--- title: "T_146, sumi ink on paper | Crucible Year" url: https://peteryuill.art/works/T_146 description: "T_146 by Peter Yuill: A grey arc climbs from the lower left into a wall of black, its top edge combed into fine streaks under a dome of bare paper. Sumi ink on Tanxi Thickened Grade A Special Jing Pi Small 6-Foot (raw), 70 × 180 cm, 2026.03.27. Crucible Year." source: generated from the Crucible Year master database --- ![Grey arc rising from lower left to upper right with a feathered top edge, bare paper upper left, solid black block filling the right.] ![T_146, tone-stretched: what the model was shown] ![T_146: every pixel as the measuring code classes it] 70 × 180 cm · the whole sheet, uncropped # T_146 The engine's reading A grey arc climbs from the lower left into a wall of black, its top edge combed into fine streaks under a dome of bare paper. Record - **Date:** 2026.03.27 - **Dimensions:** 70 × 180 cm - **Paper:** [Tanxi Thickened Grade A Special Jing Pi Small 6-Foot (raw)](https://peteryuill.art/papers/S3) - **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_146](https://peteryuill.art/enquiries?work=T_146) Availability, price or a studio visit. Peter replies himself; asking commits you to nothing. In this country night does not fall. It comes across the country as a wall, black and flat-faced, and it moves at a walking pace, so you always know where it is. The grey slope is the last hill before it. Every blade of grass on the crest has stood up on end, the fringe running all along the top like the hair on a cat's back, because the grass can feel the dark leaning closer. Shepherds bring the flocks down in good time. Lovers walk beside the wall for a mile with their hands on it, which is permitted. I stayed on the hill too long once, to see. The dark was cool and smooth as slate, and the stars were all on the other side of it. 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_146#details)[The reading](https://peteryuill.art/works/T_146#reading)[How it was read](https://peteryuill.art/works/T_146#read)[Date](https://peteryuill.art/works/T_146#date)[Materials](https://peteryuill.art/works/T_146#materials)[Related](https://peteryuill.art/works/T_146#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 arc rising from lower left, meeting a black block across the right - **Movement:** upward sweep to the right, halted where it meets the black block - **Coverage:** ink on about three quarters of the paper - **Tone:** three tonal steps, weighted dark - **Layering:** pale granular wash, grey arc, black block; readable along the lower centre - **Edges:** feathered fringe on upper arc; soft grey transitions; stiff straight edges on black block - **Feibai:** none - **Open paper:** pale dome across the upper left, its lower boundary shaped by the arc - **Chance marks:** blooms through lower arc band; spatter and stains upper left; crease in black - **Frame:** ink runs off bottom, right, lower left and top right; upper left stays open A grey arc climbs from the lower left and runs into a wall of black. Above it the bare paper rises into a pale dome, spattered at the corner. The eye travels up the curve until the right of the sheet stops it. The arc is where the painting lives. On raw paper the ink has wicked upward from its upper edge into a fringe of fine grey streaks, like hair lifted by static. Inside the band the passes stay apart: a pale granular wash, a darker crescent laid over it, and the grain of the paper showing through both. The black block works differently. It is a filled slab with a stiff right edge, and its upper reaches settle into a sealed, nearly uniform black. It buries the earlier passes instead of building on them, and it crowds the edge. Round blooms pock the lower band and are a mild distraction. A crease runs through the black, and the sheet absorbs it. Taken whole, the sheet sits in the middle of the run. A curve with real movement is held down by a weight that adds nothing. It is worth a look, and not a long one. 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_146] ![T_146, tone-stretched] ![T_146, 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: 0.057 (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 bold arc rising into a black right block has a clear direction and a feathered edge. The right mass is a flat slab, and blooms mottle the lower band.” Form · BUILT The arc band holds its curve and follows the stroke's travel. The right black mass is a heavy filled-in rectangle with a stiff vertical right edge. WEAKEST Right dark block: bulky slab with blunt edges STRONGEST Sweeping grey arc with feathered upper edge Tonal depth · MODELLED The arc interior shows grain, mottling and graded density. The right black block varies only slightly (modulation 0.057). Three tonal steps. WEAKEST Upper part of the right black mass is near-uniform STRONGEST Arc band, graded from pale texture to deep grey Layering · LEGIBLE A pale textured arc, a darker grey crescent and the black block read as separate passes along the arc. On the right the black largely buries what lies beneath. WEAKEST Right block mostly covers the earlier passes STRONGEST Grey arc pass under a darker overlapping crescent Composition · WORKING The curve carries the eye up and to the right, and the empty upper left takes a dome shape. The right block is dense and dead weight. WEAKEST Right third is a heavy, static black wall STRONGEST Arc sweeping from bottom left up into the right mass Material and surface · FLAWED Round dark blotches scattered through the lower grey band are visible in the colour view. A vertical crease line runs through the right black mass. Stray spots in the upper left. WEAKEST Mottled bloom spots across the lower arc band STRONGEST Feathered dry-bleed fringe along the arc's upper edge FLAWS ## 3 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 3 distinct places, 16 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: 5 principal ink masses traced (cyan), 3 enclosed voids at true size in their grid cells (amber), the main gesture from start to end (red). Of 26 edge segments, 12% crisp, 85% soft or bloomed, 4% 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_146). ## Date 2026.03.27, day 89 of the Crucible Year, one of 10 paintings from that date (6 shown). 70 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). Made after one of the busiest fortnights of the previous two months: 70 works in the fourteen days before. THE YEAR ## T_146 among all 402 Every painting of the year by date; this one is outlined. [Every painting from 2026.03.27](https://peteryuill.art/days/2026-03-27) · [This date in the year](https://peteryuill.art/year?follow=2026-03-27) ## Materials - **Paper:** [Tanxi Thickened Grade A Special Jing Pi Small 6-Foot (raw)](https://peteryuill.art/papers/S3), Anhui Jingxian Tanxi Xuan Paper Art Products Co., Ltd., made 2015.11.19 - **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 The sheet of paper was made 3781 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 · 5 Same paper and inks, other dates · 2 [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_132](https://peteryuill.art/works/T_132) [Back to all works](https://peteryuill.art/works) [Next T_148](https://peteryuill.art/works/T_148) ## Where next [T_148 same date, with 4 others](https://peteryuill.art/works/T_148)[T_157 same paper and inks, 2026.03.28](https://peteryuill.art/works/T_157)[2026.03.27 10 paintings on this date](https://peteryuill.art/days/2026-03-27)[Paper S3 every work on it](https://peteryuill.art/papers/S3)