slab crowds the sheet; its lower half is dead STRONGEST Long diagonal edge running down to the bottom-right triangle Material and surface · FLAWED Fine dark cracks and crease lines web the central and upper-right masses, visible in the colour view; milky cloudy patches sit in the slab's lower left and centre. WEAKEST Cracks and cloudy wash inside the central slab STRONGEST Dry-brush streaks at the slab's lower-right end FLAWS ## 6 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 6 distinct places, 24 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. V23's rules and arithmetic, and every figure under its own name, are in [the Archive record](https://peteryuill.art/archive/works/T_079). ## Date 2026.03.14, day 76 of the Crucible Year, one of 28 paintings from that date (1 shown). 0 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: [P1 Warm-up](https://peteryuill.art/phases/P1) (working title). The most paintings on any one date of the year: 28. THE YEAR ## T_079 among all 419 Every painting of the year by date; this one is outlined. [Every painting from 2026.03.14](https://peteryuill.art/days/2026-03-14) · [This date in the year](https://peteryuill.art/year?follow=2026-03-14) ## Materials - **Paper:** [Qing Yi Half-Raw Xuan](https://peteryuill.art/papers/S6), Jingxian Sichijian Xuan Paper Arts & Crafts Co., Ltd., made unknown - **Ink MB1:** [Kuretake Shogei Kiwami](https://peteryuill.art/inks/MB1), Kuretake - **Ink MB2:** [Yi De Ge Zhonghua](https://peteryuill.art/inks/MB2), Yi De Ge (Beijing) - **Ink MB3:** [Boku-Undo Bokkou](https://peteryuill.art/inks/MB3), Boku-Undo 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 Same paper and inks, other dates · 2 [Across the year The combined score rises over the year, and the trend holds with the paper held constant.](https://peteryuill.art/oracle)[Across the year The measured half stepped up from 2026.06.03. T_079 is dated before that.](https://peteryuill.art/oracle) [Previous T_061](https://peteryuill.art/works/T_061) [Back to all works](https://peteryuill.art/works) [Next T_132](https://peteryuill.art/works/T_132) ## Where next [T_132 the next shown painting in the sequence](https://peteryuill.art/works/T_132)[T_132 same paper and inks, 2026.03.22](https://peteryuill.art/works/T_132)[2026.03.14 28 paintings on this date](https://peteryuill.art/days/2026-03-14)[Paper S6 every work on it](https://peteryuill.art/papers/S6)