--- title: "T_391, full record | Crucible Year" url: https://peteryuill.art/archive/works/T_391 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_391 [The work as shown](https://peteryuill.art/works/T_391). Every value below comes from vae.db, the master database of the Crucible Year. ## Recorded - **Date:** 2026.10.16, day 292 - **Size:** 97 × 180 cm - **Paper:** S14, Half-Cooked Red Star Mo She 6-Foot Bark Xuan Paper, self-sized - **Inks:** MB6, MB8, MB9, MB10 - **Phase:** P4 S14 - **Shown on the site:** yes (V23 rating of 5.0 or higher) ## Measured · V23 (v23.11) - **V23 rating:** 5.8 - **Form:** 2 - **Tonal depth:** 2 - **Layering:** 2 - **Composition:** 2 - **Material and surface:** 2 - **Ink cover:** 80% - **Dark share:** 69% - **Tonal steps:** 5 - **Flaws named by the reads:** other 6, 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. ## How the number was made Read by the Visual Analysis Engine, version 23.11, on 2026.10.26: 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_391] ![T_391, tone-stretched] ![T_391, classed by brightness] 80% 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: 0.051 (under 0.045 reads as flat). FIVE READS ## Five reads, one answer. Each quality placed on its ladder by each read, and the mean the engine keeps. 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 2 SOUND 2 SOUND 2 SOUND 2 SOUND 2 SOUND 2.0 ### READ 1, IN ITS OWN WORDS “Two layered black masses converge across a spattered gap, recalling R3's fans but heavier. The black cores are largely flat, and the left block is slab-like. The sheet is ordinary throughout and closest to R2.” Form · BUILT Right mass is a coherent arc following brush travel. The left mass is a heavy near-rectangle, stiff and slab-like, with a ragged lower edge. WEAKEST Left block: bulky slab with blunt rectangular outline STRONGEST Right arc fan whose curved outline follows the sweep Tonal depth · MODELLED Stepped grey bands frame both cores. The tone-stretched view shows grain, and modulation of 0.051 is only just above flat. The black cores read largely uniform in colour. WEAKEST Left black core reads nearly flat in colour view STRONGEST Right fan's stepped grey bands around black core Layering · LEGIBLE Two or three translucent passes stack legibly at the edges of both masses. The black top pass hides most of what lies beneath. WEAKEST Black cores cover earlier passes rather than revealing them STRONGEST Right fan's translucent stacked arcs at the outer edge Composition · WORKING Two masses face each other across a spattered central channel, which gives tension and a direction. With about 80% coverage the sheet is heavy, and the left block sits static. WEAKEST Two heavy blocks crowd the frame with little breathing room STRONGEST Spatter-filled central gap between the two converging masses Material and surface · SOUND Ink is controlled, with dry-brush edges and spatter. A small stray blot sits at top centre. There is no tide line or stain inside the dark masses. Paper cockling is ignored. WEAKEST Small blot near top centre STRONGEST Dry-brush feathered edges on the right fan's lower arc FLAWS ## 2 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 2 distinct places, 7 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. RULE 1 Two tonal steps or fewer Tonal depth held at rung 1. 5 steps: not applied RULE 2 A major flaw Material held at rung 1. Mild waves in the unmounted paper are never a flaw. none named RULE 3 Any quality below 0.5 The rating cannot exceed 4. lowest 2.0 RULE 4 At least two valid reads A read that breaks the reply format is discarded. 5 of 5 valid THE ARITHMETIC ## V23 rating 5.8. Engine v23.11, 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 2.00 (2.0 + 2.0 + 2.0 + 2.0 + 2.0) ÷ 5 → RAW 5.00 1 + 2 × 2.00 → RATING 5.8 5 + 2.086 × (5.00 − 4.60) ## Where next [Every record the full archive](https://peteryuill.art/archive)[2026.10.16 every painting from this date](https://peteryuill.art/days/2026-10-16)