--- title: "T_264, sumi ink on paper | Crucible Year" url: https://peteryuill.art/works/T_264 description: "T_264 by Peter Yuill: A wide grey arc climbs from a squared left end and meets a black curved wedge dropping in from the right, above a white gap. 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 wide grey arc sweeps from a squared left end across the top, meeting a black curved wedge at right, white paper below with drips.] ![T_264, tone-stretched: what the model was shown] ![T_264: every pixel as the measuring code classes it] 97 × 180 cm · the whole sheet, uncropped # T_264 The engine's reading A wide grey arc climbs from a squared left end and meets a black curved wedge dropping in from the right, above a white gap. 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_264](https://peteryuill.art/enquiries?work=T_264) Availability, price or a studio visit. Peter replies himself; asking commits you to nothing. The black wedge on the right comes in like the hull of something that has not decided to land. I logged it. Below it, in the white, there is a pale scorch with a trail of drops, exactly what a ship leaves when it hovers too long over a colony that has stopped answering. The grey arc on the left flew escort. It ran out of sky at its own blunt end and parked there, square, engines cold, waiting for orders from a planet that had packed itself away. I have a soft spot for escorts. They fly the long curve and get none of the landing. Under all that grey the beacon still drips, once, then once more, into the dust. 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_264#details)[The reading](https://peteryuill.art/works/T_264#reading)[How it was read](https://peteryuill.art/works/T_264#read)[Date](https://peteryuill.art/works/T_264#date)[Materials](https://peteryuill.art/works/T_264#materials)[Related](https://peteryuill.art/works/T_264#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:** wide grey arc band from left; black quarter-arc wedge at right; crossing upper centre - **Movement:** clockwise sweep left to right; ragged top-left strokes run against it - **Coverage:** ink on about four fifths of the paper - **Tone:** four tonal steps, weighted dark - **Layering:** pale band, darker band, black wedge; readable in left arc, merged at top centre - **Edges:** crisp on arc walls and wedge's cut end; broken and ragged at top left - **Feibai:** present in the top-left grey strokes and along the arc's upper rim - **Open paper:** white wedge at lower centre between the arcs; small crescent upper left - **Chance marks:** tide-edged stain with drip trail lower centre; ringed drops at left; spatter lower right - **Frame:** ink runs off top and right edges, touches left at top corner; bottom stays open Two arcs wheel across the paper, a wide grey band climbing from the left and a black wedge dropping in from the right. The eye rides them clockwise and lands in the white gap at the bottom. It is a big, simple motion, and it reads from across a room. The right wedge does the most. Its black is grained rather than sealed, with a darker ring curving just inside the outer wall, and its lower end is cut clean on the half-sized paper. In the left band the passes step down in clear translucent tiers, pale beneath darker, each wall holding its line. Then the sheet thickens. Where the arcs cross at top centre the passes sink into one cloudy grey, and the whole top edge is jammed, with ragged strokes and drips crowding the left corner. The left band stops in a blunt square slab, flat inside, as if the sweep had hit a wall. Below, a pale tide-edged stain and its drip trail sit in the open paper, and creases run through the darks. The swing is real and the right wedge stands up on its own. Too much around them is crowded or stalled for either to lift the whole: a sheet of the usual kind, with one passage worth crossing the room for. 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_264] ![T_264, tone-stretched] ![T_264, classed by brightness] 81% 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: 0.062 (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 “The two big arcs make a strong diagonal and have some layered translucency, but the forms are bulky in places, the top left is cluttered, and a visible water stain below the arcs lowers the material score.” Form · BUILT Broad arcing bands hold their walls and follow the sweep; left-edge block and top-left strokes are lumpy and stiff. WEAKEST Bulky ragged block at left edge behind arc STRONGEST Right dark arc segment following brush sweep Tonal depth · MODELLED Right dark mass shows grain, cracks and inner arc; left band has stepped bands but broad interiors stay fairly uniform grey. WEAKEST Big left grey band fairly even inside STRONGEST Right dark arc with grain and inner dark ring Layering · LEGIBLE Two or three translucent passes overlap legibly in left arc and right sweep; top-centre crossing gets dense and less readable. WEAKEST Top-centre overlaps merge into murky grey STRONGEST Stepped translucent arcs in left band Composition · WORKING Two arcs drive a strong diagonal movement and shape the lower-centre void; top-left is busy and cluttered with splatter. WEAKEST Cluttered top-left corner with drips STRONGEST Rising diagonal arc sweep across sheet Material and surface · FLAWED Visible pale tide-edged stain with drip trail below the arcs, and ringed droplets on left paper, visible in colour view. WEAKEST Pale water stain and drip trail bottom centre STRONGEST Grainy dry-brush edges on right arc FLAWS ## 5 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 5 distinct places, 19 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 16 edge segments, 44% crisp, 31% soft or bloomed, 25% 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_264). ## 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_264 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 [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_262](https://peteryuill.art/works/T_262) [Back to all works](https://peteryuill.art/works) [Next T_265](https://peteryuill.art/works/T_265) ## Where next [T_260 same date, with 8 others](https://peteryuill.art/works/T_260)[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)