--- title: "T_279, ink on paper | Crucible Year" url: https://peteryuill.art/works/T_279 description: "T_279 by Peter Yuill: A black arc swings in from the left edge of a long sheet of bark paper, rolls along the top, and breaks off in drips above a bowl of bare paper. Ink on Red Star Mo She Special Effect Xieyi Edition, half-raw (June 2025 batch), 97 × 180 cm, 2026.05.07. Crucible Year." source: generated from the Crucible Year master database --- ![A large black arc curves from the left edge across the top to centre right, with grey bands, drips, and white paper lower right.] ![T_279, tone-stretched: what the model was shown] ![T_279: every pixel as the measuring code classes it] 97 × 180 cm · the whole sheet, uncropped # T_279 The engine's reading A black arc swings in from the left edge of a long sheet of bark paper, rolls along the top, and breaks off in drips above a bowl of bare paper. Record - **Date:** 2026.05.07 - **Dimensions:** 97 × 180 cm - **Rating:** [5.3](https://peteryuill.art/method#combined) - **Paper:** [Red Star Mo She Special Effect Xieyi Edition, half-raw (June 2025 batch)](https://peteryuill.art/papers/S12) - **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_279](https://peteryuill.art/enquiries?work=T_279) Availability, price or a studio visit. Peter replies himself; asking commits you to nothing. A thin line leaves the black and runs flat to the edge, the way a cable leaves a water tank on a roof and finds the next building without asking. I like that line. At two in the morning the city is mostly bulk: tanks, stairwells, the dark shoulder of the block across the street, all of it heavy and asleep. The only things still moving are lines. One cable. One taxi. A gutter handing its rain down the fire escape a drop at a time. The bulk gets looked at. The line does the leaving. Out past the edge it is plugged into a building with one kitchen light still on, and the woman at the sink has no idea she is holding anything up. 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_279#details)[The reading](https://peteryuill.art/works/T_279#reading)[The rating](https://peteryuill.art/works/T_279#rating)[How it was measured](https://peteryuill.art/works/T_279#read)[Date](https://peteryuill.art/works/T_279#date)[Materials](https://peteryuill.art/works/T_279#materials)[Related](https://peteryuill.art/works/T_279#related) The engine's reading ## The reading Written by the engine after V23's reads, from the settled findings, and checked by hand before approval. It explains V23's numbers and may not change them. - **Structure:** one large arc, a grey outer band above, a pale grey band inside - **Movement:** rotational sweep, left to right; one thin line runs straight out right - **Coverage:** ink on about four fifths of the paper - **Tone:** three tonal steps, weighted dark - **Layering:** two or three passes; grey readable at inner curve and right-hand fan - **Edges:** crisp along the arc's curved walls; broken and dripping at its right ends - **Feibai:** present at the lower edge of the arc's tip, centre right - **Open paper:** curved white bowl under the arc, lower centre to lower right - **Chance marks:** drips under stroke ends; brownish spot at right; creases through darks; pale bloom lower right - **Frame:** ink runs off left, top and lower left; right and bottom right stay open A black arc swings in from the left edge, rolls along the top and stops short at centre right, cupping a bowl of bare paper below it. One turn, read at once, with all the weight on the left. Its strength lives at the arc's margins. In the upper left a grey band keeps the stripes of the brush hairs, and a paler grey runs along the inner curve, still legible under the black, because half-sized bark paper holds its passes apart. At the lower edge of the tip, the hairs part into a short run of flying white. The costs are bigger. Inside the arc the black is one tone from wall to wall, changing only at its edges, so the largest shape on the paper is dead within. Its right end clots into blunt lobes that hang drips. Creases in the paper run through the dark masses, and the left half is jammed hard against the edges. The sweep is real, and it is most of what the sheet has. A sheet of the common run: it moves well, then gives the eye little once it lands. Read and measured ## The rating THE RATING ## T_279, rated 5.3 The combined score, out of 10: V23's reading of the photograph as the read half and V24's twelve tests on the 16-bit file as the measured half, added and divided by 10. The scale is relative to this archive. How each half is made is on the Method page. READ HALF 21.0 V23's rating, 4.2, × 5 + MEASURED HALF 31.8 twelve tests, of 50 → RATING 5.3 52.8 ÷ 10 THE READ HALF, V23 - **Form:** 2.0 · built - **Tonal depth:** 1.2 · thin - **Layering:** 2.0 · legible - **Composition:** 2.0 · working - **Material and surface:** 1.4 · flawed THE MEASURED HALF, V24 - **Mass:** 10.0 of 10 - **Tone:** 8.2 of 14 - **Void:** 8.0 of 8 - **Flow:** 4.0 of 10 - **Balance:** 1.6 of 8 