--- title: "T_246, sumi ink on paper | Crucible Year" url: https://peteryuill.art/works/T_246 description: "T_246 by Peter Yuill: A long ink crescent swings from a heavy dark mass at lower left to a curled black horn at upper right, under a slanting rain of spatter. Sumi ink on Tanxi Thickened Grade A Special Jing Pi Small 6-Foot (raw), 70 × 180 cm, 2026.04.21. Crucible Year." source: generated from the Crucible Year master database --- ![A wide grey and black ink crescent rises from a dark mass at lower left to a pointed tip at upper right, with spatter above.] ![T_246, tone-stretched: what the model was shown] ![T_246: every pixel as the measuring code classes it] 70 × 180 cm · the whole sheet, uncropped # T_246 The engine's reading A long ink crescent swings from a heavy dark mass at lower left to a curled black horn at upper right, under a slanting rain of spatter. Record - **Date:** 2026.04.21 - **Dimensions:** 70 × 180 cm - **Paper:** [Tanxi Thickened Grade A Special Jing Pi Small 6-Foot (raw)](https://peteryuill.art/papers/S3) - **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_246](https://peteryuill.art/enquiries?work=T_246) Availability, price or a studio visit. Peter replies himself; asking commits you to nothing. The long crescent is a washing line sagging under a full load, propped at the right by the pole that lifts it into the wind, a black horn against the sky. At the left it ends in a heap: everything already snatched off and bundled into arms. Because the slant above is rain, coming in sideways, quick and fine, and the whole house is in the garden at once, shouting. Pegs in mouths. Sheets folded wet against chests. Somebody's shirt filling and flying off as if it had somewhere to be. I am the one holding the basket and laughing. By the time the line is bare the shower has passed, and the sun is out on the empty crescent, lighting the drops along it like a string of beads. 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_246#details)[The reading](https://peteryuill.art/works/T_246#reading)[How it was read](https://peteryuill.art/works/T_246#read)[Date](https://peteryuill.art/works/T_246#date)[Materials](https://peteryuill.art/works/T_246#materials)[Related](https://peteryuill.art/works/T_246#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:** dark left mass, grey wing, low grey band and rising right crescent, joined in one arc - **Movement:** left to right, then up; spatter runs with it, top-left sweeps rise against it - **Coverage:** ink on about three fifths of the paper - **Tone:** four tonal steps, spread across the range - **Layering:** pale grey sweeps, a mid-grey band, black on top; readable along the right crescent - **Edges:** crisp on the right crescent and horn; soft, bloomed around the lower-left mass - **Feibai:** present, along the lower curve of the right crescent and the grey wing's tip - **Open paper:** wide sky above the arc, from upper centre to upper right - **Chance marks:** slanting spatter across the upper centre and bottom; pale water drops in the upper centre - **Frame:** ink runs off the top-left corner, left edge and lower left; top centre and right stay open A long crescent swings across the paper, from a heavy dark knot at lower left, along a grey band near the bottom, up to a black horn curling at the top right. Spatter flies above it on a slant. The empty sky in the upper centre is the shape the curve leaves behind, and the eye is lifted out at the tip. The right end is where the sheet is made. Pale grey sweeps lie under the black and stay legible, so the order of the passes reads straight through the mass. The black is mottled and steps down into greys. Along the lower curve the brush splits into fast parallel streaks of bare paper that keep the turn of the arc, and the horn holds its wall all the way up. The left end pays for it. Raw paper drinks fast and spreads wide, and the heavy load there has bloomed: the walls go soft and lobed, the inside settles into one cloudy grey, and layers that read so clearly on the right run together. Below the arc, spatter crowds the bottom centre. The curve is real, well drawn, and fully delivered at one end. The other end weighs on it without breaking it. A good sheet with a clear spine, kept from more by its heavier side. 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_246] ![T_246, tone-stretched] ![T_246, classed by brightness] 63% 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: 0.050 (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 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 2 SOUND 2 SOUND 1 FLAWED 2 SOUND 2 SOUND 1.8 ### READ 1, IN ITS OWN WORDS “A gestural crescent sweep with dark masses at both ends, much like R2. The arc and the open paper above it work, the left mass is blobby and cloudy, and the sheet is ordinary throughout.” Form · BUILT The crescent sweep holds as a coherent, nameable form and follows the brush's travel. The lower-left dark mass is a soft, lobed blob with dissolving walls. WEAKEST Bulky blobby dark mass at lower left STRONGEST Right crescent horn sweeping up to top right Tonal depth · MODELLED Dark modulation of 0.050 is only just above flat. The right mass has stepped density and dry-brush streaks. The left dark mass is mostly a cloudy, even grey inside. WEAKEST Cloudy, near-uniform interior of the left dark mass STRONGEST Graded greys under the right crescent mass Layering · LEGIBLE A pale grey sweep, a mid-grey band and a dark top layer are all readable, especially along the crescent. At the left the passes run together. WEAKEST Left mass, where the passes merge into a cloudy grey STRONGEST Translucent grey sweep under the dark right mass Composition · WORKING The crescent carries the eye from left to right, and the empty paper in the upper centre is shaped by it. The lower centre is busy with scattered spatter and drops. WEAKEST Crowded spatter across the bottom centre STRONGEST Crescent arc framing the empty upper centre Material and surface · SOUND The ink is mostly controlled, with dry-brush and spatter used on purpose. There are faint pale water drops in the upper centre and a soft bloom edge at the lower left, all minor. WEAKEST Bloomed, soft edges of the left dark mass STRONGEST Dry-brush streaking at the right crescent end 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, 11 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: 2 principal ink masses traced (cyan), 9 enclosed voids at true size in their grid cells (amber), the main gesture from start to end (red). Of 17 edge segments, 41% crisp, 24% soft or bloomed, 35% 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_246). ## Date 2026.04.21, day 114 of the Crucible Year, one of 14 paintings from that date (10 shown). 63 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_246 among all 402 Every painting of the year by date; this one is outlined. [Every painting from 2026.04.21](https://peteryuill.art/days/2026-04-21) · [This date in the year](https://peteryuill.art/year?follow=2026-04-21) ## 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 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 3806 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 · 9 Same paper and inks, other dates · 5 [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_240](https://peteryuill.art/works/T_240) [Back to all works](https://peteryuill.art/works) [Next T_249](https://peteryuill.art/works/T_249) ## Where next [T_249 same date, with 8 others](https://peteryuill.art/works/T_249)[T_302 same paper and inks, 2026.05.14](https://peteryuill.art/works/T_302)[2026.04.21 14 paintings on this date](https://peteryuill.art/days/2026-04-21)[Paper S3 every work on it](https://peteryuill.art/papers/S3)