--- title: "T_259, sumi ink on paper | Crucible Year" url: https://peteryuill.art/works/T_259 description: "T_259 by Peter Yuill: A wide grey bowl of brushed ink swings between two dark masses at the left and right edges, under an open circle of pale 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 --- ![Wide ink painting: dark masses at left and right edges joined by a grey bowl-shaped sweep, pale open circle above, spatter and round drops.] ![T_259, tone-stretched: what the model was shown] ![T_259: every pixel as the measuring code classes it] 70 × 180 cm · the whole sheet, uncropped # T_259 The engine's reading A wide grey bowl of brushed ink swings between two dark masses at the left and right edges, under an open circle of pale 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_259](https://peteryuill.art/enquiries?work=T_259) Availability, price or a studio visit. Peter replies himself; asking commits you to nothing. A few round drops sit in a short row inside the grey, and I read them as a transit: small dark bodies crossing a bright disc, the way astronomers find worlds by the dip they cut in a star's light. Most of those worlds are rock, or gas, or ice that will never thaw. The light that shows them set out long before anyone built an instrument to catch it. The heavy dark on the right I let be a moon that came too close and stayed, which is allowed. Things in orbit do not choose their weight. They choose nothing. They go round. Somewhere a cold instrument logs it: a small dip in the light, and then the light again. 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_259#details)[The reading](https://peteryuill.art/works/T_259#reading)[How it was read](https://peteryuill.art/works/T_259#read)[Date](https://peteryuill.art/works/T_259#date)[Materials](https://peteryuill.art/works/T_259#materials)[Related](https://peteryuill.art/works/T_259#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:** two dark flanking masses joined by a low grey arc - **Movement:** curving left to right through the bowl; spatter at right flies outward - **Coverage:** ink on about three quarters of the paper - **Tone:** five tonal steps, weighted to the middle greys - **Layering:** pale ring wash, grey sweep, black passes; readable at left, merging at right - **Edges:** crisp spatter at both sides; soft, spread edges along the right mass - **Feibai:** present in the grey arc strokes across the lower centre and the pale arc at upper left - **Open paper:** rounded bowl of bare paper at top centre, ringed by pale wash - **Chance marks:** drop rings in central grey and bottom left; water stain left of right mass; specks at top - **Frame:** ink runs off left, right and bottom edges; top centre stays open A broad bowl of grey swings across the lower half of the paper, from a dark mass at the left edge to a darker one at the right. Above it the paper stays open, cupped inside a faint ring of wash. The eye enters at the left, rides the curve down and up, and lands hard on the right. The grey sweep is where the sheet is alive. Through the lower centre the brush travelled fast and split, leaving flying white in long parallel streaks that follow the curve exactly, and the raw paper holds that grain without blurring it. At the left, pale ring, grey sweep and dark mass lie one over another and each stays legible, the dark showing bands inside. The right mass spends most of that. Its core is a flat, sealed black, its lower left edge swells into blunt fingers where wet ink spread through raw paper, and the grey beneath it is largely buried. A cloudy water stain beside it and drop rings scattered through the centre add clutter to a band already full. A familiar kind of sheet: the movement is real, and it reaches the right side heavier than it set out. 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_259] ![T_259, tone-stretched] ![T_259, classed by brightness] 75% 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: 0.058 (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 “Gestural bowl composition close to R2: a good grey arc and a shaped white centre, but the right black mass is bulky and flat, and ringed drop blooms mark the central grey arc.” Form · BUILT Grey bowl arc follows the brush's travel; left dark sweep holds. Right black mass is slab-like with blobby finger lobes at its lower left. WEAKEST Bulky right dark mass with blunt, lobed lower edge STRONGEST Sweeping grey arc with dry-brush striations, lower centre Tonal depth · MODELLED Five tonal steps; modulation 0.058. Left mass and grey arc show banding and grain, but the right black core reads as uniform surface. WEAKEST Core of right black mass flat inside STRONGEST Left dark sweep with banded, stepped greys Layering · LEGIBLE Pale ring wash, grey arc and black passes can be read where they overlap at left; at right the black mostly covers the earlier grey. WEAKEST Right mass where black covers the grey beneath STRONGEST Pale arc under grey sweep under left dark Composition · WORKING The bowl-shaped arc frames the open upper centre and carries the eye from left to right; the right cluster is dense and sits heavily. WEAKEST Crowded, heavy right side STRONGEST Shaped white bowl of empty paper, top centre Material and surface · FLAWED Circular pale drop blooms with rings sit in the central grey arc and at bottom left, visible in colour; a feathered cloudy wash edges the right mass. WEAKEST Pale ringed drop blooms in the grey arc STRONGEST Dry-brush grain in the grey arc strokes FLAWS ## 5 distinct places, 2 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, 20 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: 2 principal ink masses traced (cyan), 8 enclosed voids at true size in their grid cells (amber), the main gesture from start to end (red). Of 17 edge segments, 47% crisp, 41% soft or bloomed, 12% 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_259). ## 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_259 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 Just before and after 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_257](https://peteryuill.art/works/T_257) [Back to all works](https://peteryuill.art/works) [Next T_260](https://peteryuill.art/works/T_260) ## Where next [T_246 same date, with 8 others](https://peteryuill.art/works/T_246)[T_260 the next shown painting in the sequence](https://peteryuill.art/works/T_260)[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)