--- title: "T_269, sumi ink on paper | Crucible Year" url: https://peteryuill.art/works/T_269 description: "T_269 by Peter Yuill: A broad black slab climbs toward the upper left and meets a curved black arc swinging right, with a spray of ink thrown upward where they join. 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 black diagonal mass from upper left meets a curved black arc on the right, with upward ink spray at centre and pale grey washes.] ![T_269, tone-stretched: what the model was shown] ![T_269: every pixel as the measuring code classes it] 97 × 180 cm · the whole sheet, uncropped # T_269 The engine's reading A broad black slab climbs toward the upper left and meets a curved black arc swinging right, with a spray of ink thrown upward where they join. 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_269](https://peteryuill.art/enquiries?work=T_269) Availability, price or a studio visit. Peter replies himself; asking commits you to nothing. The creases in the big black are what I took away. Fine cracked lines, the way skin goes when it has been made into a fist too many times and then let open. My uncle's hands did that. After his shift he laid them flat on the bar and the backs turned into maps of every crate he ever lifted. There are two small white nicks in there as well, bare paper, the pale kind of scar a working hand keeps from a slipped knife and never mentions. The arc on the right gets the compliments, and fair enough. I would still rather hold the other side, heavy, crumpled, warm from carrying. Somewhere in those creases he is drying the same glass with a bar towel, slowly, twice. 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_269#details)[The reading](https://peteryuill.art/works/T_269#reading)[How it was read](https://peteryuill.art/works/T_269#read)[Date](https://peteryuill.art/works/T_269#date)[Materials](https://peteryuill.art/works/T_269#materials)[Related](https://peteryuill.art/works/T_269#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:** broad left diagonal slab meeting a curved right arc at a central splash - **Movement:** rising diagonal to the upper left; right arc sweeps outward; central burst shoots upward - **Coverage:** ink on about four fifths of the paper - **Tone:** four tonal steps, weighted dark - **Layering:** pale washes, mid-grey bands, black passes; readable upper right, fused at centre - **Edges:** crisp outer wall on right arc; soft grey wash edges; broken spiky central burst - **Feibai:** trailing right end of the right arc, toward the right edge - **Open paper:** wedge in the upper right, shaped by a pale grey arc - **Chance marks:** spatter around central burst and across left slab; drip rings lower left - **Frame:** ink runs off left and right edges; top and bottom largely open Two dark masses meet in the middle of a long sheet. A broad slab climbs from bottom centre toward the upper left, a curved arc swings out to the right, and where they join a burst of spatter shoots upward like a struck match. The eye takes it as one movement bending at the centre. The arc is the part to look at. Its outer wall is clean, the curve follows the brush all the way out, and its tail opens into flying white near the right edge. Above it a pale grey pass repeats the swing, and because the half-raw paper holds a wash without letting it run, that grey stays separate and gives the open upper right a shape. The slab costs more. It is broad and filled in, its lower lobe ragged, its black dense and crossed by crease lines and a few bleached white specks. The core of the arc goes nearly flat. At the join the passes fuse into one dark, and the burst does the joining the forms do not. Grey fragments clutter the lower left. What stays is a single good stroke and a heavy partner. A sound sheet from a long year. 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_269] ![T_269, tone-stretched] ![T_269, 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, 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 “Energetic diagonal mass meeting a broad right arc with central splash burst. Some layering and modelling, but bulky left slab, flat black core and crease damage through dark interiors keep it ordinary.” Form · BUILT Two large diagonal masses meet at centre; right arc follows brush travel well, left slab is bulky with ragged lower lobe near bottom centre. WEAKEST bulky left diagonal slab, broad and somewhat filled-in STRONGEST right sweeping curved arc with clean outer wall Tonal depth · MODELLED Four tonal steps; left mass shows layered grey bands and crease grain; right arc's deep black interior near bottom right is largely uniform. WEAKEST darkest lower core of right arc fairly flat STRONGEST left slab's stepped greys and grain Layering · LEGIBLE Pale wash arcs top right, mid-grey arc above right mass, dark passes left; overlaps readable but dark masses largely cover earlier passes. WEAKEST central join where passes merge darkly STRONGEST pale grey arc pass over upper right arc Composition · WORKING Strong diagonal-to-arc movement with splash burst at centre; empty paper upper right shaped by pale arc; lower half crowded and heavy. WEAKEST heavy bottom-centre convergence crowding lower edge STRONGEST diagonal thrust meeting the sweeping right arc Material and surface · FLAWED Visible paper creases/cracking through left and centre dark masses; small white voids lower centre-left; pale grey blots and drip rings lower left paper. WEAKEST crease lines and bleached spots inside left dark mass STRONGEST splatter and dry spray around central burst FLAWS ## 4 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 4 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), 6 enclosed voids at true size in their grid cells (amber), the main gesture from start to end (red). Of 14 edge segments, 29% crisp, 21% soft or bloomed, 50% 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_269). ## 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_269 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_268](https://peteryuill.art/works/T_268) [Back to all works](https://peteryuill.art/works) [Next T_270](https://peteryuill.art/works/T_270) ## 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)