--- title: "T_311, sumi ink on paper | Crucible Year" url: https://peteryuill.art/works/T_311 description: "T_311 by Peter Yuill: A black wedge rimmed in rose and a banded black mass lean across a curving channel of bare paper, with four blue drops below. Sumi ink on Red Star Mo She Imitation Antique Chu Bark, Exhibition Edition, half-raw, 97 × 180 cm, 2026.05.24. Crucible Year." source: generated from the Crucible Year master database --- ![A black wedge edged in rose at upper left and a black mass at right flank a curving white channel; blue dots sit lower left.] ![T_311, tone-stretched: what the model was shown] ![T_311: every pixel as the measuring code classes it] 97 × 180 cm · the whole sheet, uncropped # T_311 The engine's reading A black wedge rimmed in rose and a banded black mass lean across a curving channel of bare paper, with four blue drops below. Record - **Date:** 2026.05.24 - **Dimensions:** 97 × 180 cm - **Paper:** [Red Star Mo She Imitation Antique Chu Bark, Exhibition Edition, half-raw](https://peteryuill.art/papers/S10) - **Ink:** [Yi De Ge Refined Ink Juice](https://peteryuill.art/inks/MB4), [Boku-Undo Genso](https://peteryuill.art/inks/MB5), [Yi De Ge Yun Tou Yan](https://peteryuill.art/inks/MB6), colour inks [Enquire about T_311](https://peteryuill.art/enquiries?work=T_311) Availability, price or a studio visit. Peter replies himself; asking commits you to nothing. That rose rim around the black block is the colour a sign turns after the bar shuts and the tube stays warm. I know the building. Flat roof, blind wall to the alley, a stair that only goes up. After closing I sit on the next roof over and watch the street below bend white between the dark ones, a river that forgot it was asphalt. Two blue lights blink down there, then two more: cabs waiting on fares that went home hours ago. The block does not care. It was built square and it will stay square. I leave at first light, and the pink edge is the last thing still on. Neon [Who Neon is](https://peteryuill.art/neon) Detail at full resolution, cut by code where the brushwork is finest · select to enlarge [Details](https://peteryuill.art/works/T_311#details)[The reading](https://peteryuill.art/works/T_311#reading)[How it was read](https://peteryuill.art/works/T_311#read)[Date](https://peteryuill.art/works/T_311#date)[Materials](https://peteryuill.art/works/T_311#materials)[Related](https://peteryuill.art/works/T_311#related) The engine's reading ## The reading Written by the engine after the painting was rated, from the settled findings, and checked by hand before approval. It explains the numbers; it may not change them. - **Structure:** dark wedge top left, dark mass right, joined by a looping grey band - **Movement:** diagonal from upper left to lower right; grey arc curls back against it - **Coverage:** ink on about three quarters of the paper - **Tone:** four tonal steps, weighted dark - **Layering:** grey translucent sweeps, dark slabs, rose edge wash; readable top left and right curve - **Edges:** crisp on wedge walls and right block; broken left of wedge; soft on arcs - **Feibai:** present, in the pale grey arc through the white channel and the top-centre band - **Open paper:** S-shaped channel from lower left curling up under the right mass - **Colour:** rose-violet rim around the left wedge; blue drops in pairs, lower left - **Chance marks:** spatter off the wedge's left side; grey granular blot lower centre-left - **Frame:** ink runs off top, right and lower right; left edge and lower left open White meets the eye first. A channel of bare paper enters at the lower left, widens through the middle and curls up under the right-hand black, while two dark masses lean the whole sheet down from upper left to lower right. The right mass is where the painting lives. Its black falls in curved bands, each arc following the brush, so the dark has direction and depth. At top left the wedge's translucent edge crosses an older grey sweep, and both stay legible. The half-sized paper holds each pass where it lands rather than drinking it down, and the rose rim sits on top as its own clean pass of paint. The wedge is the cost. It is a blunt slab with stiff corners, and its upper interior settles into one flat dark. The greys at top centre cloud a little where they meet. The lower left is held only loosely, by blue drops and a grey granular blot. These faults are local. The channel and the banded black command the full width of the paper, and the sheet stands well above the archive's usual run. Measured ## How it was read 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_311] ![T_311, tone-stretched] ![T_311, classed by brightness] 76% 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: 0.067 (under 0.045 reads as flat). FIVE READS ## Five reads, agreeing on 3 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 3 ORDERED 3 ORDERED 2 LEGIBLE 2 LEGIBLE 2.4 Composition 2 WORKING 3 COMMANDING 2 WORKING 2 WORKING 3 COMMANDING 2.4 Material and