Crucible Year Peter Yuill
T_324, sumi ink on red star mo she special effect xieyi, raw T_324, tone-stretched: what the model was shownT_324: every pixel as the measuring code classes it
97 × 180 cm · the whole sheet, uncropped

T_324

Record
Date
2026.05.31
Dimensions
97 × 180 cm
Paper
Red Star Mo She Special Effect Xieyi Edition, raw
Ink
Yi De Ge Refined Ink Juice, Boku-Undo Genso, Yi De Ge Yun Tou Yan
Enquire about T_324Availability, price or a studio visit. Peter replies himself; asking commits you to nothing.
Detail at full resolution, cut by code where the brushwork is finest · select to enlarge
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.

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_324T_324, tone-stretchedT_324, classed by brightness
61%of the sheet carries ink
Black 43%Grey 47%Light 10% SHARE OF THE INK, NOT OF THE SHEET
TONAL STEPS

2 families of tone.

Every inked pixel's brightness in 64 bins, smoothed; each circled peak holds at least 4% of the ink. Two or fewer: Tonal depth is held at the bottom rung whatever the model reads. A dense sheet of many translucent passes can count low here, so Layering is left to the reads. Life inside the black: 0.045 (under 0.045 reads as flat).

0.300.7512 BLACK INK TRANSLUCENT GREYS PALEST INK, 0.88 LUMINANCE OF EVERY INKED PIXEL, 64 BINS. PAPER (ABOVE 0.88) IS LEFT OUT.
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 1READ 2READ 3READ 4READ 5MEAN
Form2BUILT3FLUENT3FLUENT3FLUENT3FLUENT2.8
Tonal depth2MODELLED1THIN1THIN2MODELLED2MODELLED1.6
Layering2LEGIBLE2LEGIBLE2LEGIBLE2LEGIBLE2LEGIBLE2.0
Composition2WORKING2WORKING2WORKING2WORKING2WORKING2.0
Material and surface2SOUND2SOUND2SOUND2SOUND2SOUND2.0

READ 1, IN ITS OWN WORDS

“A confident concentric-arc sheet related to R3, but with fewer passes, two tone families and near-flat dark interiors. A clumsy grey join and minor cracks keep it at an ordinary, working level.”

Form · BUILT

Arcs follow brush travel with split-bristle ends, but the grey square patch at the inner arc end is a clumsy join, and the left arc tails are stubby.

WEAKEST Pale grey square patch at inner arc's end

STRONGEST Large dark concentric arc sweeping right

Tonal depth · MODELLED

Bristle banding and dry-brush grain run through the arcs, but dark modulation is 0.045 (borderline flat) and there are only two tonal steps.

WEAKEST Dense dark upper arc interior, close to flat

STRONGEST Banded grey inner arc, lower right

Layering · LEGIBLE

A pale grey outer arc pass sits under the dark arcs and stays legible where they overlap; there are only about two or three passes, without deep translucent ordering.

WEAKEST Only two tone families across the passes

STRONGEST Grey outer arc under dark arc, top

Composition · WORKING

Strong arcing movement carries the eye from the left tips over the top to the bottom right. The empty lower left is shaped by the curve but is fairly passive.

WEAKEST Bottom-left empty paper slightly leftover

STRONGEST Sweeping arc from left tips to bottom right

Material and surface · SOUND

Ink is controlled and the dry-brush grain is used. Hairline cracks show in the dark arcs, there is a faint brownish stain at the bottom centre and a small dot on the left, all minor.

WEAKEST Crackle lines through dark arc interior

STRONGEST Dry-brush grain on right outer band

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, 16 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.

4 × OTHER“hairline cracks running across dark arc inter…”1 × BLOOM“pale grey patch at the inner end of the lower…”1 × OTHER“hairline cracks in dark ink band”5 × OTHER, WATER STAIN“small grey dot on empty paper”5 × WATER STAIN, OTHER“faint brownish patch on paper near bottom cen…”WATER STAINBLOOMOTHER
GEOMETRY

Measured from the 16-bit master.

The previous engine (V22) measured this sheet's master file: 7 principal ink masses traced (cyan), 6 enclosed voids at true size in their grid cells (amber), the main gesture from start to end (red). Of 27 edge segments, 48% crisp, 22% soft or bloomed, 30% broken.

A1B1C1D1E1F1A2B2C2D2E2F2A3B3C3D3E3F3H1H2H3H4H5H6

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.

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 (working title).

Made after a calmer fortnight than 14 of the 14 dates before it.
THE YEAR

T_324 among all 402

Every painting of the year by date; this one is outlined.

Every painting from 2026.05.31 · This date in the year

Materials

Paper
Red Star Mo She Special Effect Xieyi Edition, raw, China Xuan Paper Co., Ltd., made 2025.12.08
Ink MB4
Yi De Ge Refined Ink Juice, Yi De Ge (Beijing)
Ink MB5
Boku-Undo Genso, Boku-Undo
Ink MB6
Yi De Ge Yun Tou Yan, Yi De Ge (Beijing)
The sheet of paper was made 174 days before this painting.
When each paper was in use