--- title: "T_287, sumi ink on paper | Crucible Year" url: https://peteryuill.art/works/T_287 description: "T_287 by Peter Yuill: Two black arcs of ink circle a white oval of bark paper: the right one streaked with flying white, the left one stopping in a squared block. Sumi 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 --- ![Two broad black curved strokes with grey washes swirl around a pale central oval on white paper, with ink drips at lower left.] ![T_287, tone-stretched: what the model was shown] ![T_287: every pixel as the measuring code classes it] 97 × 180 cm · the whole sheet, uncropped # T_287 The engine's reading Two black arcs of ink circle a white oval of bark paper: the right one streaked with flying white, the left one stopping in a squared block. Record - **Date:** 2026.05.07 - **Dimensions:** 97 × 180 cm - **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_287](https://peteryuill.art/enquiries?work=T_287) Availability, price or a studio visit. Peter replies himself; asking commits you to nothing. The two dark arcs are the walls of a skate bowl in the park under the bridge, and the pale middle is its floor, poured smooth and worn smoother. The left wall stops at a square lip: that is where you drop in, board tipped over the edge, all your weight thrown forward into the fall, which is the whole trick. I sit on the grass and watch them do it all afternoon. The drops trailing off at the lower left are the ones who slammed and rolled out onto the path, dusting their palms. The right wall swings the good ones up and round in a long hook and sets them down at the far end, still standing, wheels hissing, as the street lights come on. 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_287#details)[The reading](https://peteryuill.art/works/T_287#reading)[How it was read](https://peteryuill.art/works/T_287#read)[Date](https://peteryuill.art/works/T_287#date)[Materials](https://peteryuill.art/works/T_287#materials)[Related](https://peteryuill.art/works/T_287#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:** two opposed arcs, upper left and right, curling round a central oval - **Movement:** clockwise rotation; the squared end of the left arc halts it at top centre - **Coverage:** ink on about four fifths of the paper - **Tone:** four tonal steps, weighted dark - **Layering:** grey wash pass and black pass; readable at the margins, left centre and centre - **Edges:** crisp black walls; soft grey fringes; broken dry streaks along the right arc - **Feibai:** present at the top of the right arc, upper right - **Open paper:** white oval at centre; looser open ground at lower left - **Chance marks:** drips and spatter lower left; small blots bottom right; creases and mottling in the darks - **Frame:** ink runs off top, right and bottom edges; lower left stays open Two dark arcs turn around a white egg of paper. One climbs from the lower left, and the other drops down the right side and curls back along the bottom. The eye goes round with them. The rotation reads from across the room, and the white at the centre is a shape in its own right, not leftover ground. The right arc is where the brush is alive. At its top the hairs part into fast parallel streaks of bare paper, and the tracks follow the curve down into the bottom stroke. Beneath that stroke a grey fringe stays clear of the black, because half-sized bark paper holds one pass apart from the next. The left arc does less. Near the top centre it stops in a squared block, abrupt where its partner tapers. Inside, it is one flat charcoal, clouded in places and crossed by crease lines that the dark tone shows up. The drips at the lower left read as spill. The turn is clear and one arc moves well. The other sits like a slab, and that keeps the sheet a capable swirl rather than a memorable one. 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_287] ![T_287, tone-stretched] ![T_287, classed by brightness] 80% 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: 0.034 (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 1 THIN 1 THIN 1 THIN 1 THIN 1 THIN 1.0 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 2 SOUND 2 SOUND 2 SOUND 2 SOUND 2 SOUND 2.0 ### READ 1, IN ITS OWN WORDS “A bold double-arc swirl with good rotation and fluent right-hand strokes. The dark masses are flat inside, the layering is modest, and one end is blunt. It is an ordinary sheet, close to R2.” Form · BUILT The right arc follows the brush's travel with bristle tracks. The top-left arc ends in a stiff rectangular block near the centre, and the grey wedge below it is bulky. WEAKEST Blunt squared end of top-left arc STRONGEST Right-hand C-arc sweeping into bottom stroke Tonal depth · THIN Dark interior modulation is 0.034, which is flat. The large dark arcs read as an even charcoal with only faint streaks, and the greys sit mostly at the edges. WEAKEST Top-left dark arc interior STRONGEST Bristle streaks along the right arc Layering · LEGIBLE Grey passes under both arcs stay visible at their margins, at the centre-left and centre-bottom. The black mostly covers the earlier tone and does not build depth. WEAKEST Black largely covering the grey underlayers STRONGEST Grey wash fringe beneath the bottom-right arc Composition · WORKING The two opposed arcs set up a clear rotation, and the open paper in the centre is shaped. The bottom right is heavy and crowded, and the scattered drips at bottom left feel incidental. WEAKEST Crowded heavy bottom-right quadrant STRONGEST Rotating swirl around the open central paper Material and surface · SOUND The ink is controlled overall. Paper creases and faint mottling show inside the dark masses, and small blots sit in the bottom-right arc. None of this badly disrupts the sheet. WEAKEST Cloudy, creased interior of the dark arcs STRONGEST Dry-brush streaks at the top of the right arc FLAWS ## 5 distinct places, 0 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, 15 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. GEOMETRY ## Measured from the 16-bit master. The previous engine (V22) measured this sheet's master file: 2 principal ink masses traced (cyan), 5 enclosed voids at true size in their grid cells (amber), the main gesture from start to end (red). Of 19 edge segments, 21% crisp, 47% soft or bloomed, 32% 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_287). ## Date 2026.05.07, day 130 of the Crucible Year, one of 19 paintings from that date (14 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_287 among all 402 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 · 13 Same paper and inks, other dates · 8 [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_283](https://peteryuill.art/works/T_283) [Back to all works](https://peteryuill.art/works) [Next T_288](https://peteryuill.art/works/T_288) ## Where next [T_276 same date, with 12 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)