Crucible Year Peter Yuill
Archive · full record

T_373

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

Recorded

Date
2026.09.12, day 258
Size
100 × 90 cm
Paper
S14, Half-Cooked Red Star Mo She 6-Foot Bark Xuan Paper
Inks
MB6, MB7, MB8
Phase
P4 S14
Shown on the site
yes (V23 rating of 5.0 or higher)
Early storage triage
SHP: save, has potential (Peter's early system, since retired)

Measured · V23 (v23.8)

V23 rating
5.2
Form
2.2
Tonal depth
1.2
Layering
2
Composition
2
Material and surface
1.8
Ink cover
84%
Dark share
66%
Tonal steps
4
Flaws named by the reads
other 12, water stain 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.

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_373T_373, tone-stretchedT_373, classed by brightness
84%of the sheet carries ink
Black 66%Grey 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: 0.036 (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 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 1READ 2READ 3READ 4READ 5MEAN
Form3FLUENT2BUILT2BUILT2BUILT2BUILT2.2
Tonal depth2MODELLED1THIN1THIN1THIN1THIN1.2
Layering2LEGIBLE2LEGIBLE2LEGIBLE2LEGIBLE2LEGIBLE2.0
Composition2WORKING2WORKING2WORKING2WORKING2WORKING2.0
Material and surface2SOUND2SOUND2SOUND2SOUND1FLAWED1.8

READ 1, IN ITS OWN WORDS

“This is a confident concentric arc in R3's idiom, with well-shaped strokes and legible stepped inner rings. The dominant black mass is flat inside and crowds the sheet, so it falls below R3. The surface is clean apart from minor spots.”

Form · FLUENT

The great dark arc and the inner stepped rings are concentric brush-travelled forms with holding walls. The ends at the lower left and lower right are cut square but still read as made.

WEAKEST Blunt square-cut terminals of arc at lower right

STRONGEST Sweeping dark arc whose walls follow the brush travel

Tonal depth · MODELLED

Dark interior modulation of 0.036 is flat. The big black arc shows only faint paper-wrinkle texture. The inner grey rings and the outer left bands give four tonal steps.

WEAKEST Interior of the main dark arc is flat

STRONGEST Stepped grey rings around the central keyhole opening

Layering · LEGIBLE

The grey passes at the inner ring and outer left bands stay legible where they overlap. The dominant black pass mostly blankets what lies beneath it, so the order reads only at the edges.

WEAKEST Dark arc covers earlier passes rather than building on them

STRONGEST Translucent stepped rings at the inner edge

Composition · WORKING

The arc carries the eye around to a shaped white keyhole at the bottom centre. With 0.84 ink coverage the dark band fills the frame and leaves little breathing room above.

WEAKEST Heavy dark mass crowds the top and sides

STRONGEST Keyhole of white paper opening downward

Material and surface · SOUND

The ink is controlled throughout. Small spots sit at the bottom left and a dark smudge streak lies in the outer left band, all away from the main dark mass.

WEAKEST Small drips and smudge on lower-left outer band

STRONGEST Clean dry-brush edges on the stepped inner rings

FLAWS

3 distinct places, 0 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, 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.

2 × OTHER“crease lines across the dark horseshoe interi…”6 × OTHER“dark smudge streak in outer grey band”5 × OTHER, WATER STAIN“small ink drips on paper below arc end”WATER STAINOTHER
GEOMETRY

Measured from the 16-bit master.

The previous engine (V22) measured this sheet's master file: 1 principal ink mass traced (cyan), 3 enclosed voids at true size in their grid cells (amber), the main gesture from start to end (red). Of 15 edge segments, 47% crisp, 53% soft or bloomed, 0% broken.

A1B1C1D1E1F1A2B2C2D2E2F2A3B3C3D3E3F3H1H2H3
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.

none named
RULE 3Any quality below 0.5

The rating cannot exceed 4.

lowest 1.2
RULE 4At least two valid reads

A read that breaks the reply format is discarded.

5 of 5 valid
THE ARITHMETIC

V23 rating 5.2.

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 RUNG1.84(2.2 + 1.2 + 2.0 + 2.0 + 1.8) ÷ 5
→
RAW4.681 + 2 × 1.84
→
RATING5.25 + 2.086 × (4.68 − 4.60)