--- title: "T_309, sumi ink on paper | Crucible Year" url: https://peteryuill.art/works/T_309 description: "T_309 by Peter Yuill: A single black ink stroke climbs a long sheet from low centre to upper right, held between two grey brushed wheels that curl at either 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 --- ![A wide pale sheet with a black brushstroke sweeping up from lower centre to upper right, between grey curved brush arcs at both ends.] ![T_309, tone-stretched: what the model was shown] ![T_309: every pixel as the measuring code classes it] 70 × 180 cm · the whole sheet, uncropped # T_309 The engine's reading A single black ink stroke climbs a long sheet from low centre to upper right, held between two grey brushed wheels that curl at either 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) [Enquire about T_309](https://peteryuill.art/enquiries?work=T_309) Availability, price or a studio visit. Peter replies himself; asking commits you to nothing. My mother brushed my hair at night with a brush that had lost half its bristles, and every pass left parted lanes on my scalp, cold down the middle, warm at the edges. I could tell where she had been. I could tell when she was tired: the last stroke went heavy and stopped at the nape, the whole weight of her hand resting there a moment too long, as if she had forgotten what came next. I never minded. A hand that stops is still a hand. The clock in the hall ran on. The window held a grey ring where I had breathed on it. Her palm lay on the back of my neck like a warm stone set down for good. 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_309#details)[The reading](https://peteryuill.art/works/T_309#reading)[How it was read](https://peteryuill.art/works/T_309#read)[Date](https://peteryuill.art/works/T_309#date)[Materials](https://peteryuill.art/works/T_309#materials)[Related](https://peteryuill.art/works/T_309#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 black S-sweep joined to grey circular arcs at both ends - **Movement:** rising from lower left to upper right; right-hand arcs curl back against it - **Coverage:** ink on about three quarters of the paper - **Tone:** five tonal steps, spread across the range - **Layering:** grey arc wash, pale right arcs, then black sweep; readable at centre-left - **Edges:** crisp streaked edges along the tail; soft bleeding edges on the grey wash; blunt at the head - **Feibai:** present in the stroke tail at lower centre-left, and in the dark arcs at far left - **Open paper:** curved lobe at top centre; broad pale bowl at lower right - **Chance marks:** spatter above the head at upper right; feathered bloom at top left; ring inside the left wash; drips at the head - **Frame:** ink runs off the left and right edges and the top-left corner; top centre and bottom right stay open A black stroke climbs the sheet from low centre to the upper right, and the grey wheels at either end bend it into an S that spans the whole width. The eye rides it without effort. The white above the curve and the white below it are both cut by its edge, so the empty paper works as hard as the ink. The tail is the best passage. Where the stroke runs thin across the left grey wash, the bristles split into long parallel streaks of bare paper. The raw paper drinks fast and keeps each hair's track separate. Black crosses grey there, and both stay legible. The head is where it thickens. At the upper right the stroke swells into a slab with blunt, lobed drips, and its inside goes flat: the dense ink seals the paper and buries the grey beneath. On the left, a milky bloom feathers the top of the wash and a whorled ring sits near the stroke's start. The sheet carries both, though they add only noise. It is a good sheet, better than most in the archive. The movement is whole and the tail is the real thing. The head weighs more than it gives back, and that keeps it from going further. 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_309] ![T_309, tone-stretched] ![T_309, classed by brightness] 71% of the sheet carries ink TONAL STEPS ## 5 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: 0.039 (under 0.045 reads as flat). FIVE READS ## Five reads, agreeing on 2 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 3 FLUENT 2 BUILT 2 BUILT 2 BUILT 3 FLUENT 2.4 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 3 COMMANDING 3 COMMANDING 3 COMMANDING 2 WORKING 3 COMMANDING 2.8 Material and surface 1 FLAWED 1 FLAWED 1 FLAWED 1 FLAWED 2 SOUND 1.2 ### READ 1, IN ITS OWN WORDS “A fluent, commanding S-sweep with good dry-brush handling, held back by a flat black core, only two passes, and a milky bleed patch beside the grey wash at top left.” Form · FLUENT Main S-stroke follows brush travel throughout, with split-bristle striations at the tail; the left grey arc is built from the same sweep; the dark head is slightly heavy. WEAKEST bulky dark head of stroke, upper right STRONGEST dry-brush S-sweep from bottom centre to right Tonal depth · MODELLED The grey wash and the stroke tail show grain and arcs, but the black core is broadly flat (modulation 0.039, under 0.045); there are five tonal steps. WEAKEST dense black core of stroke, upper centre-right STRONGEST striated grey tail of the sweep Layering · LEGIBLE The grey circular wash pass and the black sweep stay distinct where they cross at centre-left; there are only about two passes, and the black hides what lies beneath it at right. WEAKEST black core covers underlying grey STRONGEST black stroke over the grey circular wash, left-centre Composition · COMMANDING The S-curve carries the eye from the bottom-left arc to the right edge; the empty paper top-centre and bottom-right is shaped by the curve; the top-left corner is weaker. WEAKEST pale feathered patch, top left STRONGEST diagonal S-curve crossing the whole sheet Material and surface · FLAWED A pale, cloudy feathered patch and bleed edge sit against the grey wash at top left, and a whorled ring sits inside the grey mass at left-centre; both are visible in the colour view. WEAKEST milky bleed edge, top-left grey wash STRONGEST dry-brush bristle striations in stroke tail FLAWS ## 6 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 6 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. 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: 2 principal ink masses traced (cyan), 6 enclosed voids at true size in their grid cells (amber), the main gesture from start to end (red). Of 19 edge segments, 42% crisp, 32% soft or bloomed, 26% 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_309). ## 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_309 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) The last painting on S3 so far, after 49 others. 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 Just before and after 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_308](https://peteryuill.art/works/T_308) [Back to all works](https://peteryuill.art/works) [Next T_310](https://peteryuill.art/works/T_310) ## Where next [T_302 same date, with 4 others](https://peteryuill.art/works/T_302)[T_310 the next shown painting in the sequence](https://peteryuill.art/works/T_310)[T_246 same paper and inks, 2026.04.21](https://peteryuill.art/works/T_246)[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)