--- title: "T_267, sumi ink on paper | Crucible Year" url: https://peteryuill.art/works/T_267 description: "T_267 by Peter Yuill: A dark fan, a blunt wedge and a rising sweep of curved strokes cup a bowl of white paper, with a thin white crack splitting the crowded lower band. 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 --- ![Landscape ink painting: a dark fan at left, a dark wedge and grey band at centre, curved black strokes at right, white paper open across the top.] ![T_267, tone-stretched: what the model was shown] ![T_267: every pixel as the measuring code classes it] 97 × 180 cm · the whole sheet, uncropped # T_267 The engine's reading A dark fan, a blunt wedge and a rising sweep of curved strokes cup a bowl of white paper, with a thin white crack splitting the crowded lower band. 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_267](https://peteryuill.art/enquiries?work=T_267) Availability, price or a studio visit. Peter replies himself; asking commits you to nothing. The white crack low in the middle is the oldest thing here, if you look at it the way a geologist would. A river did that. Give water long enough and it will saw through any black slab set in its way, then leave, and the canyon stays behind as a pale thread you could step across. Above it the sky is open and the stars are not out yet, only a few dark specks drifting where weather used to be. I am fond of the slabs. They are heavy and stubborn and sure they will last. They will not. The river is already gone, and the cut it left goes on widening toward the bottom edge, a grain at a time. 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_267#details)[The reading](https://peteryuill.art/works/T_267#reading)[How it was read](https://peteryuill.art/works/T_267#read)[Date](https://peteryuill.art/works/T_267#date)[Materials](https://peteryuill.art/works/T_267#materials)[Related](https://peteryuill.art/works/T_267#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:** left fan, central wedge and grey slab, right arc mass, joined along the lower band - **Movement:** masses curve upward into a bowl; the central wedge drives rightward across it - **Coverage:** ink on about four fifths of the paper - **Tone:** three tonal steps, weighted dark - **Layering:** three kinds of pass; grey arcs readable only at the margins of dark masses - **Edges:** crisp on fan and wedge tops; feathered dry brush along the right sweep - **Feibai:** present along the upper strokes of the right sweep - **Open paper:** broad bowl of white across the top centre; thin jagged crack lower centre - **Chance marks:** spatter and drip rings top centre; ring blot in central grey; creases across left fan - **Frame:** ink runs off bottom and right edges, grazes the left; top stays open The eye drops first into the white. Two dark masses rise on either side, a broad fan on the left and a sweep of curved strokes on the right, and between them the open paper sits like the inside of a bowl. The sheet leans up toward that emptiness, and the shape of the white is the clearest decision on it. The right sweep is where the brush shows most. Its strokes follow the arc they make, and along their tops the hairs part into streaks of bare paper, so the edge feathers away instead of stopping. Under the left fan, translucent grey arcs show at its margins, and the half-sized paper keeps each pass distinct at the boundary. The lower centre is where it thickens. The wedge pushing out from the fan is filled flat, an even dark with almost nothing moving inside, and the grey slab beside it is just as stiff. The later blacks cover the greys more than they build on them. A hard water ring sits in that grey, and it reads as damage. So the sheet has a lively rim and a heavy floor. The bowl and the right sweep move; the middle is blocks parked side by side. It is a fair, middling sheet, right in its frame and routine in its filling. 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_267] ![T_267, tone-stretched] ![T_267, classed by brightness] 81% of the sheet carries ink TONAL STEPS ## 3 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, 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 bowl-shaped composition of a dark fan and a curved sweep with a heavy, blocky centre. The darks show some modelling, but a ring stain in the central slab is a clear accident.” Form · BUILT The left fan and the right curved sweep hold their walls and follow the arc. The central rectangle and the grey slab beside it are blocky and stiff. WEAKEST Blunt rectangular dark block in left-centre STRONGEST Right-hand curved sweep of layered strokes Tonal depth · MODELLED Modulation 0.050 is just above flat. The tone-stretched view shows faint grain and fold lines in the left fan. The right sweep is banded, and the central block is mostly uniform. WEAKEST Central dark rectangle interior largely flat STRONGEST Right sweep with banded grey-to-black stroke density Layering · LEGIBLE There are three tonal steps. Grey arcs and pale washes sit under the darker passes and stay readable at the edges. The darks mostly cover rather than build through translucency. WEAKEST Dark central block covers earlier grey passes STRONGEST Translucent grey arcs under the left fan Composition · WORKING Two masses curve into a bowl around the open white top, which gives direction. The white crack in the centre and the dense, heavy lower half crowd the arrangement. WEAKEST Crowded heavy lower band, central gap awkward STRONGEST Bowl-shaped arc framing open top paper Material and surface · FLAWED There is a clear ring-shaped blot in the grey slab at centre, visible in the colour view. Small tide spots sit in the top paper, and crease lines show in the left fan. WEAKEST Ring stain inside central grey slab STRONGEST Dry-brush feathered edges on right sweep 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, 16 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), 2 enclosed voids at true size in their grid cells (amber), the main gesture from start to end (red). Of 16 edge segments, 31% crisp, 50% soft or bloomed, 19% 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_267). ## 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_267 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_265](https://peteryuill.art/works/T_265) [Back to all works](https://peteryuill.art/works) [Next T_268](https://peteryuill.art/works/T_268) ## 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)