--- title: "T_292, sumi ink on paper | Crucible Year" url: https://peteryuill.art/works/T_292 description: "T_292 by Peter Yuill: A black arc of ink sweeps from the upper left across the top and down to a squared end, cupping a bowl of bare white paper. 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 --- ![A broad black brushstroke arcs across the top of pale paper, with a grey band beneath it and an empty white area at lower left.] ![T_292, tone-stretched: what the model was shown] ![T_292: every pixel as the measuring code classes it] 97 × 180 cm · the whole sheet, uncropped # T_292 The engine's reading A black arc of ink sweeps from the upper left across the top and down to a squared end, cupping a bowl of bare white paper. 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_292](https://peteryuill.art/enquiries?work=T_292) Availability, price or a studio visit. Peter replies himself; asking commits you to nothing. The white lines in the dark are where the wind got in. Once I watched a front like that come over, the sky folding over one field like a lid, the cows lying down early, the hedges going quiet. Weather that size does not ask. It comes in from the west in pieces, cracks once, and takes the light. Then it reaches the hills and has to stop, blunt, almost surprised at itself. Afterwards the field is still there, bowl-shaped and white with frost, untouched in the middle. At its far edge the last of the cloud lets a few dark drops fall onto the stubble, one, and then another. 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_292#details)[The reading](https://peteryuill.art/works/T_292#reading)[How it was read](https://peteryuill.art/works/T_292#read)[Date](https://peteryuill.art/works/T_292#date)[Materials](https://peteryuill.art/works/T_292#materials)[Related](https://peteryuill.art/works/T_292#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:** one great crescent arc, black over a grey under-sweep, ending in a squared block - **Movement:** clockwise sweep from upper left to lower right; left-edge splinters cut across it - **Coverage:** ink on about three quarters of the paper - **Tone:** six tonal steps, spread across the range - **Layering:** pale outer band, grey sweep, black arc; readable at upper and lower right - **Edges:** crisp where the black meets the grey; soft at wash rims; broken at the left edge - **Feibai:** present, along the upper run of the arc and in the lower right tails - **Open paper:** a broad white bowl at lower left and centre, under the arc - **Chance marks:** spatter at left edge, blots at bottom right, creases across dark arc, cloudy wash centre - **Frame:** ink runs off top and left edges; right edge and most of the bottom stay open One arc takes the whole width. It bursts in at the upper left in splinters, runs along the top edge, and bends down to the right, where it stops in a squared black block. Under it lies a bowl of bare paper at lower left, cut by the curve so exactly that the white works as hard as the ink. The finest passage is the upper run of the arc. The hairs have parted there and left long parallel lines of untouched paper inside the black, and the half-sized bark paper holds each one sharp. Grey bands step down through the dark, so the black has grain and depth. At the lower right a translucent grey under-sweep shows beneath it and frays into dry tails. The right end gives some of that back. The densest black lies nearly flat, the block reads as a slab, and the black pass buries most of the grey beneath it. Crease lines cross the dark at top centre, and a cloudy wash sits just under the arc. The splinters and spatter along the left edge loosen the hold. Those are real costs on a sheet that has already won: the arc travels the whole way, and its white bowl is fully drawn. 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_292] ![T_292, tone-stretched] ![T_292, classed by brightness] 75% of the sheet carries ink TONAL STEPS ## 6 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: 0.072 (under 0.045 reads as flat). FIVE READS ## Five reads, agreeing on 1 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 3 FLUENT 3 FLUENT 2 BUILT 3 FLUENT 2.6 Tonal depth 3 DEEP 3 DEEP 3 DEEP 2 MODELLED 2 MODELLED 2.6 Layering 2 LEGIBLE 2 LEGIBLE 2 LEGIBLE 2 LEGIBLE 2 LEGIBLE 2.0 Composition 3 COMMANDING 2 WORKING 3 COMMANDING 3 COMMANDING 3 COMMANDING 2.8 Material and surface 2 SOUND 2 SOUND 1 FLAWED 1 FLAWED 1 FLAWED 1.4 ### READ 1, IN ITS OWN WORDS “A single strong crescent sweep with banded tonal life and a shaped white void. The arc's blunt right terminal, the modest layering and the creases in the paper keep it near the archive average, a little above R2.” Form · BUILT The great arc from upper left to right holds its walls and follows the stroke, but the squared block at the right end is blunt and slab-like. WEAKEST Stiff rectangular block terminating the arc at right STRONGEST Main sweeping black arc following the brush travel Tonal depth · DEEP Bristle-track bands and stepped density run through the dark arc, there are graded greys in the lower wash, and six tonal steps. The darkest right end is the flattest area. WEAKEST Densest black at right end of arc nearly flat STRONGEST Banded bristle arcs running inside the dark sweep Layering · LEGIBLE There are about three passes: a grey sweep, the black arc and dry-brush ends. The overlaps are legible at the upper right and lower right, but the sequence does not build depth across the whole sheet. WEAKEST Cloudy grey wash under arc reads indistinctly STRONGEST Black arc over translucent grey band, upper right Composition · COMMANDING One arc carries the eye from the left edge, across the top and down to the lower right. The white void below it is a shaped form that works as hard as the ink. The scattered left edge is weaker. WEAKEST Scattered splinter marks at left edge STRONGEST Crescent sweep wrapping a shaped white void Material and surface · SOUND The ink is controlled and dry-brush is used at the right. Crease lines cross the dark mass in the top centre, and a slightly cloudy grey sits under the arc. Both are modest. WEAKEST Paper creases across dark arc interior STRONGEST Dry-brush feathering at lower right arc ends FLAWS ## 3 distinct places, 1 major. Each read must name every flaw and where it is, in a ninth of the sheet. Here the reads named flaws in 3 distinct places, 14 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, 43% crisp, 21% soft or bloomed, 36% 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_292). ## 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_292 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_291](https://peteryuill.art/works/T_291) [Back to all works](https://peteryuill.art/works) [Next T_293](https://peteryuill.art/works/T_293) ## 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)