Crucible Year Peter Yuill
Archive · full record

T_198

The work as shown. Every value below comes from vae.db, the master database of the Crucible Year.

Recorded

Date
2026.04.08, day 101
Size
97 × 180 cm
Paper
S11, Red Star Mo She Special Effect Xieyi, raw
Inks
MB1, MB2, MB3
Phase
P1 Warm-up
Shown on the site
yes (V23 rating of 5.0 or higher)
Early storage triage
SA: save, archive (Peter's early system, since retired)

Measured · V23 (v23.8)

V23 rating
5.3
Form
2
Tonal depth
2
Layering
2
Composition
2
Material and surface
1.4
Ink cover
57%
Dark share
18%
Tonal steps
4
Flaws named by the reads
other 10, bloom 3
The V23 rating runs from 1 to 9, with 5 the middle of this body of work. It is the engine's reading, and the reference the archive is measured against.

Older engine

V7
5
From an earlier engine (V7). Its scale differs from V23's, so it is only ever compared with other readings by the same engine.

How the number was made

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.

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_198T_198, tone-stretchedT_198, classed by brightness
57%of the sheet carries ink
Black 18%Grey 51%Light 32% SHARE OF THE INK, NOT OF THE SHEET
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: 0.048 (under 0.045 reads as flat).

0.300.751234 BLACK INK TRANSLUCENT GREYS PALEST INK, 0.88 LUMINANCE OF EVERY INKED PIXEL, 64 BINS. PAPER (ABOVE 0.88) IS LEFT OUT.
FIVE READS

Five reads, agreeing on 4 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 1READ 2READ 3READ 4READ 5MEAN
Form2BUILT2BUILT2BUILT2BUILT2BUILT2.0
Tonal depth2MODELLED2MODELLED2MODELLED2MODELLED2MODELLED2.0
Layering2LEGIBLE2LEGIBLE2LEGIBLE2LEGIBLE2LEGIBLE2.0
Composition2WORKING2WORKING2WORKING2WORKING2WORKING2.0
Material and surface2SOUND1FLAWED2SOUND1FLAWED1FLAWED1.4

READ 1, IN ITS OWN WORDS

“This is a gestural sheet like R2. It has a strong left column, a textured grey sweep in the centre, and lumpy dark blots. The empty paper at the lower right is unshaped. It is ordinary across all five ladders.”

Form · BUILT

Left dark column holds with a coherent tapering tail; the central grey sweep is textured but loose; the top-right dark mass and lower-centre blot are lumpy and blob-like.

WEAKEST Top-right dark blob, lumpy with hole, blob-like

STRONGEST Left vertical dark stroke with tapering drip trail

Tonal depth · MODELLED

Central grey mass is richly grained with crinkle lines; left dark column shows some soft grading; dark modulation is 0.048, barely above flat; the top-right blob is mostly uniform.

WEAKEST Top-right dark blob fairly flat inside

STRONGEST Central grey sweep with streaked grain and ridges

Layering · LEGIBLE

Pale grey diagonal sweeps sit under the darker strokes and stay readable, with about two or three passes; the dark blots simply sit on top without building depth.

WEAKEST Dark blobs sit on top, little interplay

STRONGEST Grey diagonal washes crossing beneath left column

Composition · WORKING

Ink mass rises from left to upper right with outward spatter, which gives the sheet direction; the lower right third is empty and unshaped, and the scattered blots weaken the focus.

WEAKEST Bottom-right empty paper is leftover

STRONGEST Diagonal sweep from left column to upper right

Material and surface · SOUND

Dry-brush texture is used in the centre; paper creases cut through the grey mass; there is a bleached hole in the top-right blob; the spatter appears intended; no tide lines are visible.

WEAKEST Crinkle/crease lines through central grey mass

STRONGEST Dry-brush streaking in the central grey sweep

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, 13 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.

1 × OTHER“scattered stray blots and drips top-left”5 × OTHER“crease/crack lines through central grey mass”5 × OTHER, BLOOM · MAJOR“white hole/bleached spot inside top-right dar…”2 × BLOOM“soft blurred edges of lower-centre dark blob”BLOOMOTHERMAJOR
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 15 edge segments, 53% crisp, 13% soft or bloomed, 33% broken.

A1B1C1D1E1F1A2B2C2D2E2F2A3B3C3D3E3F3H1H2H3H4H5
RULE 1Two tonal steps or fewer

Tonal depth held at rung 1.

4 steps: not applied
RULE 2A major flaw

Material held at rung 1. Mild waves in the unmounted paper are never a flaw.

3 major flaws: applied
RULE 3Any quality below 0.5

The rating cannot exceed 4.

lowest 1.4
RULE 4At least two valid reads

A read that breaks the reply format is discarded.

5 of 5 valid
THE ARITHMETIC

V23 rating 5.3.

Engine v23.8, 5 reads. Fixed arithmetic, the same for every painting; the constants were set on 24 randomly chosen paintings so the median sheet scores 5. The scale is relative to this archive, not to painting in general, and a difference of less than half a point between two paintings is noise.

MEAN RUNG1.88(2.0 + 2.0 + 2.0 + 2.0 + 1.4) ÷ 5
→
RAW4.761 + 2 × 1.88
→
RATING5.35 + 2.086 × (4.76 − 4.60)