--- title: "T_315, sumi ink on paper | Crucible Year" url: https://peteryuill.art/works/T_315 description: "T_315 by Peter Yuill: Two black fans rise from the bottom edge and lean toward a pale grey disc, their crests breaking into spatter against bare paper. 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 --- ![Two dark fan shapes rise from the bottom left and right, spattered at their tops, around a pale grey circle on cream paper.] ![T_315, tone-stretched: what the model was shown] ![T_315: every pixel as the measuring code classes it] 97 × 180 cm · the whole sheet, uncropped # T_315 The engine's reading Two black fans rise from the bottom edge and lean toward a pale grey disc, their crests breaking into spatter against bare paper. 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) [Enquire about T_315](https://peteryuill.art/enquiries?work=T_315) Availability, price or a studio visit. Peter replies himself; asking commits you to nothing. The spatter over the left crest is the part I believe. Every impact in the solar system threw something like it: a fan of grit leaving at speed, most of it never coming down. The Moon is most likely the leftovers of one such collision, gathered up and made to orbit. Saturn's rings are thinning, raining slowly into the planet, and long before the Sun grows old they will be gone without anyone filing a complaint. The black below is the heavy part, settled and sure of itself. I prefer the debris. It left the event and did not look back, and somewhere past the edge of the paper it is still travelling, cold and small and perfectly on 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_315#details)[The reading](https://peteryuill.art/works/T_315#reading)[How it was read](https://peteryuill.art/works/T_315#read)[Date](https://peteryuill.art/works/T_315#date)[Materials](https://peteryuill.art/works/T_315#materials)[Related](https://peteryuill.art/works/T_315#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:** two dark fans rising from the bottom, joined by a pale grey central disc - **Movement:** arcs sweep up and inward; the centre turns; spatter flies upward off crests - **Coverage:** ink on about two thirds of the paper - **Tone:** five tonal steps, weighted dark - **Layering:** grey washes, stepped bands, heavy blacks; readable in the centre and fan edges - **Edges:** crisp band edges in the fans; bristled crests; soft wash edges in the centre - **Feibai:** present along the right fan's outer curving edge - **Open paper:** broad band across the top, dipping into a valley between crests - **Chance marks:** spatter above both crests; cloudy pale patches in the central disc - **Frame:** ink runs off the bottom edge; top, left and right stay open Two dark fans rise off the bottom edge and lean in toward a pale grey disc. Their crests burst into spatter, so the empty paper above has a shape of its own. The eye goes round the disc and out through the tops. The right fan is the stronger of the two. Its bands curve with the path of the brush and step inward in order, and at its outer edge the hairs part into streaks of bare paper that carry the sweep on. In the centre, translucent greys lie over one another and stay legible: the half-sized paper holds each edge where it falls, so the passes stack instead of sinking together. The left fan pays. A square block sits at its foot, blunt and stiff, crowding the corner. Above it the black goes on so heavily that it seals what came before and reads flat inside. The central washes cloud in places, a small loss the sheet absorbs. That leaves a sound sheet with one live side. The structure holds and the centre breathes; the left half keeps it from more. 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_315] ![T_315, tone-stretched] ![T_315, classed by brightness] 69% 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: 0.040 (under 0.045 reads as flat). 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 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 1 THIN 1 THIN 2 MODELLED 2 MODELLED 2 MODELLED 1.6 Layering 2 LEGIBLE 2 LEGIBLE 2 LEGIBLE 2 LEGIBLE 3 ORDERED 2.2 Composition 2 WORKING 2 WORKING 3 COMMANDING 2 WORKING 2 WORKING 2.2 Material and surface 2 SOUND 2 SOUND 2 SOUND 2 SOUND 2 SOUND 2.0 ### READ 1, IN ITS OWN WORDS “This sheet takes up R3's radiating-arc motif but has flatter black cores, stiffer slab blocks at the bottom left and a less resolved layering. The pale centre and the splattered fan tops hold it near ordinary.” Form · BUILT Both fans are coherent arc forms with holding walls; the right fan's curved strokes follow the brush, but the left fan's lower rectangle and squared slabs are stiff. WEAKEST Blunt rectangular block at bottom left of left fan STRONGEST Right fan's curved bands following the arc of travel Tonal depth · THIN Dark modulation 0.040, below the flat threshold; the black cores of both fans are uniform inside, and tone changes mainly at band edges. Greys live only in the centre. WEAKEST Flat black interior of left fan upper block STRONGEST Pale grey arc banding in central circle Layering · LEGIBLE The grey wedges stepping toward the centre and the pale circle overlap legibly; in the black cores later passes mostly cover the earlier ones. WEAKEST Dark fan cores where later black covers earlier passes STRONGEST Translucent grey overlaps in the central circle and left fan Composition · WORKING The two fans converge on a pale circular centre, and the shaped empty paper above gives direction; the bottom corners are dense and the two halves sit as matching blocks. WEAKEST Heavy, near-symmetrical dark masses crowding the lower corners STRONGEST Central pale circle linking the two fans Material and surface · SOUND Ink is controlled, with deliberate splatter at the top edges. The paper is yellowed overall and the centre has slightly cloudy washes, but there is no stain in the dark masses. WEAKEST Cloudy grey washes in the central circle STRONGEST Dry-brush splatter and bristle edges on fan tops 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, 11 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: 6 principal ink masses traced (cyan), 3 enclosed voids at true size in their grid cells (amber), the main gesture from start to end (red). Of 31 edge segments, 29% crisp, 58% soft or bloomed, 13% 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_315). ## 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_315 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) 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 Same paper and inks, other dates · 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_314](https://peteryuill.art/works/T_314) [Back to all works](https://peteryuill.art/works) [Next T_316](https://peteryuill.art/works/T_316) ## Where next [T_310 same date, with 7 others](https://peteryuill.art/works/T_310)[T_351 same paper and inks, 2026.06.14](https://peteryuill.art/works/T_351)[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)