--- title: "T_265, sumi ink on paper | Crucible Year" url: https://peteryuill.art/works/T_265 description: "T_265 by Peter Yuill: Three black fan segments, the broken pieces of a wheel, swing around an S of white paper through grey washes and flung spatter. 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 --- ![Three large black curved wedges at top, right and bottom left, ringed by grey washes and spatter, around a white central band.] ![T_265, tone-stretched: what the model was shown] ![T_265: every pixel as the measuring code classes it] 97 × 180 cm · the whole sheet, uncropped # T_265 The engine's reading Three black fan segments, the broken pieces of a wheel, swing around an S of white paper through grey washes and flung spatter. 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_265](https://peteryuill.art/enquiries?work=T_265) Availability, price or a studio visit. Peter replies himself; asking commits you to nothing. Three dark shapes sit round a pale opening, and I take them for the Norns at the well of Urd. Snorri says they draw water from it every day and pour it, with the white clay from its edge, over the roots of the world tree so that the tree does not rot. The great one at the top leans in heaviest. The one at the right has turned her back, already walking off with the bucket. The one below is crouched low, still working the clay. The splash between them is this morning's water, thrown hard and running in streaks. They did not speak to me. Then they poured again, the roots drank, and the ash held up the sky for another day. 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_265#details)[The reading](https://peteryuill.art/works/T_265#reading)[How it was read](https://peteryuill.art/works/T_265#read)[Date](https://peteryuill.art/works/T_265#date)[Materials](https://peteryuill.art/works/T_265#materials)[Related](https://peteryuill.art/works/T_265#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:** three dark fan segments, top, right and bottom left, joined by grey washes - **Movement:** rotation around the centre; splash and drips fall down and right against it - **Coverage:** ink on about four fifths of the paper - **Tone:** four tonal steps, weighted dark - **Layering:** two kinds of pass, grey washes under dark fans, readable at their edges - **Edges:** crisp walls on the fans; soft, splashed edges on the grey halos - **Feibai:** present in the grey drag strokes right of the bottom-left fan - **Open paper:** S-shaped white channel through the centre, widening into the lower right - **Chance marks:** spatter at left and centre, drops at lower right, crease cracks in top arc - **Frame:** ink runs off top and bottom; left and right edges mostly open, spattered The eye meets three black fans turning around a pale centre, the pieces of a wheel that has come apart. An S of white paper runs through the middle and gives them room to rotate. Grey washes and spatter fly off the dark on every side. The top arc is the sheet's real passage. Its wall bends with the travel of the brush, and inside it the black streaks and bands where dry hairs dragged across the half-raw paper, so density steps instead of pooling. Beneath it a grey halo stays legible at the rim, the first pass showing under the second. Crease cracks run through that black, and the arc absorbs them. The bottom-left fan does not answer it. Its top is cut flat, the body squat, the interior an even grey, and it sits like a slab. The lower right is leftover paper, dotted with drops that mark the space without shaping it. Milky halos cloud the grey beside the masses. The rotation is real and one fan of three is fully made. The others fill out the circle. A capable sheet, of the kind most working days produce. 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_265] ![T_265, tone-stretched] ![T_265, classed by brightness] 79% 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: 0.057 (under 0.045 reads as flat). FIVE READS ## Five reads, agreeing on 3 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 3 DEEP 2 MODELLED 2 MODELLED 2.2 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 2 SOUND 1 FLAWED 1 FLAWED 1.2 ### READ 1, IN ITS OWN WORDS “A rotational composition of three dark fan segments with some tonal life in the top arc. The forms are bulky, the passes are mostly covering, and cloudy halos and blots sit around the masses. An ordinary sheet near R2.” Form · BUILT Three curved fan segments with walls that hold; the top arc follows the stroke well, but the bottom-left and right wedges are bulky and slab-like. WEAKEST Bottom-left fan segment, blunt cut top edge STRONGEST Top arc segment following the curved brush travel Tonal depth · MODELLED Modulation is 0.057. The top arc shows streaks and stepped density, and the right wedge is mottled. The bottom-left mass is more uniform. Four tonal steps. WEAKEST Bottom-left segment interior, fairly even grey STRONGEST Top arc with banded, streaked density shifts Layering · LEGIBLE There are two passes: pale grey splashed washes under dark fan segments. The overlaps can be read at the edges, but the dark passes mostly cover the earlier ones. WEAKEST Black segments largely cover the grey underlayers STRONGEST Grey halo washes legible beneath the top arc Composition · WORKING The three segments imply a circular rotation, and the central white is shaped. The lower right feels leftover and spotted, and the sheet is crowded at the top edge. WEAKEST Lower-right empty quarter with scattered drips STRONGEST Rotational swing of the three segments around the centre Material and surface · FLAWED Cloudy grey bloom washes cling to the top arc and the bottom-left segment. There are crease cracks across the top arc and stray blots at the lower right. WEAKEST Cloudy splashed grey halos beside the dark masses STRONGEST Dry-brush grain within the top arc FLAWS ## 6 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 6 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: 2 principal ink masses traced (cyan), 2 enclosed voids at true size in their grid cells (amber), the main gesture from start to end (red). Of 18 edge segments, 39% crisp, 56% soft or bloomed, 6% 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_265). ## 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_265 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_264](https://peteryuill.art/works/T_264) [Back to all works](https://peteryuill.art/works) [Next T_267](https://peteryuill.art/works/T_267) ## 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)