--- title: "T_304, sumi ink on paper | Crucible Year" url: https://peteryuill.art/works/T_304 description: "T_304 by Peter Yuill: Two arcs roll rightward across raw paper: a dusty pink band under the first, a mottled grey body swelling between them, a veined black mass at the far end. Sumi ink on Tanxi Thickened Grade A Special Jing Pi Small 6-Foot (raw), 70 × 180 cm, 2026.05.14. Crucible Year." source: generated from the Crucible Year master database --- ![Two sweeping grey and black arcs across a wide sheet, dusty pink band upper left, mottled grey centre, dense black mass at right.] ![T_304, tone-stretched: what the model was shown] ![T_304: every pixel as the measuring code classes it] 70 × 180 cm · the whole sheet, uncropped # T_304 The engine's reading Two arcs roll rightward across raw paper: a dusty pink band under the first, a mottled grey body swelling between them, a veined black mass at the far end. Record - **Date:** 2026.05.14 - **Dimensions:** 70 × 180 cm - **Paper:** [Tanxi Thickened Grade A Special Jing Pi Small 6-Foot (raw)](https://peteryuill.art/papers/S3) - **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), colour inks [Enquire about T_304](https://peteryuill.art/enquiries?work=T_304) Availability, price or a studio visit. Peter replies himself; asking commits you to nothing. The black drops in the grey are landing pods. I watched them come down into weather that never lifts. The colonists step out into a fog the colour of old aluminium and find it goes all the way to the ground. They plant a pink flag. It bleeds. Their first transmission home is mostly static, though the static is lovely in places, white veins of signal cracking through the dark at the far end of the band. Mission control files it under routine. I keep a copy. Down on that planet, at the bottom of a long slope, one hooked black boot print points back toward the ship. 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_304#details)[The reading](https://peteryuill.art/works/T_304#reading)[How it was read](https://peteryuill.art/works/T_304#read)[Date](https://peteryuill.art/works/T_304#date)[Materials](https://peteryuill.art/works/T_304#materials)[Related](https://peteryuill.art/works/T_304#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 large arcs joined by a broad grey central mass - **Movement:** left to right and rising; nothing runs against it - **Coverage:** ink on about four fifths of the paper - **Tone:** four tonal steps, weighted to the middle greys - **Layering:** grey, pink and black passes; readable upper left and upper right - **Edges:** bristle-streaked on the arcs; soft and fraying around the central grey - **Feibai:** present, lower left arc's descending sweep and bottom-right curved tracks - **Open paper:** white wedge between left arc and centre, opening downward - **Colour:** dusty pink band across upper left; pink touches upper right and right edge - **Chance marks:** grey round blooms upper left; black drops in central mass; mottled staining centre - **Frame:** grey sweeps graze bottom edge; black mass nears right edge; top and left largely open Two arcs swing left to right across the paper, rising as they go. The left one drops into a dark hooked foot at the bottom corner. The right one rolls over a broad grey body into a black mass at the far end. The ends hold. At upper right the black has opened on the raw paper into a net of white veins, with bristle tracks ringing outward below. Upper left, a dusty pink band lies under the black arc and stays clean, the dry-brush grain sitting over it without muddying it. The streaked foot of the left arc is the surest stroke here. The middle is the trouble, and it is the largest thing on the sheet. The grey has spread across the raw paper and dried into a milky mottle, one cloudy mid-grey whose walls fray away, with stray black drops sitting in it. To its right the black covers the grey instead of building on it. Only the white wedge between the arcs gives the paper room. So the sheet stands on its two ends and sags between them: a typical sheet, good at the corners, heavy where it counts. 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_304] ![T_304, tone-stretched] ![T_304, 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: 0.052 (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 paired arcs with pink underlayer and a strongly textured right dark mass, but the crowded centre and its cloudy, mottled grey wash weaken the material and tonal quality; an ordinary sheet near R2.” Form · BUILT Arcing strokes left and right follow brush travel with bristle-streaked edges; the large central grey mass is broad, soft-walled and somewhat formless at its upper edge. WEAKEST Central grey mass bulky, outline dissolving at top STRONGEST Left arc sweep ending in dark hooked foot Tonal depth · MODELLED Dark modulation 0.052 and four tonal steps; right mass shows veining and arcs, left arc has dry-brush grain, but central mass reads as one cloudy grey. WEAKEST Central grey mass mottled but tonally cloudy STRONGEST Right dark mass with reticulated white veining Layering · LEGIBLE Grey sweeps, pink colour band and later black strokes read as distinct passes; in the centre-right the grey and black passes merge somewhat and the order softens. WEAKEST Centre overlaps where grey and black passes blur STRONGEST Pink band under black arc, upper left Composition · WORKING Paired arcs give a clear left-to-right sweep; the white gap between them is shaped, but 80% coverage crowds the right half and the centre mass feels heavy. WEAKEST Crowded centre-right; little shaped empty paper STRONGEST Two arcs driving left-to-right rhythm Material and surface · FLAWED Dry-brush and reticulation used well at right, but the central mass is a cloudy mottled wash, with grey blot rings top left and stray drops on the mass. WEAKEST Cloudy mottled wash inside central grey mass STRONGEST Dry-brush grain on left arc foot FLAWS ## 4 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 4 distinct places, 19 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 16 edge segments, 6% crisp, 69% soft or bloomed, 25% 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_304). ## Date 2026.05.14, day 137 of the Crucible Year, one of 9 paintings from that date (6 shown). 28 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 15 of the 18 dates before it. THE YEAR ## T_304 among all 402 Every painting of the year by date; this one is outlined. [Every painting from 2026.05.14](https://peteryuill.art/days/2026-05-14) · [This date in the year](https://peteryuill.art/year?follow=2026-05-14) ## Materials - **Paper:** [Tanxi Thickened Grade A Special Jing Pi Small 6-Foot (raw)](https://peteryuill.art/papers/S3), Anhui Jingxian Tanxi Xuan Paper Art Products Co., Ltd., made 2015.11.19 - **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) - **Colour:** colour inks, recorded together The sheet of paper was made 3829 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 · 5 [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_303](https://peteryuill.art/works/T_303) [Back to all works](https://peteryuill.art/works) [Next T_305](https://peteryuill.art/works/T_305) ## Where next [T_302 same date, with 4 others](https://peteryuill.art/works/T_302)[2026.05.14 9 paintings on this date](https://peteryuill.art/days/2026-05-14)[Paper S3 every work on it](https://peteryuill.art/papers/S3)