--- title: "T_320, sumi ink on paper | Crucible Year" url: https://peteryuill.art/works/T_320 description: "T_320 by Peter Yuill: Black and grey arcs swing from the lower left over the top of a long sheet, circling bare paper and breaking into splash and drips at the right. Sumi ink on Red Star Mo She Special Effect Xieyi Edition, raw, 97 × 180 cm, 2026.05.31. Crucible Year." source: generated from the Crucible Year master database --- ![Grey and black brush arcs curl from lower left over the top around an empty pale centre, ending in a dark splash with drips at right.] ![T_320, tone-stretched: what the model was shown] ![T_320: every pixel as the measuring code classes it] 97 × 180 cm · the whole sheet, uncropped # T_320 The engine's reading Black and grey arcs swing from the lower left over the top of a long sheet, circling bare paper and breaking into splash and drips at the right. Record - **Date:** 2026.05.31 - **Dimensions:** 97 × 180 cm - **Paper:** [Red Star Mo She Special Effect Xieyi Edition, raw](https://peteryuill.art/papers/S11) - **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_320](https://peteryuill.art/enquiries?work=T_320) Availability, price or a studio visit. Peter replies himself; asking commits you to nothing. A handful of dots hang near the right edge, small and round, keeping their distance. I have decided they are the escort. Behind them the big ship came in hot, curling its hull around a bay of nothing and venting coolant sideways out of the stern in long pale threads. The escort keeps radio silence. They are waiting for a docking signal, and it is late. The colony will call this the night they got their harbour: a ring of black metal around still white water, and those few lights off the starboard side, blinking patiently, too polite to come any closer. 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_320#details)[The reading](https://peteryuill.art/works/T_320#reading)[How it was read](https://peteryuill.art/works/T_320#read)[Date](https://peteryuill.art/works/T_320#date)[Materials](https://peteryuill.art/works/T_320#materials)[Related](https://peteryuill.art/works/T_320#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 nested arcs at left, grey wedge and black band joined across the top - **Movement:** clockwise sweep from lower left over the top; horizontal drips at right cut across it - **Coverage:** ink on about three fifths of the paper - **Tone:** five tonal steps, weighted to the middle greys - **Layering:** grey washes under black arcs; readable at left and top centre, lost at right - **Edges:** crisp on the dark arcs; soft and feathered through the right splash - **Feibai:** lower end of the inner dark arc, bottom left - **Open paper:** a rounded field at centre and lower centre, enclosed by the arcs - **Chance marks:** stray drops near top right; tide-edged drips at lower right; cloudy patches in grey wedge - **Frame:** ink runs off the left, top and lower left edges; the right edge stays open The sheet turns like a wheel caught mid-spin. Arcs rise from the lower left, swing over the top and pitch down into a burst of splash on the right, and the whole motion closes around a round field of bare paper that it holds firmly in place. The inner dark arc at left is the best passage. Its black lies over a broad grey band and stays separate, so the order of passes reads at a glance. At its lower end the bristles part into flying white. The paper is raw bark, quick to drink and rough enough to catch a dry brush, so each hair leaves its own track. Across the top, the black band over the grey wedge repeats that clarity with more weight. The costs sit in the middle and on the right. The grey wedge ends in a squared slab, and its inside is cloudy and almost even. On the right, wet ink spread fast through the paper and ran in horizontal drips with pale tide edges. Those drips crowd the ending and blur which pass came first. These are real faults, and they stay local. The spiral and its shaped centre carry the sheet. It is a big, sure painting with a muddied finish, and it belongs with the stronger work in the archive. 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_320] ![T_320, tone-stretched] ![T_320, classed by brightness] 60% 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: 0.054 (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 2 MODELLED 2 MODELLED 3 DEEP 2 MODELLED 2 MODELLED 2.2 Layering 2 LEGIBLE 2 LEGIBLE 3 ORDERED 2 LEGIBLE 2 LEGIBLE 2.2 Composition 3 COMMANDING 3 COMMANDING 2 WORKING 2 WORKING 2 WORKING 2.4 Material and surface 2 SOUND 2 SOUND 2 SOUND 2 SOUND 2 SOUND 2.0 ### READ 1, IN ITS OWN WORDS “A spiralling composition of nested arcs with a strong sweep and a well-shaped open centre. The grey masses are fairly flat inside, the central wedge is blunt, and the splatter at right is loose. Better than R2 on composition.” Form · BUILT Inner dark arc and upper dark band follow the brush's travel; the central grey wedge is a bulky slab with a squared lower end; the right splatter is loose. WEAKEST Central grey wedge ends in a blunt, filled-in edge STRONGEST Inner dark arc, left, with dry-brush tail Tonal depth · MODELLED Dark arcs show streaking and banding (modulation 0.054); the outer grey band and the central wedge are mostly even mid-grey with little internal grading. WEAKEST Upper-left grey band, flat and even inside STRONGEST Upper dark band with streaks and stepped density Layering · LEGIBLE Grey wash passes lie under the dark arcs and stay readable; the dark band over the grey wedge is clear; roughly three passes, not a sustained sequence. WEAKEST Right splatter zone blurs the order of passes STRONGEST Dark arc laid legibly over the grey band, left Composition · COMMANDING Nested arcs carry the eye from lower left, up over the top and out into the splash at right; the open centre paper is strongly shaped. WEAKEST Busy drip and splatter cluster at right STRONGEST Spiralling sweep of arcs around the open centre Material and surface · SOUND Ink is mostly controlled with good dry-brush edges; the central grey wedge has a slightly milky mottle; stray drops at top right and drips at lower right. WEAKEST Mottled, cloudy interior of central grey wedge STRONGEST Dry-brush tail on the inner arc 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, 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: 2 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 19 edge segments, 32% crisp, 32% soft or bloomed, 37% 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_320). ## Date 2026.05.31, day 154 of the Crucible Year, one of 8 paintings from that date (6 shown). 10 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 14 of the 14 dates before it. THE YEAR ## T_320 among all 402 Every painting of the year by date; this one is outlined. [Every painting from 2026.05.31](https://peteryuill.art/days/2026-05-31) · [This date in the year](https://peteryuill.art/year?follow=2026-05-31) ## Materials - **Paper:** [Red Star Mo She Special Effect Xieyi Edition, raw](https://peteryuill.art/papers/S11), China Xuan Paper Co., Ltd., made 2025.12.08 - **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 174 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 · 5 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_318](https://peteryuill.art/works/T_318) [Back to all works](https://peteryuill.art/works) [Next T_321](https://peteryuill.art/works/T_321) ## Where next [T_321 same date, with 4 others](https://peteryuill.art/works/T_321)[T_219 same paper and inks, 2026.04.15](https://peteryuill.art/works/T_219)[2026.05.31 8 paintings on this date](https://peteryuill.art/days/2026-05-31)[Paper S11 every work on it](https://peteryuill.art/papers/S11)