--- title: "T_328, sumi ink on paper | Crucible Year" url: https://peteryuill.art/works/T_328 description: "T_328 by Peter Yuill: Two ink wheels turn across white bark paper, black blades over stepped grey bands, with one dry curved stroke falling between their hubs. Sumi ink on Red Star Mo She Special Effect Xieyi Edition, half-raw (June 2025 batch), 97 × 180 cm, 2026.06.03. Crucible Year." source: generated from the Crucible Year master database --- ![Two large fan shapes of black and grey ink radiate across white paper, upper left and lower right, with a curved dry stroke between.] ![T_328, tone-stretched: what the model was shown] ![T_328: every pixel as the measuring code classes it] 97 × 180 cm · the whole sheet, uncropped # T_328 The engine's reading Two ink wheels turn across white bark paper, black blades over stepped grey bands, with one dry curved stroke falling between their hubs. Record - **Date:** 2026.06.03 - **Dimensions:** 97 × 180 cm - **Paper:** [Red Star Mo She Special Effect Xieyi Edition, half-raw (June 2025 batch)](https://peteryuill.art/papers/S12) - **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_328](https://peteryuill.art/enquiries?work=T_328) Availability, price or a studio visit. Peter replies himself; asking commits you to nothing. The little black hook is a docking clamp, and the paper is what happens after release. The station turns, shedding its grey decks one by one, and a single tender drops away below with its engine running ragged, white burning through the black hull in long parallel scars. I rode that tender once. You do not steer it; you lean. Across the hub the mothership is still arriving, too heavy, every light folded into one dark hold, the ground of the planet rising under its keel. I would sign on for it. On the empty launch field to the left, a little rust has bloomed, and a few cold specks hang where the stars ought to be. 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_328#details)[The reading](https://peteryuill.art/works/T_328#reading)[How it was read](https://peteryuill.art/works/T_328#read)[Date](https://peteryuill.art/works/T_328#date)[Materials](https://peteryuill.art/works/T_328#materials)[Related](https://peteryuill.art/works/T_328#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 radial fans on separate hubs, joined by a curved stroke below centre - **Movement:** rotation down a diagonal, top left to bottom right; nothing runs against it - **Coverage:** ink on about three quarters of the paper - **Tone:** six tonal steps, weighted dark - **Layering:** two kinds, translucent grey and dense black; readable in left fan and right outer bands - **Edges:** crisp stepped walls on the bands; broken dry ends on lower arc and upper left blade - **Feibai:** present in the curved arc stroke below centre - **Open paper:** broad wedge at lower left; narrower band at upper right - **Chance marks:** speckles at lower left; faint brownish spots near base of lower arc - **Frame:** ink runs off top edge and bottom right; lower left and upper right stay open Two wheels turn across the paper. One spins from a small black hook left of centre and flings its dark blades up to the top edge. The other rises out of the bottom right in stepped bands. The sheet runs on the diagonal between them, and the bare paper at lower left and upper right gives the turning room. The finest passage is small. Below the hub, one curved stroke falls from a black head into parallel streaks of white, the hairs parting as the brush travels. The half-sized bark paper grips that dry ink and keeps each streak. Behind it, the grey bands of the left wheel stay translucent, every pass stopping at a held wall. The weight sits bottom right. Dark has gone over dark until that wheel's core is a nearly even slab, burying the passes beneath it and jamming against the lower edge. Faint speckles and brown spots mark the open paper below. Those costs are local. The rotation holds from edge to edge, the greys are deep and legible, and the stroke at the centre is fully alive. A fine painting, with one heavy hand in it. 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_328] ![T_328, tone-stretched] ![T_328, classed by brightness] 74% of the sheet carries ink TONAL STEPS ## 6 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: 0.057 (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 3 FLUENT 2 BUILT 3 FLUENT 2 BUILT 2.4 Tonal depth 2 MODELLED 2 MODELLED 2 MODELLED 2 MODELLED 2 MODELLED 2.0 Layering 3 ORDERED 3 ORDERED 3 ORDERED 3 ORDERED 3 ORDERED 3.0 Composition 2 WORKING 3 COMMANDING 3 COMMANDING 2 WORKING 3 COMMANDING 2.6 Material and surface 2 SOUND 2 SOUND 2 SOUND 2 SOUND 2 SOUND 2.0 ### READ 1, IN ITS OWN WORDS “Radial layered fans in the manner of R3, with legible translucent passes. The bulky, nearly flat dark mass at the bottom right crowds the composition and keeps form and tone at an ordinary level.” Form · BUILT Upper fan arcs and the lower centre arc follow the brush's travel; the right-hand dark block is massed and stepped, with a filled-in bulk. WEAKEST Bulky stepped dark mass filling the bottom right STRONGEST Dry-brush arc stroke at lower centre Tonal depth · MODELLED Upper fans show grain, concentric arcs and stepped greys; the large right dark mass is only lightly modulated (0.057) and reads nearly flat in colour. WEAKEST Interior of the right-hand dark mass, mostly uniform STRONGEST Grey arcs with banding around the upper-left hub Layering · ORDERED Several translucent passes are stacked in a clear radial order in both fans, with legible stepped edges; six tonal plateaus. WEAKEST Right dark mass covers earlier passes beneath it STRONGEST Translucent stepped bands of the upper-left fan Composition · WORKING Two radiating fans set up a diagonal movement and the empty lower left is shaped; the bottom-right corner is jammed and heavy. WEAKEST Bottom right crowded by the heavy dark mass STRONGEST Diagonal pull between the two radial fans Material and surface · SOUND Ink is controlled and the dry-brush edges are used; only minor spatter and faint brownish spots sit on open paper, away from the principal masses. WEAKEST Small speckles and faint marks on the lower-left paper STRONGEST Dry-brush grain in the lower centre arc FLAWS ## 2 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 2 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: 2 principal ink masses traced (cyan), 3 enclosed voids at true size in their grid cells (amber), the main gesture from start to end (red). Of 19 edge segments, 47% crisp, 42% 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_328). ## Date 2026.06.03, day 157 of the Crucible Year, one of 12 paintings from that date. 18 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). Every painting from 2026.06.03 is shown here. 2 other dates with more than five works can say the same. THE YEAR ## T_328 among all 402 Every painting of the year by date; this one is outlined. [Every painting from 2026.06.03](https://peteryuill.art/days/2026-06-03) · [This date in the year](https://peteryuill.art/year?follow=2026-06-03) ## Materials - **Paper:** [Red Star Mo She Special Effect Xieyi Edition, half-raw (June 2025 batch)](https://peteryuill.art/papers/S12), China Xuan Paper Co., Ltd., made 2025.06.07 - **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 361 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 · 11 Just before and after 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_327](https://peteryuill.art/works/T_327) [Back to all works](https://peteryuill.art/works) [Next T_329](https://peteryuill.art/works/T_329) ## Where next [T_329 same date, with 10 others](https://peteryuill.art/works/T_329)[T_208 same paper and inks, 2026.04.12](https://peteryuill.art/works/T_208)[2026.06.03 12 paintings on this date](https://peteryuill.art/days/2026-06-03)[Paper S12 every work on it](https://peteryuill.art/papers/S12)