Crucible Year Peter Yuill
Archive · full record

T_381

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

Recorded

Date
2026.09.25, day 271
Size
97 × 180 cm
Paper
S10, Red Star Mo She Imitation Antique Chu bark, Exhibition Edition
Inks
MB6, MB8, MB9
Phase
P4 S14
Shown on the site
yes (V23 rating of 5.0 or higher)

Measured · V23 (v23.8)

V23 rating
5
Form
2
Tonal depth
1
Layering
2
Composition
2
Material and surface
2
Ink cover
82%
Dark share
78%
Tonal steps
2
Flaws named by the reads
other 15, dead ink 2
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_381T_381, tone-stretchedT_381, classed by brightness
82%of the sheet carries ink
Black 78%Grey 18% SHARE OF THE INK, NOT OF THE SHEET
TONAL STEPS

2 families of tone.

Every inked pixel's brightness in 64 bins, smoothed; each circled peak holds at least 4% of the ink. Two or fewer: Tonal depth is held at the bottom rung whatever the model reads. A dense sheet of many translucent passes can count low here, so Layering is left to the reads. Life inside the black: 0.047 (under 0.045 reads as flat).

0.300.7512 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, one answer.

Each quality placed on its ladder by each read, and the mean the engine keeps.

READ 1READ 2READ 3READ 4READ 5MEAN
Form2BUILT2BUILT2BUILT2BUILT2BUILT2.0
Tonal depth2MODELLED2MODELLED2MODELLED2MODELLED2MODELLED2.0
Layering2LEGIBLE2LEGIBLE2LEGIBLE2LEGIBLE2LEGIBLE2.0
Composition2WORKING2WORKING2WORKING2WORKING2WORKING2.0
Material and surface2SOUND2SOUND2SOUND2SOUND2SOUND2.0

READ 1, IN ITS OWN WORDS

“A radial-arc S-composition in the vein of R3, but heavier and darker. The fluent, layered upper fan is offset by a dense, near-flat lower mass. The sheet is ordinary overall.”

Form · BUILT

Upper arcs follow the brush's rotation cleanly, with crisp stepped ends. The lower half swells into a heavy slab where the separate strokes are lost.

WEAKEST Bulky, undifferentiated lower dark mass

STRONGEST Fanned arc strokes in the upper head

Tonal depth · MODELLED

Dark interior modulation of 0.047 is barely above flat, with only 2 tonal steps. The upper fan shows graded bands, but the lower mass reads as one dense dark.

WEAKEST Lower-left dark mass, nearly flat in colour view

STRONGEST Graded translucent arcs at top and right edge

Layering · LEGIBLE

Many overlapping arcs stay readable at the top and right edges. In the lower body the passes build up into a single dark where their order is lost.

WEAKEST Stacked passes fused in the lower mass

STRONGEST Overlapping translucent arcs on upper right

Composition · WORKING

The vertical S-movement and the two cut-in white notches give the sheet direction. The heavy lower half fills the frame, so the empty paper is only edge leftovers.

WEAKEST Crowded, heavy bottom half with little paper

STRONGEST S-curve rising through the two white notches

Material and surface · SOUND

The ink is controlled, with clean arc edges. Faint crease and wrinkle lines cross the dark mass, there are scattered drops at top right, and the paper has a beige tint. None disrupts a principal form.

WEAKEST Crease lines crossing the central dark mass

STRONGEST Dry-brush stepped edges of the upper arcs

FLAWS

5 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 5 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.

5 × OTHER“scattered ink drops on paper at top right”4 × OTHER“paper crease lines through central dark mass”4 × OTHER“stray marks in paper beside lower notch”2 × DEAD INK“flat interior of lower dark mass”WHOLE SHEET · 2 × OTHERDEAD INKOTHER
RULE 1Two tonal steps or fewer

Tonal depth held at rung 1.

2 steps: 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 2.0
RULE 4At least two valid reads

A read that breaks the reply format is discarded.

5 of 5 valid

Caps the code applied: {"run_id":"T_381","cap_no":1,"read_no":1,"cap_text":"sample 1: T 2->1: tonal_steps=2 (<=2)"}; {"run_id":"T_381","cap_no":2,"read_no":2,"cap_text":"sample 2: T 2->1: tonal_steps=2 (<=2)"}; {"run_id":"T_381","cap_no":3,"read_no":3,"cap_text":"sample 3: T 2->1: tonal_steps=2 (<=2)"}; {"run_id":"T_381","cap_no":4,"read_no":4,"cap_text":"sample 4: T 2->1: tonal_steps=2 (<=2)"}; {"run_id":"T_381","cap_no":5,"read_no":5,"cap_text":"sample 5: T 2->1: tonal_steps=2 (<=2)"}.

THE ARITHMETIC

V23 rating 5.0.

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 RUNG2.00(2.0 + 2.0 + 2.0 + 2.0 + 2.0) ÷ 5
→
RAW5.001 + 2 × 2.00
→
RATING5.85 + 2.086 × (5.00 − 4.60)