--- title: "T_257, sumi ink on paper | Crucible Year" url: https://peteryuill.art/works/T_257 description: "T_257 by Peter Yuill: A grey crescent sweeps down from the top left into a long rising band, with a black slab set low on 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 --- ![Wide grey ink crescent on the left curving into a grey band across the right, a dense black block lower right, white paper top centre.] ![T_257, tone-stretched: what the model was shown] ![T_257: every pixel as the measuring code classes it] 70 × 180 cm · the whole sheet, uncropped # T_257 The engine's reading A grey crescent sweeps down from the top left into a long rising band, with a black slab set low on 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_257](https://peteryuill.art/enquiries?work=T_257) Availability, price or a studio visit. Peter replies himself; asking commits you to nothing. In Genesis the stone on the well's mouth is so heavy the shepherds wait to roll it off together, until Jacob shifts it alone. Stones over wells are like that, and the story is always about whatever lifts the corner. On this sheet the stone is down and it is black, and up on the right something has already pushed through: a pale wedge, a spill of cold drops, the mess a water spirit makes when it is only practising. Off to the left a horn curves away into split white hairs, the one piece of the beast that got out clean. I would bargain for that horn. I would leave the stone where it lies, stand very still, and listen to the water knock. 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_257#details)[The reading](https://peteryuill.art/works/T_257#reading)[How it was read](https://peteryuill.art/works/T_257#read)[Date](https://peteryuill.art/works/T_257#date)[Materials](https://peteryuill.art/works/T_257#materials)[Related](https://peteryuill.art/works/T_257#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:** grey crescent on the left joining a rising grey band; black slab set into its lower right - **Movement:** left to right, down through the crescent then up; the slab pulls weight low - **Coverage:** ink on about four fifths of the paper - **Tone:** five tonal steps, weighted dark - **Layering:** pale washes, grey arcs, black slab; readable on the left, buried under the slab - **Edges:** crisp crescent edge against open paper; soft band top; broken slab right end - **Feibai:** present, at the crescent's split tail and the slab's right end - **Open paper:** shaped bowl of white at top centre, between crescent and band - **Chance marks:** water stain with bleached wedge top right; scattered drops; milky bloom along left edge - **Frame:** ink runs off left, bottom and right edges; top stays open beyond the left corner A grey crescent drops from the top left, swings low through the middle and hands the eye to a long band that climbs and runs right. Between them sits a bowl of bare paper, top centre, cleanly shaped. The crescent is where to look. Its greys step down pass over pass, and the raw paper keeps each layer readable, the earlier wash already sunk in before the next arrived. At its tail the hairs split and drag parallel white streaks that hold the curve all the way to its point. The cost sits lower right. The black slab is a heavy rectangle with a squared left wall, and inside it hardly changes. Black loaded this full fills the fibres and shuts the grain, so the grey band underneath simply vanishes. Only the right end breaks open into dry streaks. Above it, at top right, a water stain, a bleached wedge and loose drops crowd the corner. The opening move is good. The answer to it is blunt, and the answer weighs more. A middling sheet: clear in its travel, heavy where it needed air. 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_257] ![T_257, tone-stretched] ![T_257, classed by brightness] 85% 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: 0.072 (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 “An ordinary sheet. A good sweeping left arc and an S-flow sit against a bulky, flat black slab. The layering is legible but limited. A blotchy, bleached accident in the top right lowers material quality.” Form · BUILT Left arc follows the brush's travel and tapers cleanly. The lower-right black slab is a heavy rectangle with a blunt left end; only its right edge breaks into dry-brush. WEAKEST Bulky black slab, lower right, blunt left end STRONGEST Left sweeping curved stroke tapering to a point Tonal depth · MODELLED The left arc and the upper grey band show banding and stepped greys. The black slab only has faint arcs in the stretched view and is largely flat inside. WEAKEST Black slab interior is near-uniform STRONGEST Banded greys within left curved stroke Layering · LEGIBLE Two or three passes: pale grey washes, mid-grey arcs and a black slab. Overlaps on the left are readable, but the black on the right mostly covers rather than builds. WEAKEST Black slab covers the grey band beneath it STRONGEST Translucent grey arcs overlapping on the left Composition · WORKING A sweeping S-curve carries the eye left to right, and the empty top centre has a shape. The ink is dense across the bottom, and the top right is messy and weak. WEAKEST Cluttered splash area, top right STRONGEST S-movement from left arc into right band Material and surface · FLAWED Top right: a pale blotchy wash with a bleached white shape and stray drops beside the grey band. Left edge: a milky, mottled texture. Both are visible in colour. WEAKEST Blotchy bleached patch and spatter, top right STRONGEST Dry-brush tail at right end of slab FLAWS ## 4 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 4 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), 3 enclosed voids at true size in their grid cells (amber), the main gesture from start to end (red). Of 15 edge segments, 33% crisp, 60% soft or bloomed, 7% 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_257). ## 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_257 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_256](https://peteryuill.art/works/T_256) [Back to all works](https://peteryuill.art/works) [Next T_259](https://peteryuill.art/works/T_259) ## 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)