--- title: "T_250, sumi ink on paper | Crucible Year" url: https://peteryuill.art/works/T_250 description: "T_250 by Peter Yuill: A grey ink wave sags across a long sheet of raw paper, from a blotted black mass at the left to a streaked dark diagonal climbing out at the right. 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 grey ink wave sags across pale paper from a dark blotched mass at left to a dark diagonal band and black strip at right.] ![T_250, tone-stretched: what the model was shown] ![T_250: every pixel as the measuring code classes it] 70 × 180 cm · the whole sheet, uncropped # T_250 The engine's reading A grey ink wave sags across a long sheet of raw paper, from a blotted black mass at the left to a streaked dark diagonal climbing out at the right. 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_250](https://peteryuill.art/enquiries?work=T_250) Availability, price or a studio visit. Peter replies himself; asking commits you to nothing. The beads along the crest of the right wave are a counting spell. On this coast a tide may not break until its pearls are counted, and the counter is always a small, underpaid wizard with wet sleeves. He got halfway. Then the left side of the sea arrived early, lumpy and loud, a troll who has heard there is soup, and he dropped the rest of the string into the trough, where they still sit, ringed and swollen, refusing to be counted. I like him. I would hire him again. Above all this the sky stays blank as a slate, and a few black drops fall out of it like seeds. 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_250#details)[The reading](https://peteryuill.art/works/T_250#reading)[How it was read](https://peteryuill.art/works/T_250#read)[Date](https://peteryuill.art/works/T_250#date)[Materials](https://peteryuill.art/works/T_250#materials)[Related](https://peteryuill.art/works/T_250#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 wave band, dark diagonal band, black strip at right edge - **Movement:** wave dropping from left, sagging at centre, rising right; black edge strip runs downward against it - **Coverage:** ink on about two thirds of the paper - **Tone:** five tonal steps, spread across the range - **Layering:** two or three passes; grey under dark reads clearly on right, merges on left - **Edges:** crisp along top of right band; soft in left mass; broken, spiky at lower edges - **Feibai:** present in lower sweep of wave and through right diagonal band - **Open paper:** wide pale bowl across top centre, shaped by the wave's sag - **Chance marks:** ringed blooms in central trough; small rings at right band; spatter falling top centre - **Frame:** ink runs off left, bottom and right edges, and top corners; top centre stays open A wave crosses the paper. It falls from a dark mass at the left, sags through a grey trough, and climbs to the right, leaving a wide bowl of untouched paper above it. The whole movement reads at a glance, a swell seen side on. The right diagonal band is where the brush shows its hand. A dark sweep runs over a pale grey wash, and the wash still reads through it. In the fast stroke the hairs have split and left streaks of bare paper running the way the brush travelled. Raw paper grips dry brush firmly, so those streaks and the grades between them stay sharp, from near black to thin grey. The left mass goes another way. On paper this quick to drink, wet passes laid into wet ones have fused into a lumpy, lobed bulk with a dull interior and a ragged outline. The trough is pocked with ringed blooms where water met damp grey. At the right edge a dense, flat black strip is jammed against the frame. What is left is a capable sheet of the middle kind. The wave is real and the right band rewards a close look, but the soft left mass and the cramped edge hold it level with the archive's usual run. 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_250] ![T_250, tone-stretched] ![T_250, 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: 0.054 (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 “A gestural wave sweep with some tonal life in the right diagonal. It is ordinary in form, layering and composition, and cellular water blooms in the central sweep mark the surface. It is closest to R2.” Form · BUILT Wave sweep from left down through centre to right reads as a coherent form; left dark mass is lumpy and frayed, so some bulk remains. WEAKEST Left dark mass, ragged lobed outline STRONGEST Right diagonal dark sweep following brush travel Tonal depth · MODELLED Right dark band shows streaks and stepped density; five tonal steps, modulation 0.054; left black mass flatter inside. WEAKEST Left dark mass interior fairly uniform STRONGEST Right diagonal band with streaked grey grading Layering · LEGIBLE Pale grey sweeps lie under darker strokes at right and left; overlaps readable, but only two or three passes and little ordered build-up. WEAKEST Centre where droplets blur the grey pass STRONGEST Dark diagonal over pale grey wash, right Composition · WORKING Wave-like curve gives direction and shapes the empty top paper; right edge black fragment and busy lower right feel crowded. WEAKEST Crowded right edge with cut-off black mass STRONGEST Wave curve carrying eye left to right Material and surface · FLAWED Clusters of ringed, cellular drop blooms sit inside the central grey sweep, visible in colour view; read as water spotting rather than chosen structure. WEAKEST Cellular water-drop blooms in centre sweep STRONGEST Dry-brush streaks in right diagonal band FLAWS ## 6 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 6 distinct places, 13 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), 10 enclosed voids at true size in their grid cells (amber), the main gesture from start to end (red). Of 17 edge segments, 12% crisp, 53% 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_250). ## 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_250 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_249](https://peteryuill.art/works/T_249) [Back to all works](https://peteryuill.art/works) [Next T_251](https://peteryuill.art/works/T_251) ## 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)