--- title: "T_164, sumi ink on paper | Crucible Year" url: https://peteryuill.art/works/T_164 description: "T_164 by Peter Yuill: A single black crescent hooks down from the left edge, runs heavy along the bottom and climbs the right side into spatter, holding up a bowl of bare paper. Sumi ink on Tanxi Thickened Grade A Half-Raw 6-Foot, 97 × 180 cm, 2026.04.03. Crucible Year." source: generated from the Crucible Year master database --- ![A broad black crescent sweeps from the left edge along the bottom and up the right side, over pale grey arcs, beneath open white paper.] ![T_164, tone-stretched: what the model was shown] ![T_164: every pixel as the measuring code classes it] 97 × 180 cm · the whole sheet, uncropped # T_164 The engine's reading A single black crescent hooks down from the left edge, runs heavy along the bottom and climbs the right side into spatter, holding up a bowl of bare paper. Record - **Date:** 2026.04.03 - **Dimensions:** 97 × 180 cm - **Paper:** [Tanxi Thickened Grade A Half-Raw 6-Foot](https://peteryuill.art/papers/S4) - **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_164](https://peteryuill.art/enquiries?work=T_164) Availability, price or a studio visit. Peter replies himself; asking commits you to nothing. The spatter at the top right is where the wave forgets it is water. Out on the cold coasts, the big swells travel for days from a storm that never showed on the shore's horizon, and they arrive looking calm, and then the shelf rises under them and they stand. The whole ocean behind it, pushing, and the front of it simply out of floor. Spray goes up as beads. Some falls back pale and dries in rings on the rock. Down at the other end the trough is still dragging gravel, loud, clumsy, the part of the wave the surfers curse. It goes too. Gulls ride the slack water behind it, waiting for the next one to come in grey off the edge of the world. 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_164#details)[The reading](https://peteryuill.art/works/T_164#reading)[How it was read](https://peteryuill.art/works/T_164#read)[Date](https://peteryuill.art/works/T_164#date)[Materials](https://peteryuill.art/works/T_164#materials)[Related](https://peteryuill.art/works/T_164#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 great crescent from left hook, along the bottom, up the right arm - **Movement:** left to right, down then rising; bottom-left fragments chop against it - **Coverage:** ink on about three quarters of the paper - **Tone:** four tonal steps, spread across the range - **Layering:** pale washes, mid-grey arcs, black crescent; readable across centre and right - **Edges:** crisp along the crescent's upper rim; soft in pale arcs; broken bottom left - **Feibai:** present in the dark band's lower sweep and the right arm's outer curve - **Open paper:** large bowl-shaped field across the upper centre, cradled by the crescent - **Chance marks:** hard-rimmed pale drip trails upper centre; spatter at right arm's head; white chip bottom centre - **Frame:** runs off left, bottom and right edges; top edge open apart from pale washes One dark crescent spans the paper. It drops from a hook at the left edge, runs heavy along the bottom, and climbs the right side into a burst of spatter near the top corner. Above it the paper stays open, a wide bowl of light that the stroke holds up. The right arm is the sheet's best passage. Its black is grained, spotted and banded, and in the lower sweep the hairs parted into streaks of bare paper that keep the stroke's direction. Pale grey arcs show beneath as earlier passes. The half-sized paper took those washes without letting them spread, so each keeps its own edge under the black. The cost sits bottom left. The dark breaks there into blunt slabs and scraps that overlap without order, the lower band goes flat inside, and the movement stalls. Pale drip trails with hard rims cross the upper paper and a white chip nicks the bottom edge; the sheet absorbs both. That leaves a sheet well above the archive's run: one stroke carried edge to edge with its weight where it belongs, and a corner that never joins in. The corner costs something. The crescent settles it. 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_164] ![T_164, tone-stretched] ![T_164, classed by brightness] 74% of the sheet carries ink TONAL STEPS ## 4 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: 0.055 (under 0.045 reads as flat). FIVE READS ## Five reads, agreeing on 2 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 2 MODELLED 3 DEEP 3 DEEP 3 DEEP 2 MODELLED 2.6 Layering 2 LEGIBLE 3 ORDERED 3 ORDERED 2 LEGIBLE 2 LEGIBLE 2.4 Composition 3 COMMANDING 2 WORKING 2 WORKING 3 COMMANDING 3 COMMANDING 2.6 Material and surface 2 SOUND 2 SOUND 2 SOUND 2 SOUND 2 SOUND 2.0 ### READ 1, IN ITS OWN WORDS “A strong crescent composition with a shaped void and readable grey under-washes. The marks are good but uneven: the lower-left masses are slab-like and flatter, and there are minor pale water marks near the top. Overall above R2 but well short of R3.” Form · BUILT Main crescent follows brush travel from left round to right arm; lower band and bottom-left fragments are slab-like and broken, with clumsy joins. WEAKEST Bulky grey-black slab along the lower left band STRONGEST Rising dark right arm of the crescent Tonal depth · MODELLED Right arm and centre band show streaks, grain and dry-brush banding; lower-left dark wedge and bottom-centre dark are flatter. Modulation 0.055, four tonal steps. WEAKEST Dark lower-left band, fairly even inside STRONGEST Grained, spotted right arm with streaked interior Layering · LEGIBLE Translucent grey arcs and top-left panels sit under the black crescent and stay readable; only two or three passes, and the order is not built across the sheet. WEAKEST Bottom-left overlaps are cluttered and fragmentary STRONGEST Pale grey arc washes under the dark crescent Composition · COMMANDING A large crescent carries the eye from upper left, down, then up the right arm to the spatter; the open top centre is shaped by the arc. The bottom-left corner is busy. WEAKEST Fragmented bottom-left corner marks STRONGEST Sweeping crescent enclosing shaped empty top centre Material and surface · SOUND Ink is controlled, with dry-brush grain in the central band. Faint pale wash drops and stains in the top centre and top right, and a small white chip at the bottom edge, lie away from the main masses. WEAKEST Pale watery drip trails in the upper centre STRONGEST Dry-brush streaking in the central band FLAWS ## 4 distinct places, 0 major. Each read must name every flaw and where it is, in a ninth of the sheet. Here the reads named flaws in 4 distinct places, 14 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. 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 15 edge segments, 20% crisp, 73% soft or bloomed, 7% 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_164). ## Date 2026.04.03, day 96 of the Crucible Year, one of 13 paintings from that date (3 shown). 33 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 YEAR ## T_164 among all 402 Every painting of the year by date; this one is outlined. [Every painting from 2026.04.03](https://peteryuill.art/days/2026-04-03) · [This date in the year](https://peteryuill.art/year?follow=2026-04-03) ## Materials - **Paper:** [Tanxi Thickened Grade A Half-Raw 6-Foot](https://peteryuill.art/papers/S4), Anhui Jingxian Tanxi Xuan Paper Art Products Co., Ltd., made 2024 - **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 From the same date · 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_159](https://peteryuill.art/works/T_159) [Back to all works](https://peteryuill.art/works) [Next T_166](https://peteryuill.art/works/T_166) ## Where next [T_166 same date, with 1 other](https://peteryuill.art/works/T_166)[2026.04.03 13 paintings on this date](https://peteryuill.art/days/2026-04-03)[Paper S4 every work on it](https://peteryuill.art/papers/S4)