--- title: "T_317, sumi ink on paper | Crucible Year" url: https://peteryuill.art/works/T_317 description: "T_317 by Peter Yuill: A black crescent wheels around a hollow of bare paper, grey arcs trailing behind it, red drops at its tip, and a finned dark mass waiting lower right. 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 --- ![Large black crescent on the left curving around white paper, grey sweeps outside it, red spots at centre, a dark mass lower right.] ![T_317, tone-stretched: what the model was shown] ![T_317: every pixel as the measuring code classes it] 97 × 180 cm · the whole sheet, uncropped # T_317 The engine's reading A black crescent wheels around a hollow of bare paper, grey arcs trailing behind it, red drops at its tip, and a finned dark mass waiting lower right. 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_317](https://peteryuill.art/enquiries?work=T_317) Availability, price or a studio visit. Peter replies himself; asking commits you to nothing. The red sits where the black curls back on itself, a few drops and one smear, the way it sat on my sleeve at seven after I put my hand through the kitchen window. The window was replaced long ago. I remember my mother's thumb pressing the cut shut, the whole weight of her leaning into one small place, and the hollow her palm made, cupped and warm, holding the hurt like water. The scar is a crescent now, white, the size of a fingernail paring. In winter it goes pale before the rest of my hand. When I can't sleep I trace it clockwise with my thumb, the way she did, and it opens a small room in the dark exactly my size. 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_317#details)[The reading](https://peteryuill.art/works/T_317#reading)[How it was read](https://peteryuill.art/works/T_317#read)[Date](https://peteryuill.art/works/T_317#date)[Materials](https://peteryuill.art/works/T_317#materials)[Related](https://peteryuill.art/works/T_317#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:** black crescent at left, open to the right; separate finned dark mass lower right - **Movement:** clockwise turn from crescent toward lower right; the fin rises against it - **Coverage:** ink on about two thirds of the paper - **Tone:** five tonal steps, spread across the range - **Layering:** three kinds, grey sweeps, black, red; grey readable along the crescent's outer rim - **Edges:** crisp dry-brush edges on the arc; soft clouded grey around the right mass - **Feibai:** present, in the outer grey arcs at top and the crescent's lower tails - **Open paper:** rounded hollow inside the crescent; broad open field across the upper right - **Colour:** red drops and a pale red smear at centre, beside the crescent's upper tip - **Chance marks:** vertical drip in right mass; grey splashes and spatter between the two masses - **Frame:** ink runs off top, left, bottom and right; upper right corner stays open A black crescent wheels across the left of the sheet around a hollow of bare paper. Its spin carries the eye clockwise, past a scatter of red, down to a dark mass at the lower right. The wheel leads. Pale grey arcs went down under the black and stay readable at its outer rim, because the half-raw paper keeps each pass where it lands. At the top and along the lower tails the hairs part into flying white, so the brush's whole travel stays written in the edge. Inside the black, faint bands follow the turn. The costs gather on the right. The second mass is a heavy slab with a stiff fin, a drip line running through it and cloudy grey bleeding beside it. Near the hollow the black closes into one flat tone, and the upper right paper sits a little vacant. The red justifies its place, marking the hinge between the two masses. What stays is the crescent, sure from first touch to last, and it lifts the whole sheet well above the year's run of work, weaker half and all. 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_317] ![T_317, tone-stretched] ![T_317, classed by brightness] 68% 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: 0.056 (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 3 FLUENT 2 BUILT 2.2 Tonal depth 2 MODELLED 3 DEEP 2 MODELLED 2 MODELLED 3 DEEP 2.4 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 2 SOUND 2 SOUND 2 SOUND 2 SOUND 2 SOUND 2.0 ### READ 1, IN ITS OWN WORDS “A strong circular composition built on a fluent crescent with banded tone. The lower-right mass is bulkier and flatter inside, with minor drip accidents. Layering is legible but modest, so the sheet sits slightly above R2.” Form · BUILT The left crescent's outline follows a single circular stroke with dry-brush tails. The lower-right mass is slab-like, and its upward horn joins clumsily. WEAKEST Lower-right dark mass, bulky with an awkward spike STRONGEST Large crescent sweep following the brush's arc Tonal depth · MODELLED The crescent shows arc banding and grey steps outward, and interior modulation is 0.056. The core of the lower-right mass reads as a largely flat dark. WEAKEST Dark core of the right mass, flat inside STRONGEST Concentric banding inside the crescent's black Layering · LEGIBLE Translucent grey sweeps sit under and beside the black crescent and stay readable. The red drops sit legibly over the paper near the edge. There are about two to three passes. WEAKEST Right mass grey washes blur into dark STRONGEST Grey outer arcs under the black crescent Composition · COMMANDING The big rotating arc carries the eye around the empty centre and out to the right mass. The red accent ties the two masses together, and the negative space is shaped. WEAKEST Upper-right paper slightly vacant STRONGEST Circular sweep shaping the empty central void Material and surface · SOUND The ink is controlled overall, and dry-brush streaks at the crescent edges are used well. A vertical drip and diffuse grey spatter around the right mass are minor accidents. WEAKEST Drip line and grey runs in right mass STRONGEST Dry-brush edges on crescent's lower tail 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, 10 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), 6 enclosed voids at true size in their grid cells (amber), the main gesture from start to end (red). Of 16 edge segments, 50% crisp, 0% soft or bloomed, 50% 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_317). ## 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_317 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_316](https://peteryuill.art/works/T_316) [Back to all works](https://peteryuill.art/works) [Next T_318](https://peteryuill.art/works/T_318) ## 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)