--- title: "T_252, sumi ink on paper | Crucible Year" url: https://peteryuill.art/works/T_252 description: "T_252 by Peter Yuill: A great ink arc climbing left to right across raw paper, from pale grey wash through stepped greys into a broad black slab. 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 ink arc sweeps from pale grey at left to dense black at lower right, rising toward the upper right, with stains at top left.] ![T_252, tone-stretched: what the model was shown] ![T_252: every pixel as the measuring code classes it] 70 × 180 cm · the whole sheet, uncropped # T_252 The engine's reading A great ink arc climbing left to right across raw paper, from pale grey wash through stepped greys into a broad black slab. 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_252](https://peteryuill.art/enquiries?work=T_252) Availability, price or a studio visit. Peter replies himself; asking commits you to nothing. Up near the top of the grey, the beads have gathered the way frogspawn gathers in a ditch in April: dark points in clear jelly, all crowded on the side the water came from. I would leave them there. Ditches are good at waiting. Below them the black lies flat as a pond that froze overnight and has decided to stay frozen, very proud of itself, giving the sun nothing back. The spawn does not care. Each dot is busy becoming something with legs. In a week the ice will be a puddle with opinions, the ditch will be loud, and the grey will be full of small swimmers, every one of them turned to face upstream. 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_252#details)[The reading](https://peteryuill.art/works/T_252#reading)[How it was read](https://peteryuill.art/works/T_252#read)[Date](https://peteryuill.art/works/T_252#date)[Materials](https://peteryuill.art/works/T_252#materials)[Related](https://peteryuill.art/works/T_252#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 long arc built from stepped segments, joined end to end - **Movement:** rising left to right, bending down at the far right - **Coverage:** ink on about four fifths of the paper - **Tone:** five tonal steps, weighted dark - **Layering:** pale, mid and dark passes, readable along the arc's grey overlaps - **Edges:** streaked upper arc edge; ragged, dripping lower edges; squared black end - **Feibai:** along the upper edge of the arc, and at its right end - **Open paper:** irregular spotted area at top left, thin band above the arc - **Chance marks:** water spots top left, feathered bloom left, drip lobes bottom centre - **Frame:** pale wash runs off the left edge; arc nears the top, right and bottom The arc arrives first: one wide passage that begins as pale wash at the left, darkens in steps, and climbs toward the upper right before bending down at the far edge. The eye rides it in a single ascent, and the paper above takes its shape from that curve. The grey upper band is where the sheet comes alive. Along its top the hairs parted into long parallel streaks of bare paper, and near the right the wet ink pooled into dark cells, beads crowded along the brush's path. Raw paper took the water fast and held each drop where it fell. The lower black gives far less. It buries the passes beneath it and stays nearly flat inside, so the heaviest mass on the sheet has the least to say, and it ends in a squared, blunt edge. At the left, grey segments stack into stiff slabs with dribbled lobes below, and the top left corner is stained, unclaimed paper. The climb holds, and the grey band rewards close looking. The black at its end weighs more than it returns, and the start is clumsy. A capable, fluent sheet that stops short of its own best passage. 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_252] ![T_252, tone-stretched] ![T_252, classed by brightness] 79% 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: 0.064 (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 3 ORDERED 2 LEGIBLE 3 ORDERED 3 ORDERED 2 LEGIBLE 2.6 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 “Large layered arc stepping pale to black reads in clear sequence, but left slabs are blunt, the black mass is fairly flat, and top-left paper carries visible water stains.” Form · BUILT Large arc follows brush travel with dry-brush striations top right; left end stacks into bulky rectangular slabs with clumsy joins and ragged fingered bottom edges. WEAKEST Blunt stacked slab at left end of the arc STRONGEST Sweeping upper arc stroke with dry-brush streaks right Tonal depth · MODELLED Five tonal steps grading pale left to black right; upper grey band has striation and pooled dots; lower-right black slab mostly uniform despite modest modulation. WEAKEST Lower-right black mass largely flat inside STRONGEST Grey upper band with striations and pooled reticulation Layering · ORDERED Several translucent passes overlap in clear sequence from pale left wash through mid greys to black, each edge legible; black slab partly just covers the grey. WEAKEST Black lower slab covers earlier passes beneath it STRONGEST Stepped translucent passes progressing pale to dark Composition · WORKING Single arcing movement crosses the sheet with strong direction; mass dominates heavily, top-left paper is leftover and spotted, bottom edge crowded. WEAKEST Stained leftover paper at top left STRONGEST Rising arc carrying eye left to right Material and surface · FLAWED Round grey water spots and bloomed pale wash at top-left and left beside the pale mass; milky circular patch inside left grey mass; grey drop under black bottom right. WEAKEST Round grey stains and blooms at top left STRONGEST Pooled reticulation dots in upper grey band FLAWS ## 5 distinct places, 3 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, 21 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), 5 enclosed voids at true size in their grid cells (amber), the main gesture from start to end (red). Of 14 edge segments, 43% crisp, 29% soft or bloomed, 29% 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_252). ## 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_252 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_251](https://peteryuill.art/works/T_251) [Back to all works](https://peteryuill.art/works) [Next T_254](https://peteryuill.art/works/T_254) ## 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)