Measured ## How it was measured FROM THE 16-BIT FILE ## What V24 measured. Plain physical facts with no model involved. Across the year they track how the practice changes. On one sheet they cannot say whether a mark is any good. Millimetres read a few percent high, because the photographs are cropped just inside the paper's edge. MASS WIDTH 266 mm The width of the ink mask along its medial axis. DEPTH OF THE DARKS 1.81 Optical density at the 75th percentile of the sheet. LARGEST VOID 233 mm The radius of the largest circle of open paper. DIRECTIONS 0.30 How far the marks align across the sheet. Lower means they run several ways. BALANCE 0.85 Left and right asymmetry of the ink. Lower is more even. THE FILE 3.96 Pixels to the millimetre in the TIFF these were measured from, with the studio light removed. 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_279] ![T_279, tone-stretched] ![T_279, classed by brightness] 79% 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: 0.037 (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 1 THIN 1 THIN 1 THIN 2 MODELLED 1 THIN 1.2 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 2 SOUND 1 FLAWED 1 FLAWED 2 SOUND 1.4 ### READ 1, IN ITS OWN WORDS “A large black arc sweeps across the sheet with legible grey passes, but its dark interior is flat. Creases cross the principal masses, and the right end is ragged with drips. The composition works but is crowded at the left.” Form · BUILT The large arc reads as a coherent stroke whose curve follows the brush. Its right end breaks into bulky ragged lobes and drips, and the upper band is slab-like. WEAKEST Ragged, dripping right terminus of the dark arc STRONGEST Main sweeping dark arc following the brush's travel Tonal depth · THIN Dark interior modulation is 0.037, which is flat. The black arc changes tone mainly at its edges, and there are only three tonal plateaus. Some banding at the upper left does not lift the principal mass. WEAKEST Flat interior of the central dark arc STRONGEST Brush-banded grey streaks in the upper left band Layering · LEGIBLE There are two or three passes: the black arc, a grey outer band at the top, and a translucent grey inner wash at the lower left. Where they overlap, each stays readable, but the order builds little depth. WEAKEST Pale wash at the right reads as a separate afterthought STRONGEST Grey inner band legible beneath the black arc Composition · WORKING The big arc carries the eye from the left to the right terminus, and the empty paper at the lower right is shaped by the curve. The left half is crowded and cropped heavily. WEAKEST Crowded, heavy left half pressed against the edges STRONGEST Arc sweep opening into the shaped empty space at the lower right Material and surface · FLAWED Paper creases and wrinkle lines cross the black arc and the upper band, visible in the colour view. There is a brownish spot and a cloudy pale wash at the right, plus drips. WEAKEST Crease lines cutting across the dark masses STRONGEST Dry-brush break-up at the arc's right edge FLAWS ## 6 distinct places, 3 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, 18 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), 1 enclosed void at true size in its grid cells (amber), the main gesture from start to end (red). Of 13 edge segments, 54% crisp, 23% soft or bloomed, 23% broken. V23's rules and arithmetic, and every figure under its own name, are in [the Archive record](https://peteryuill.art/archive/works/T_279). ## Date 2026.05.07, day 130 of the Crucible Year, one of 19 paintings from that date (12 shown). 16 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). Made after a calmer fortnight than 16 of the 17 dates before it. THE YEAR ## T_279 among all 419 Every painting of the year by date; this one is outlined. [Every painting from 2026.05.07](https://peteryuill.art/days/2026-05-07) · [This date in the year](https://peteryuill.art/year?follow=2026-05-07) ## Materials - **Paper:** [Red Star Mo She Special Effect Xieyi Edition, half-raw (June 2025 batch)](https://peteryuill.art/papers/S12), China Xuan Paper Co., Ltd., made 2025.06.07 - **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) The sheet of paper was made 334 days before this painting. 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 · 11 Same paper and inks, other dates · 8 [Across the year The combined score rises over the year, and the trend holds with the paper held constant.](https://peteryuill.art/oracle)[Across the year The measured half stepped up from 2026.06.03. T_279 is dated before that.](https://peteryuill.art/oracle) [Previous T_278](https://peteryuill.art/works/T_278) [Back to all works](https://peteryuill.art/works) [Next T_280](https://peteryuill.art/works/T_280) ## Where next [T_276 same date, with 10 others](https://peteryuill.art/works/T_276)[T_328 same paper and inks, 2026.06.03](https://peteryuill.art/works/T_328)[2026.05.07 19 paintings on this date](https://peteryuill.art/days/2026-05-07)[Paper S12 every work on it](https://peteryuill.art/papers/S12)