--- title: "T_271, full record | Crucible Year" url: https://peteryuill.art/archive/works/T_271 description: "Crucible Year: a continuous year of sumi ink painting on paper by Peter Yuill, begun 29 December 2025." source: generated from the Crucible Year master database --- Archive · full record # T_271 [The work as shown](https://peteryuill.art/works/T_271). Every value below comes from vae.db, the master database of the Crucible Year. ## Recorded - **Date:** 2026.04.26, day 119 - **Size:** 97 × 180 cm - **Paper:** S4, Tanxi half-raw, 6-foot - **Inks:** MB4, MB5, MB6 - **Phase:** P2 The Switch - **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:** 5.7 - **Form:** 2 - **Tonal depth:** 2 - **Layering:** 2 - **Composition:** 2 - **Material and surface:** 1.8 - **Ink cover:** 83% - **Dark share:** 48% - **Tonal steps:** 4 - **Flaws named by the reads:** other 10, water stain 5, bloom 1, ring 1 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](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_271] ![T_271, tone-stretched] ![T_271, classed by brightness] 83% 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: 0.051 (under 0.045 reads as flat). 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 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 2 SOUND 2 SOUND 2 SOUND 2 SOUND 1.8 ### READ 1, IN ITS OWN WORDS “Two bold curved bands set up a circular movement over grey washes; forms coherent but blunt-ended, modest interior modelling, and visible creasing plus cloudy washes mar the surface. An ordinary sheet near R2.” Form · BUILT Two large curved bands hold their walls and follow an arc; ends are squared and slab-like, with bulk especially in the left band's cut-off end. WEAKEST Blunt squared ends of left upper band STRONGEST Right curved band following brush arc Tonal depth · MODELLED Tone-stretched view shows brush streaks and banding inside right band; left band shows a soft band but is largely even. Modulation 0.051 just above flat. WEAKEST Left band interior fairly even mid-dark STRONGEST Right band with streaked dry-brush grain Layering · LEGIBLE Grey washes and a pale arc sit under the two dark bands; overlaps readable at band edges, about two to three passes. WEAKEST Lower-centre grey wash cloudy beneath right band STRONGEST Translucent grey arcs under dark bands Composition · WORKING Opposed curved bands set up a circular diagonal movement with shaped white centre; right edge spatter and lower-left drips feel busy and scattered. WEAKEST Crowded spatter field at right edge STRONGEST Two opposed arcs implying a circle Material and surface · FLAWED Crease and crack lines visible in colour view across both dark bands; cloudy blotchy grey wash and water spots at lower centre and upper right. WEAKEST Crackle creases through right dark band STRONGEST Dry-brush streaks within right band FLAWS ## 7 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 7 distinct places, 17 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), 8 enclosed voids at true size in their grid cells (amber), the main gesture from start to end (red). Of 17 edge segments, 47% crisp, 29% soft or bloomed, 24% broken. RULE 1 Two tonal steps or fewer Tonal depth held at rung 1. 4 steps: not applied RULE 2 A major flaw Material held at rung 1. Mild waves in the unmounted paper are never a flaw. 1 major flaw: applied RULE 3 Any quality below 0.5 The rating cannot exceed 4. lowest 1.8 RULE 4 At least two valid reads A read that breaks the reply format is discarded. 5 of 5 valid THE ARITHMETIC ## V23 rating 5.7. 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 RUNG 1.96 (2.0 + 2.0 + 2.0 + 2.0 + 1.8) ÷ 5 → RAW 4.92 1 + 2 × 1.96 → RATING 5.7 5 + 2.086 × (4.92 − 4.60) ## Where next [Every record the full archive](https://peteryuill.art/archive)[2026.04.26 every painting from this date](https://peteryuill.art/days/2026-04-26)