--- title: "T_249, sumi ink on paper | Crucible Year" url: https://peteryuill.art/works/T_249 description: "T_249 by Peter Yuill: A long grey arc swings across the paper from a splattered black knot at left to a black crescent rising at right, under wide empty paper. 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 brushstroke dips in a U across white paper, between a splattered black mass at left and a rising black crescent at right.] ![T_249, tone-stretched: what the model was shown] ![T_249: every pixel as the measuring code classes it] 70 × 180 cm · the whole sheet, uncropped # T_249 The engine's reading A long grey arc swings across the paper from a splattered black knot at left to a black crescent rising at right, under wide empty paper. 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_249](https://peteryuill.art/enquiries?work=T_249) Availability, price or a studio visit. Peter replies himself; asking commits you to nothing. That little hook high on the grey back is the one Thor baited with an ox's head, rowing out farther than the giant Hymir dared, to fish for the serpent that lies coiled round the whole world. The long grey sweep is the serpent coming up. Snorri tells it plainly: Thor hauled so hard his feet went through the boat and stood on the sea floor, and the serpent rose spitting venom and met his eye. Then Hymir, terrified, cut the line. I am on Hymir's side. The world needs its serpent more than Thor needs a trophy. The black at the left is the sea still churning where the head went down, and the spray hangs over the empty sky, dark drops that have not yet decided to fall. 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_249#details)[The reading](https://peteryuill.art/works/T_249#reading)[How it was read](https://peteryuill.art/works/T_249#read)[Date](https://peteryuill.art/works/T_249#date)[Materials](https://peteryuill.art/works/T_249#materials)[Related](https://peteryuill.art/works/T_249#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:** left dark cluster, grey U-sweep, central dark wedge, right crescent, all joined by the arc - **Movement:** left to right along a dipping arc, lifting at right; central wedge sits against it - **Coverage:** ink on about two thirds of the paper - **Tone:** five tonal steps, spread across the range - **Layering:** pale grey, mid-grey and black passes; readable at right and centre, fused at left - **Edges:** crisp on crescent and wedge; soft along grey wash; broken in left splatter - **Feibai:** present in the rising right crescent and the streaked grey arcs at upper left - **Open paper:** broad bowl at top centre, shaped by the arc's curve - **Chance marks:** spatter at left and upper right; milky streaks in wedge; cloudy halo by left mass - **Frame:** ink runs off left, right and both top corners; top centre open; bottom grazed at centre A long grey sweep drops from the upper left, bottoms out under the middle and climbs again at the right, where a black crescent lifts it to the top edge. The whole sheet is that one swing, and the broad empty paper above takes its shape from the curve. The right end is where the painting is surest. On raw paper that drinks fast, a translucent grey arc went down first and stayed open. The dark crescent rides over it without sinking, and the brush hairs part into feibai as the stroke rises. The central swath keeps its grain and banding, so the brush's travel is still in the grey. The left end is crowded. Splatter, lobed blots and stacked passes knot into a dark mass whose walls dissolve, inside a cloudy halo where wet wash spread. The central wedge is blunt, nearly flat black, streaked with pale milky marks, and it stops the swing instead of riding it. A well-made sheet with a clear spine and one finished passage. The knot where it begins is why it stops at good. 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_249] ![T_249, tone-stretched] ![T_249, classed by brightness] 69% of the sheet carries ink TONAL STEPS ## 5 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: 0.061 (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 2 SOUND 2 SOUND 2 SOUND 2 SOUND 2 SOUND 2.0 ### READ 1, IN ITS OWN WORDS “Gestural sweeping arc with a busy splattered left mass, a blunt centre wedge and a fluent right crescent. The movement is good, but the left side is crowded and some darks are flat. An ordinary sheet near R2.” Form · BUILT Right crescent and long grey sweep follow brush travel; centre wedge is blunt; left mass is a lobed splash with weak walls. WEAKEST Left dark mass, splattered and lobed, edges dissolve STRONGEST Right crescent stroke sweeping upward Tonal depth · MODELLED Five tonal steps; grey band shows striation and grading; left mass mottled; centre wedge and lower right dark fairly uniform inside. WEAKEST Centre dark wedge, largely flat interior STRONGEST Grey sweep with brush striation and graded density Layering · LEGIBLE Pale grey arc pass under darker strokes stays readable at right and centre; left cluster overlaps less clearly ordered. WEAKEST Left area where dark splashes clot over greys STRONGEST Dark crescent laid over translucent grey arc at right Composition · WORKING Long arc carries eye across sheet; upper empty paper shaped by the curve; left quarter crowded and congested with splatter. WEAKEST Crowded, busy left cluster STRONGEST Continuous swooping arc from left to upper right Material and surface · SOUND Ink controlled overall; slightly milky cloudy grey around left mass and pale patch beside it; no tide lines in principal darks. WEAKEST Cloudy grey wash halo around left mass STRONGEST Dry-brush striation inside right crescent and grey sweep 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, 9 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), 5 enclosed voids at true size in their grid cells (amber), the main gesture from start to end (red). Of 16 edge segments, 25% crisp, 63% soft or bloomed, 13% 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_249). ## 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_249 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_246](https://peteryuill.art/works/T_246) [Back to all works](https://peteryuill.art/works) [Next T_250](https://peteryuill.art/works/T_250) ## Where next [T_246 same date, with 8 others](https://peteryuill.art/works/T_246)[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)