--- title: "T_326, sumi ink on paper | Crucible Year" url: https://peteryuill.art/works/T_326 description: "T_326 by Peter Yuill: A great grey arc climbs the left side, rolls across the top into a black block, and holds a bowl of pale raw paper in its curve. 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 --- ![A wide grey arc sweeps from lower left over the top into a squared black mass at upper right, enclosing pale paper, with spatter lower right.] ![T_326, tone-stretched: what the model was shown] ![T_326: every pixel as the measuring code classes it] 97 × 180 cm · the whole sheet, uncropped # T_326 The engine's reading A great grey arc climbs the left side, rolls across the top into a black block, and holds a bowl of pale raw paper in its curve. 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_326](https://peteryuill.art/enquiries?work=T_326) Availability, price or a studio visit. Peter replies himself; asking commits you to nothing. The smudge in the middle looks like writing rubbed out with a thumb. It is the list on the back of an envelope, made in bed by the light of a phone, milk, call your mother, the thing about the boiler, wiped half away because the other one woke and asked what you were doing up. Around it sits the big grey rim of the bowl you both eat from, burnt dark on one side from the night it went in the oven when it shouldn't have. That bowl will outlast the boiler. It stays on the table with the envelope under it, and in the morning neither of you can read the list, only see that it was long, and about the two of you. 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_326#details)[The reading](https://peteryuill.art/works/T_326#reading)[How it was read](https://peteryuill.art/works/T_326#read)[Date](https://peteryuill.art/works/T_326#date)[Materials](https://peteryuill.art/works/T_326#materials)[Related](https://peteryuill.art/works/T_326#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:** one continuous arc, grey on the left, thickening to a black block at upper right - **Movement:** clockwise, up the left and across the top; the lower-right return breaks it - **Coverage:** ink on about two thirds of the paper - **Tone:** seven tonal steps, weighted to the middle greys - **Layering:** pale outer sweep, mid-grey band, black band; readable at top, blurred lower right - **Edges:** crisp at the black block's end; soft and grained on the grey bands - **Feibai:** on the outer grey arc down the left side, and the pale sweeps at right - **Open paper:** a rounded pale void filling the centre and lower left, inside the arc - **Chance marks:** spatter lower right and across centre; smudged scribble and cloudy patches in centre - **Frame:** ink runs off top, left and lower left; bottom centre and lower right open One arc takes the whole sheet. It rises from the bottom left, climbs the left side in grey, rolls across the top and darkens into black at the upper right before stopping just right of centre. Inside it the paper stays open, a pale bowl the arc has made. The left side is the sheet's footing. Raw bark paper grips a drier brush hard, and the outer grey band splits into long parallel grain that follows the brush all the way up. There the arc has speed and weight at once, and the empty centre takes its shape from that wall. The trouble is the ending. The black band stops in a squared, stepped block with a flat grey ledge beneath it, and a turn that should keep travelling turns into furniture. Below it the lower right goes soft: spatter, a grey wedge fairly even inside, a dry return that frays. Its darks barely move. A crease running down through the black and smudged stray marks in the centre paper are small, and the sheet carries them. Where that leaves it is solid ground. The arc is real and the left side is good painting; the finish is what keeps the sheet 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_326] ![T_326, tone-stretched] ![T_326, classed by brightness] 69% of the sheet carries ink TONAL STEPS ## 7 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: 0.066 (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 3 DEEP 3 DEEP 3 DEEP 2 MODELLED 2 MODELLED 2.6 Layering 2 LEGIBLE 2 LEGIBLE 2 LEGIBLE 2 LEGIBLE 2 LEGIBLE 2.0 Composition 2 WORKING 2 WORKING 2 WORKING 2 WORKING 2 WORKING 2.0 Material and surface 1 FLAWED 2 SOUND 1 FLAWED 2 SOUND 1 FLAWED 1.4 ### READ 1, IN ITS OWN WORDS “A strong circular sweep with a well-modelled black arc and legible grey passes. A blunt stepped ending, crowded spatter at lower right and stray smudged marks in the central void hold it near an ordinary-to-good level.” Form · BUILT The great arc follows the brush's travel cleanly, but the dark band ends in a stiff stepped block where it meets the grey wedge right of centre. WEAKEST Blunt stepped end of the dark band, lower right STRONGEST Sweeping outer grey arc following brush travel Tonal depth · DEEP Dark interior modulation is 0.066 and there are seven tonal steps. Brush arcs show inside the black mass, and the grey bands carry dry-brush grain and graded steps. WEAKEST Lower-right grey wedge is fairly even inside STRONGEST Dark arc mass with streaked banding inside Layering · LEGIBLE Three passes (pale outer ring, mid-grey band, black arc) stay legible where they overlap. The order is readable, but there is no deep build-up of translucent layers. WEAKEST Dark pass partly covers the grey under it STRONGEST Pale outer ring beside the mid-grey band Composition · WORKING The arc carries the eye around the sheet and gives the empty centre a shape. The spattered lower-right corner is crowded, and the stray marks in the centre weaken the void. WEAKEST Busy spatter and wedge zone, lower right STRONGEST Enclosing arc shaping the central empty paper Material and surface · FLAWED A grey smudge with scribble marks sits in the centre and is visible in the colour view. A vertical crease line cuts through the black mass. The centre paper looks faintly cloudy. WEAKEST Stray smudged marks in central empty paper STRONGEST Dry-brush grain on the outer left arc FLAWS ## 2 distinct places, 2 major. Each read must name every flaw and where it is, in a ninth of the sheet. Here the reads named flaws in 2 distinct places, 15 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 18 edge segments, 22% crisp, 67% soft or bloomed, 11% 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_326). ## 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_326 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_324](https://peteryuill.art/works/T_324) [Back to all works](https://peteryuill.art/works) [Next T_327](https://peteryuill.art/works/T_327) ## Where next [T_320 same date, with 4 others](https://peteryuill.art/works/T_320)[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)