--- title: "T_238, ink on paper | Crucible Year" url: https://peteryuill.art/works/T_238 description: "T_238 by Peter Yuill: Two black arcs stack into a wide fan across pale paper, over a grey wash, with dry-brushed fragments at the left and ink spatter below. 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 --- ![Two arched black bands over a grey wash form a wide fan filling most of a pale landscape sheet, with spatter at lower left.] ![T_238, tone-stretched: what the model was shown] ![T_238: every pixel as the measuring code classes it] 97 × 180 cm · the whole sheet, uncropped # T_238 The engine's reading Two black arcs stack into a wide fan across pale paper, over a grey wash, with dry-brushed fragments at the left and ink spatter below. Record - **Date:** 2026.04.18 - **Dimensions:** 97 × 180 cm - **Rating:** [5.5](https://peteryuill.art/method#combined) - **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_238](https://peteryuill.art/enquiries?work=T_238) Availability, price or a studio visit. Peter replies himself; asking commits you to nothing. The folds run straight down through the dark, the way a winter blanket keeps its cupboard creases on the first night it comes out. Too heavy, that blanket, and I have slept beside it. Wool, then a quilt on top of the wool, because someone was cold once in another year and never forgave the house. By the small hours it has all migrated to one side of the bed, a black weight breathing on its own, and the other sleeper lies under nothing but a strip of pale sheet, curled to the shape of the gap. Neither sleeper wakes. The blanket is never given back. In the morning it is folded along the same lines and put away still warm, and the cupboard door does not quite shut. 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_238#details)[The reading](https://peteryuill.art/works/T_238#reading)[The rating](https://peteryuill.art/works/T_238#rating)[How it was measured](https://peteryuill.art/works/T_238#read)[Date](https://peteryuill.art/works/T_238#date)[Materials](https://peteryuill.art/works/T_238#materials)[Related](https://peteryuill.art/works/T_238#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:** narrower upper arc band laid over a broad lower arc band - **Movement:** arching sweep left to right; diagonal cuts at upper right run against it - **Coverage:** ink on about four fifths of the paper - **Tone:** two tonal steps, weighted dark - **Layering:** grey translucent pass under two dark passes; grey readable at left and bottom - **Edges:** crisp along upper band and its diagonal cuts; soft grey at left; broken lower right end - **Feibai:** at the left edge in the short dark strokes, and in the grey tail at upper right - **Open paper:** pale crescent below the arc, narrow strips along top and corners - **Chance marks:** spatter at lower left; blot cluster under lower band; crease lines and stains within - **Frame:** ink runs off the left edge; top and bottom stay largely open A great dark fan opens across the paper, two arched bands stacked one on the other and sweeping from left to right. The arc registers at once, and it shapes the bare paper beneath into a pale crescent. Then the weight arrives. Ink covers most of the sheet, and little air is left at the top or the sides. The upper band carries what life there is. The broad brush left horizontal tracks inside its black, and at the right end two diagonal cuts of reserved paper split it into blocks with clean edges. The half-sized paper holds those tracks instead of drowning them, and it keeps the first grey pass legible where it slips out beneath the lower arc along the bottom. The lower band is where the sheet sinks. Dark went over dark until the interior turned cloudy and flat, mottled with water stains, and its right end stops in a blunt, dead blot. Vertical crease lines run through both bands, and the sheet does not absorb them. That leaves a single good gesture buried under its own mass. The fan reads at a glance, but past the upper band the black does nothing more. Read and measured ## The rating THE RATING ## T_238, rated 5.5 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 21.0 V23's rating, 4.2, × 5 + MEASURED HALF 34.5 twelve tests, of 50 → RATING 5.5 55.5 ÷ 10 THE READ HALF, V23 - **Form:** 2.0 · built - **Tonal depth:** 1.0 · thin - **Layering:** 2.0 · legible - **Composition:** 2.0 · working - **Material and surface:** 1.0 · flawed THE MEASURED HALF, V24 - **Mass:** 8.1 of 10 - **Tone:** 5.6 of 14 - **Void:** 8.0 of 8 - **Flow:** 4.8 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 172 mm The width of the ink mask along its medial axis. DEPTH OF THE DARKS 1.40 Optical density at the 75th percentile of the sheet. LARGEST VOID 198 mm The radius of the largest circle of open paper. DIRECTIONS 0.35 How far the marks align across the sheet. Lower means they run several ways. BALANCE 0.32 Left and right asymmetry of the ink. Lower is more even. THE FILE 3.54 Pixels to the millimetre in the TIFF these were measured from, with the studio light removed. 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_238] ![T_238, tone-stretched] ![T_238, classed by brightness] 79% of the sheet carries ink TONAL STEPS ## 2 families of tone. Every inked pixel's brightness in 64 bins, smoothed; each circled peak holds at least 4% of the ink. Two or fewer: Tonal depth is held at the bottom rung whatever the model reads. A dense sheet of many translucent passes can count low here, so Layering is left to the reads. Life inside the black: 0.049 (under 0.045 reads as flat). FIVE READS ## Five reads, agreeing on 4 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 2 MODELLED 2 MODELLED 2 MODELLED 2 MODELLED 1.8 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 double-arc gesture has real direction, but the sheet is crowded and mostly one heavy dark with thin internal tone. Seam lines and mottling inside the principal masses mark the surface. It sits below average overall.” Form · BUILT Two arched bands follow the sweep of a broad brush and their walls hold. The lower band is heavy and filled in, and the left edge is ragged. WEAKEST Bulky lower arc band, slab-like and filled in STRONGEST Upper arc band with crisp diagonal reserve cuts Tonal depth · THIN Only 2 tonal steps, and interior modulation (0.049) is barely above flat. Some banding shows in the upper band, but the lower mass is a cloudy dark with little modelling. WEAKEST Lower band interior, a cloudy and flat dark STRONGEST Horizontal brush banding in the upper band Layering · LEGIBLE Grey under-passes at the left and bottom stay legible beneath the dark arcs, and the upper band clearly overlaps the lower one. The tone families are limited. WEAKEST Dark core where the bands fuse into one tone STRONGEST Translucent grey arc under the lower band at the bottom Composition · WORKING The double arc sets up a clear curved movement, but at 79% coverage it leaves little shaped empty paper, and the mass feels jammed against the edges. WEAKEST Crowded centre; the ink fills almost the whole sheet STRONGEST Arching sweep carrying the eye left to right Material and surface · FLAWED Vertical seam or crease lines cut through both dark bands, there are blotchy mottled spots inside the lower band, and paper discolouration and spots sit at the bottom left. WEAKEST Mottled, cloudy wash inside the lower dark band STRONGEST Dry-brush streaks at the left edge FLAWS ## 5 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 5 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), 1 enclosed void at true size in its grid cells (amber), the main gesture from start to end (red). Of 14 edge segments, 93% crisp, 7% soft or bloomed, 0% broken. V23's rules and arithmetic, and every figure under its own name, are in [the Archive record](https://peteryuill.art/archive/works/T_238). ## 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_238 among all 419 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 [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_238 is dated before that.](https://peteryuill.art/oracle) [Previous T_237](https://peteryuill.art/works/T_237) [Back to all works](https://peteryuill.art/works) [Next T_239](https://peteryuill.art/works/T_239) ## Where next [T_230 same date, with 6 others](https://peteryuill.art/works/T_230)[T_315 same paper and inks, 2026.05.24](https://peteryuill.art/works/T_315)[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)