--- title: "T_260, sumi ink on paper | Crucible Year" url: https://peteryuill.art/works/T_260 description: "T_260 by Peter Yuill: A wide black block with a curled right end, a hooked stroke flying over it from the upper left, and spatter thrown across half-sized paper. Sumi ink on Tanxi Thickened Grade A Half-Raw 6-Foot, 97 × 180 cm, 2026.04.26. Crucible Year." source: generated from the Crucible Year master database --- ![A large black block fills the centre; a hooked black stroke with a grey streaked tail sits top left; black arcs and spatter below.] ![T_260, tone-stretched: what the model was shown] ![T_260: every pixel as the measuring code classes it] 97 × 180 cm · the whole sheet, uncropped # T_260 The engine's reading A wide black block with a curled right end, a hooked stroke flying over it from the upper left, and spatter thrown across half-sized paper. Record - **Date:** 2026.04.26 - **Dimensions:** 97 × 180 cm - **Paper:** [Tanxi Thickened Grade A Half-Raw 6-Foot](https://peteryuill.art/papers/S4) - **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_260](https://peteryuill.art/enquiries?work=T_260) Availability, price or a studio visit. Peter replies himself; asking commits you to nothing. The tail of that hook is how a barley field looks when the front comes through: every stalk laid the same way, pale side up, a whole acre combed in one breath. I stood in that field once and watched the dark come over the hedge, square-shouldered and too large, the way weather is always too large. The farmers do not argue with it. The swallows go low along the ditches, threading what is left of the light. Then the first drops, landing in the dust and staying round for a second before the ground takes them. Afterwards the field stands back up, one stalk at a time, still leaning east. 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_260#details)[The reading](https://peteryuill.art/works/T_260#reading)[How it was read](https://peteryuill.art/works/T_260#read)[Date](https://peteryuill.art/works/T_260#date)[Materials](https://peteryuill.art/works/T_260#materials)[Related](https://peteryuill.art/works/T_260#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:** central dark block with curled right end; hooked stroke above; arcs and column below - **Movement:** diagonal from top-left hook down to the block's curl; block's horizontal mass resists - **Coverage:** ink on about four fifths of the paper - **Tone:** four tonal steps, weighted dark - **Layering:** grey wash under black; readable along the block's upper and lower margins - **Edges:** crisp at block's left wall and hook head; soft in washes; broken in drag strokes - **Feibai:** present in the top-left sweep, along the hook's grey tail and trailing end - **Open paper:** irregular band across the top centre, between hook and right arc - **Chance marks:** spatter at left, lower right and top centre; blots top left; creases crossing block - **Frame:** runs off bottom and right; top touched by hook and arc; left mostly open A dark block holds the middle of the paper, its right end curling down like a wave breaking. A hooked stroke cuts in above it from the upper left, and the eye rides that hook down to the curl. The hook is the best thing here. Its head is solid black, then the hairs part and the tail flies left in pale parallel streaks of bare paper. Half-sized paper holds that edge without bleeding, so the speed stays on the surface. Along the block's upper and lower margins, grey wash shows from under the black in soft bands, the one place where the passes stack. The block is also the cost. It is too big and too square, and it pushes everything in the lower half down against the bottom edge. Inside, the black covers the grey instead of building on it, and the surface goes cloudy, crossed by paper creases. The lower arcs are flat black. Still, the sheet holds. One excellent stroke gives it direction, and the heavy centre gives that direction somewhere to land. Solid work with a real high point, held down by the weight at its middle. 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_260] ![T_260, tone-stretched] ![T_260, classed by brightness] 78% of the sheet carries ink TONAL STEPS ## 4 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: 0.050 (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 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 1 FLAWED 1 FLAWED 2 SOUND 2 SOUND 1.6 ### READ 1, IN ITS OWN WORDS “A heavy central slab with fluent satellite strokes and spatter. There is modest tonal banding and legible grey-under-black passes. The lower half is crowded. Ordinary overall, close to R2.” Form · BUILT The big central mass is a bulky slab with a curled right end. The top-left comma stroke and the lower-left arcs are fluent. The pale left wedge is stiff. WEAKEST Central slab is bulky and rectangular STRONGEST Top-left hooked stroke with dry-brush tail Tonal depth · MODELLED Modulation is 0.050, just above flat. The stretched view shows a darker core band and grey bands inside the slab. The black core and the top-left stroke are fairly flat. WEAKEST Central black core fairly uniform STRONGEST Central slab's graded grey edges and banding Layering · LEGIBLE Grey wash passes sit under the central slab and the left wedge, with black strokes laid over them. Two or three passes can be read, but the black largely covers the greys. WEAKEST Black core partly covers earlier grey STRONGEST Grey wash under slab with black over it Composition · WORKING The top-left hook and the faint right arc lead the eye around to the heavy central slab. The lower half is crowded with splatter. The empty paper at the top is partly shaped. WEAKEST Dominant slab crowds the lower centre STRONGEST Top-left hook leading toward the right arc Material and surface · SOUND Crease and fold lines cross the slab interior in the stretched view. There are small stray blots at top left and left. No tide lines or blooms were found in the principal masses. WEAKEST Crease lines visible inside central mass STRONGEST Dry-brush tails on the lower-left arcs FLAWS ## 3 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 3 distinct places, 12 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: 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, 29% crisp, 53% soft or bloomed, 18% 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_260). ## Date 2026.04.26, day 119 of the Crucible Year, one of 13 paintings from that date (10 shown). 55 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_260 among all 402 Every painting of the year by date; this one is outlined. [Every painting from 2026.04.26](https://peteryuill.art/days/2026-04-26) · [This date in the year](https://peteryuill.art/year?follow=2026-04-26) ## Materials - **Paper:** [Tanxi Thickened Grade A Half-Raw 6-Foot](https://peteryuill.art/papers/S4), Anhui Jingxian Tanxi Xuan Paper Art Products Co., Ltd., made 2024 - **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) 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 [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_259](https://peteryuill.art/works/T_259) [Back to all works](https://peteryuill.art/works) [Next T_262](https://peteryuill.art/works/T_262) ## Where next [T_262 same date, with 8 others](https://peteryuill.art/works/T_262)[2026.04.26 13 paintings on this date](https://peteryuill.art/days/2026-04-26)[Paper S4 every work on it](https://peteryuill.art/papers/S4)