--- title: "T_313, sumi ink on paper | Crucible Year" url: https://peteryuill.art/works/T_313 description: "T_313 by Peter Yuill: A black ink wave rises off the left edge, rolls over its crest and runs out in a long tail, with a pink cluster cupped beneath the curl. 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 thick black arc curves from left over the top to a tapering lower-right tail, with grey streaks, spatter and a pink cluster below.] ![T_313, tone-stretched: what the model was shown] ![T_313: every pixel as the measuring code classes it] 97 × 180 cm · the whole sheet, uncropped # T_313 The engine's reading A black ink wave rises off the left edge, rolls over its crest and runs out in a long tail, with a pink cluster cupped beneath the curl. 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_313](https://peteryuill.art/enquiries?work=T_313) Availability, price or a studio visit. Peter replies himself; asking commits you to nothing. Every dragon in the old paintings is chasing the pearl, and the painters were wise: they never let him catch it. Neither would I. I would keep him exactly here, coiled over the crest with his whole weight in his belly, the pearl gone pink and soft just under his chin, close enough to smell. A dragon with the pearl is a retired dragon. He sleeps at the bottom of a lake and villagers bring him rice. A dragon without it keeps the rain coming. So I am making the bargain on his behalf: the sea, the long tail, the thunder in the spatter, all of it except the last inch. He will curse me for a thousand years. The rice fields will be green the whole time. 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_313#details)[The reading](https://peteryuill.art/works/T_313#reading)[How it was read](https://peteryuill.art/works/T_313#read)[Date](https://peteryuill.art/works/T_313#date)[Materials](https://peteryuill.art/works/T_313#materials)[Related](https://peteryuill.art/works/T_313#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:** one great arc, heavy left belly, narrow join into a long tapering tail - **Movement:** left edge up over the crest, down to the lower right; nothing runs against - **Coverage:** ink on about half of the paper - **Tone:** six tonal steps, spread across the range - **Layering:** grey sweeps, black arc, spatter, pink; greys readable at upper left and tail - **Edges:** crisp inner wall and tail; broken outer rim; soft bloom and lower-left drips - **Feibai:** present along the arc's upper band and outer grey sweeps at upper left - **Open paper:** broad hollow under the curl, centre to lower right; pale wedge upper right - **Colour:** pink cluster and scattered drops below the inner curl, lower centre left - **Chance marks:** spatter along upper rim and tail; grey bloom at curl's tip; drips lower left - **Frame:** grey streaks reach the top and left edges; tail nears lower right corner; bottom open A black arc rises off the left edge, rolls over its crest near the top and runs out in a long tail toward the lower right corner. The eye takes it in one pass, the way the brush did, and lands in the open paper cupped beneath the curl. The rim is the strength. Along the upper band and the outer grey sweeps at left, the hairs parted at speed and left streaks of bare paper running with the stroke, while spatter flies off the same edge. The half-sized paper keeps these marks crisp and keeps the earlier greys legible where they slide under the black. In the hollow, a pink cluster sits small and exact, and gives the empty paper a centre. The cost is in the belly. The black at left went down so dense that it seals the greys beneath and reads almost flat, a wall where the rim is weather. A cloudy grey bloom softens the inner tip of the curl, and the drips at lower left crowd that corner. Those losses are real, and they sit inside a movement that never breaks. A sheet of genuine force, held back only by its own heavy heart. 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_313] ![T_313, tone-stretched] ![T_313, classed by brightness] 50% of the sheet carries ink TONAL STEPS ## 6 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: 0.055 (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 3 FLUENT 3 FLUENT 3 FLUENT 2.6 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 3 COMMANDING 3 COMMANDING 3 COMMANDING 3 COMMANDING 3 COMMANDING 3.0 Material and surface 1 FLAWED 2 SOUND 2 SOUND 2 SOUND 1 FLAWED 1.6 ### READ 1, IN ITS OWN WORDS “A strong single wave gesture that carries across the sheet well and uses its empty paper. The heavy, flat black core, black largely covering the grey passes and a grey bleed beside the dark mass hold it near ordinary.” Form · BUILT Main arc follows brush travel with clean inner wall and tapering right tail; left dark mass is heavy and slab-filled, edges ragged with dissolved grey drips below. WEAKEST Bulky black mass in left arc, filled rather than drawn STRONGEST Arc's inner edge and tapering tail to right Tonal depth · MODELLED Modulation 0.055 and six tonal steps; outer grey sweeps and tail show banding and grain, but left black core is largely uniform in colour view. WEAKEST Core of left black mass reads near-flat STRONGEST Grey outer arcs and modelled right tail Layering · LEGIBLE Grey wash arcs, black main stroke, spatter and pink drop are distinct passes; overlaps readable at top left, but black largely covers greys rather than building through them. WEAKEST Black core covers earlier grey passes STRONGEST Translucent grey sweeps under black at upper left Composition · COMMANDING One continuous wave crosses the full width; large empty lower centre is shaped by the arc's curl; pink accent anchors the hollow, though lower-left area busy. WEAKEST Lower-left grey drips and pink cluster slightly cluttered STRONGEST Sweeping arc carrying eye left to lower right Material and surface · FLAWED Cloudy grey bleed beside the dark mass at the arc's inner tip and dripping grey puddles lower left visible in colour view; faint brownish paper stain bottom centre. WEAKEST Cloudy grey bloom at inner tip of arc STRONGEST Dry-brush grain and spatter along upper edge FLAWS ## 3 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 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. 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), 6 enclosed voids at true size in their grid cells (amber), the main gesture from start to end (red). Of 15 edge segments, 40% crisp, 7% soft or bloomed, 53% 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_313). ## 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_313 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_312](https://peteryuill.art/works/T_312) [Back to all works](https://peteryuill.art/works) [Next T_314](https://peteryuill.art/works/T_314) ## 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)