surface 2 SOUND 2 SOUND 2 SOUND 2 SOUND 2 SOUND 2.0 ### READ 1, IN ITS OWN WORDS “A dark wedge and an arcing right mass frame a strong white S-curve. The right side has banded greys, but the left slab is bulky and fairly flat inside. A small blot sits in the open paper. Overall the sheet is solidly ordinary.” Form · BUILT Right mass curves in clean arcs that follow the stroke. The left diamond wedge holds its walls but is a blunt filled block with a ragged spattered edge. WEAKEST Top-left wedge reads as a bulky filled slab STRONGEST Right arcing band following the brush's sweep Tonal depth · MODELLED Modulation 0.067. The right mass shows curved banding and stepped greys, and the left wedge has saw-tooth darker zones. Large parts of the wedge stay an even dark. WEAKEST Upper interior of left wedge largely flat STRONGEST Banded arcs inside the right dark mass Layering · LEGIBLE Grey passes under the right black and the top band stay legible. The rose border sits as a separate pass. The sequence is not built up across the whole sheet. WEAKEST Left wedge mostly a single dense pass STRONGEST Translucent grey arcs overlapping on the right Composition · WORKING Diagonal movement from upper-left to lower-right, with a shaped white negative curve. The lower-left open paper is loosely occupied and slightly distracting. WEAKEST Bottom-left paper with scattered drops and blot STRONGEST S-shaped white channel between the two masses Material and surface · SOUND Colour border and blue drops are deliberate. A small speckled grey blot sits in the open paper below the wedge, away from the principal masses. The dark interiors are clean. WEAKEST Granular grey blot below the wedge STRONGEST Rose-violet border bleeding around the wedge 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, 8 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. GEOMETRY ## Measured from the 16-bit master. The previous engine (V22) measured this sheet's master file: 1 principal ink mass traced (cyan), 1 enclosed void at true size in its grid cells (amber), the main gesture from start to end (red). Of 17 edge segments, 41% crisp, 53% soft or bloomed, 6% broken. The rating these readings produce, the rules applied and the arithmetic, with Peter's own rating where he gave one, are in [the Archive record](https://peteryuill.art/archive/works/T_311). ## Date 2026.05.24, day 147 of the Crucible Year, one of 10 paintings from that date (9 shown). 15 works were registered in the fourteen days before. Paintings are dated by the day their batch was registered and photographed; each was finished that day or within the few days before. Phase: [P3 The Floor Rises](https://peteryuill.art/phases/P3) (working title). Made after a calmer fortnight than 15 of the 15 dates before it. THE YEAR ## T_311 among all 402 Every painting of the year by date; this one is outlined. [Every painting from 2026.05.24](https://peteryuill.art/days/2026-05-24) · [This date in the year](https://peteryuill.art/year?follow=2026-05-24) ## Materials - **Paper:** [Red Star Mo She Imitation Antique Chu Bark, Exhibition Edition, half-raw](https://peteryuill.art/papers/S10), China Xuan Paper Co., Ltd. (中国宣纸股份有限公司), made 2026.01.14 - **Ink MB4:** [Yi De Ge Refined Ink Juice](https://peteryuill.art/inks/MB4), Yi De Ge (Beijing) - **Ink MB5:** [Boku-Undo Genso](https://peteryuill.art/inks/MB5), Boku-Undo - **Ink MB6:** [Yi De Ge Yun Tou Yan](https://peteryuill.art/inks/MB6), Yi De Ge (Beijing) - **Colour:** colour inks, recorded together The sheet of paper was made 130 days before this painting. When each paper was in use [S1](https://peteryuill.art/papers/S1)[S2](https://peteryuill.art/papers/S2)[S3](https://peteryuill.art/papers/S3)[S4](https://peteryuill.art/papers/S4)[S5](https://peteryuill.art/papers/S5)[S6](https://peteryuill.art/papers/S6)[S7](https://peteryuill.art/papers/S7)[S8](https://peteryuill.art/papers/S8)[S9](https://peteryuill.art/papers/S9)[S10](https://peteryuill.art/papers/S10)[S11](https://peteryuill.art/papers/S11)[S12](https://peteryuill.art/papers/S12)[S13](https://peteryuill.art/papers/S13)[S14](https://peteryuill.art/papers/S14) Jan Feb Mar Apr May Jun Jul Aug Sep Oct ## Related From the same date · 8 [Pattern V23 material and surface rung rose from 2026-05-24 on (rank-biserial +0.78, n 259)](https://peteryuill.art/oracle)[Pattern The floor of V23 Form rung raised in the later half of the practice (+2.30 SD, n 259)](https://peteryuill.art/oracle)[Pattern 45% of the variation in V23 Composition rung lies between batches (29 batches, n 259); with the month held constant 26%](https://peteryuill.art/oracle) [Previous T_310](https://peteryuill.art/works/T_310) [Back to all works](https://peteryuill.art/works) [Next T_312](https://peteryuill.art/works/T_312) ## Where next [T_310 same date, with 7 others](https://peteryuill.art/works/T_310)[2026.05.24 10 paintings on this date](https://peteryuill.art/days/2026-05-24)[Paper S10 every work on it](https://peteryuill.art/papers/S10)