--- title: "T_316, sumi ink on paper | Crucible Year" url: https://peteryuill.art/works/T_316 description: "T_316 by Peter Yuill: A black and grey arch climbs out of stacked grey slabs and drops down the right edge, closing a round of bare paper washed with pink. 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 broad black and grey arch sweeps from lower left to the right edge, enclosing a white opening, with grey rectangles stacked at left.] ![T_316, tone-stretched: what the model was shown] ![T_316: every pixel as the measuring code classes it] 97 × 180 cm · the whole sheet, uncropped # T_316 The engine's reading A black and grey arch climbs out of stacked grey slabs and drops down the right edge, closing a round of bare paper washed with pink. 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_316](https://peteryuill.art/enquiries?work=T_316) Availability, price or a studio visit. Peter replies himself; asking commits you to nothing. The pale ring up in the black is a breathing hole in winter ice, the kind a seal keeps open all season with its nose. You wait beside it. The water underneath is darker than anything above it, and patient, and sometimes something whiskered comes up, takes one long look at you, and decides you are weather. The rest of the ice that winter was heavy and grey and piled wrong along the shore where the wind had shoved it. Nothing came up all afternoon. The hole stayed open anyway, a small round mouth in the dark, the low sun dropping into it and going out. 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_316#details)[The reading](https://peteryuill.art/works/T_316#reading)[How it was read](https://peteryuill.art/works/T_316#read)[Date](https://peteryuill.art/works/T_316#date)[Materials](https://peteryuill.art/works/T_316#materials)[Related](https://peteryuill.art/works/T_316#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:** great arch of concentric bands; grey slabs stacked at left, joined under the arch - **Movement:** rises left to right over the arch; flat left slabs run against it - **Coverage:** ink on about four fifths of the paper - **Tone:** four tonal steps, weighted dark - **Layering:** grey slabs, black arcs, translucent grey arc, colour washes; readable at top centre - **Edges:** crisp on the arch contours; soft and broken in the left slabs and lower left - **Feibai:** present, along the descending right arc and its inner edge over the opening - **Open paper:** rounded white opening under the arch, lower right; smaller wedge at top left - **Colour:** pink wash slanting across the opening; rust red low at left - **Chance marks:** pale ring inside the top of the black arc; spatter and drops on upper-left paper - **Frame:** ink runs off left, bottom, right and top centre; top-left corner stays open A great arch rises from the lower left, touches the top edge and comes down hard at the right, closing a round of bare paper beneath it. It is built in bands: black within, translucent grey outside. The right side is where the painting lives. The grey sweeps down with the brush, its grain combed into arcs, its tone stepping from smoke to near black, and flying white opens along the sweep. At the top that grey crosses the black and both passes stay legible, because the half-sized bark paper holds each layer where it lands. A pink wash slants across the opening and warms it. The left third stalls. Grey rectangles stack stiffly against the edge, the rust wash beneath them clouds, and the inner black arch is laid so densely that it closes into one flat dark. A pale ring sits inside its top, an accident in the place that most needed quiet. A good arch, then, half delivered: the descending grey is worth standing in front of, the left flank is not, and the sheet sits squarely among the archive's usual work. 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_316] ![T_316, tone-stretched] ![T_316, classed by brightness] 79% 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 2 LEGIBLE 2 LEGIBLE 3 ORDERED 2 LEGIBLE 2.2 Composition 2 WORKING 2 WORKING 2 WORKING 3 COMMANDING 2 WORKING 2.2 Material and surface 1 FLAWED 1 FLAWED 1 FLAWED 1 FLAWED 1 FLAWED 1.0 ### READ 1, IN ITS OWN WORDS “A bold arching composition with a well-shaped white opening and readable passes. The heavy black arcs are flat inside, the left side is crowded and murky, and a pale ring inside the upper black arc pulls Material down.” Form · BUILT The concentric arcs hold their walls and follow the stroke's curve. The left grey rectangles are slab-like, and the lower-left area is untidy and loosely joined. WEAKEST Blocky grey slab and muddled strokes at left edge STRONGEST Right outer arc following the brush's sweep Tonal depth · MODELLED The right arc and upper band show arcing grain and stepped density, with 4 tonal steps. The large central-left black arcs read flat and surface-like in the colour view. WEAKEST Inner left black arc is nearly uniform inside STRONGEST Right arc band with brush-grain arcs and graded grey Layering · LEGIBLE Grey band, black arcs, overlapping translucent arc and pink wash are distinct passes. They stay readable at the top-centre crossing, but the bottom left is murky. WEAKEST Lower left, where grey, red and black blur together STRONGEST Translucent grey arc crossing over the black arc at top Composition · WORKING The big arch sweep moves the eye left to right, and the white inner opening is well shaped. The ink covers 79% of the sheet, so the left third feels jammed and heavy. WEAKEST Crowded, unresolved left third STRONGEST White arch opening framed by the sweeping arcs Material and surface · FLAWED A pale circular ring sits inside the black arc near the top centre and shows in both views. Spatter dots fall on the upper-left paper, and the lower-left wash is cloudy. WEAKEST Pale ring inside the top of the black arc STRONGEST Dry-brush streaks and grain in right arc FLAWS ## 4 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 4 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: 3 principal ink masses traced (cyan), 4 enclosed voids at true size in their grid cells (amber), the main gesture from start to end (red). Of 20 edge segments, 40% crisp, 30% soft or bloomed, 30% 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_316). ## 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_316 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_315](https://peteryuill.art/works/T_315) [Back to all works](https://peteryuill.art/works) [Next T_317](https://peteryuill.art/works/T_317) ## 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)