--- title: "T_329, sumi ink on paper | Crucible Year" url: https://peteryuill.art/works/T_329 description: "T_329 by Peter Yuill: Two fans of squared ink bands, pale grey to black, rise round a white channel and a small bright opening, like an arch broken open at the crown. 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 fans of curved grey to black bands rise either side of a white vertical channel above a small white circular opening at bottom centre.] ![T_329, tone-stretched: what the model was shown] ![T_329: every pixel as the measuring code classes it] 97 × 180 cm · the whole sheet, uncropped # T_329 The engine's reading Two fans of squared ink bands, pale grey to black, rise round a white channel and a small bright opening, like an arch broken open at the crown. 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_329](https://peteryuill.art/enquiries?work=T_329) Availability, price or a studio visit. Peter replies himself; asking commits you to nothing. Hamelin would not pay the piper, so the piper took the children, and in Browning's telling the hill opened for them: a door in the mountainside, wide as a gate, that shut fast once the last one was in. This is the hill in the moment before it shuts. The two halves stand darkening toward each other, giants holding a door, and the white road runs up between them, lit. At the bottom the round hollow is worn the way a doorstep wears. One boy was lame and could not keep up, and the mountain closed in his face. He spent the rest of his life describing what he almost saw. The giants keep their shoulders to the sky, waiting for the next town that will not pay. 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_329#details)[The reading](https://peteryuill.art/works/T_329#reading)[How it was read](https://peteryuill.art/works/T_329#read)[Date](https://peteryuill.art/works/T_329#date)[Materials](https://peteryuill.art/works/T_329#materials)[Related](https://peteryuill.art/works/T_329#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 fans of squared arc bands, split by a vertical gap, joined round a small ring - **Movement:** radial sweep outward from the bottom-centre opening; the vertical gap cuts across it - **Coverage:** ink on about four fifths of the paper - **Tone:** seven tonal steps, spread across the range - **Layering:** many translucent arc passes, pale outer to black inner, readable on both fans - **Edges:** crisp squared band ends throughout; streaked, softer ends along the upper pale bands - **Feibai:** present at the squared ends of the upper grey bands and in the small inner ring - **Open paper:** vertical channel from top edge into a round opening at bottom centre; pale band above - **Chance marks:** crease crackle through the left greys; green speck at right edge; torn notch bottom left - **Frame:** ink runs off left, right and bottom edges; top stays open A broken arch fills the paper. Two fans of squared bands swing up and out from a small white opening at the foot of the sheet. A channel of bare paper rises from that opening to the top edge and splits them. The eye drops down the channel, through the ring, and out along the arcs from pale to black. The layering decides it. In the upper left, grey passes step over one another like roof tiles, each still visible beneath the next. The half-sized bark paper holds every pass at its own edge, so the greys stack instead of pooling, and old creases rise through them as a fine crackle. The small inner ring, laid in one turn, keeps the parting of the brush hairs in its grain. The costs sit low. The right black is nearly flat inside and sealed, and it weighs on the lower right corner. At the bottom left a squat stub block crowds the edge, and a small torn notch shows white in its dark. Both are real, and both are small. The white channel and the stepped arcs lift the sheet to a height very few sheets ever reach. 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_329] ![T_329, tone-stretched] ![T_329, classed by brightness] 78% 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: 0.047 (under 0.045 reads as flat). FIVE READS ## Five reads, agreeing on 4 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 3 FLUENT 3 FLUENT 3 FLUENT 3 FLUENT 3 FLUENT 3.0 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 3 COMMANDING 3 COMMANDING 3 COMMANDING 3 COMMANDING 3 COMMANDING 3.0 Material and surface 3 FINE 2 SOUND 2 SOUND 2 SOUND 2 SOUND 2.2 ### READ 1, IN ITS OWN WORDS “This is a close sibling of R3, with two fans of stacked translucent arcs around a central opening. The layering is ordered and the composition is strong. The dark interiors are only slightly modelled, and there is one tiny flaw at the bottom left.” Form · FLUENT Concentric arc bands on both halves follow the brush's sweep with crisp squared ends; only the bottom-left stub reads slightly blocky. WEAKEST Squat dark stub block at bottom-left edge STRONGEST Inner small arc ring around central opening Tonal depth · MODELLED Greys carry grain and banding, seven tonal steps; but dark interior modulation 0.047 is barely above flat, right black mass reads mostly solid. WEAKEST Right central black arc mass, nearly uniform interior STRONGEST Left grey bands with grain and crackle texture Layering · ORDERED Many translucent arc passes stacked outward from pale to dark, overlaps legible and ordered on both halves; right dark core loses some separation. WEAKEST Right dark passes merge into near-solid block STRONGEST Stepped translucent outer arcs, upper left Composition · COMMANDING Two arc fans radiate around a central opening, the white gap and paper above shaped and active; eye swings along the arcs across the sheet. WEAKEST Bottom-left corner crowded by stub block STRONGEST Central vertical gap splitting two arc fans Material and surface · FINE Grain, dry-brush stroke ends and crackle texture shape the bands; only a tiny white notch bottom-left and small speck at right edge. WEAKEST Small torn white notch in bottom-left dark STRONGEST Dry-brush squared ends on upper grey bands FLAWS ## 4 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 4 distinct places, 12 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 17 edge segments, 24% crisp, 65% soft or bloomed, 12% 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_329). ## 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_329 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 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_328](https://peteryuill.art/works/T_328) [Back to all works](https://peteryuill.art/works) [Next T_330](https://peteryuill.art/works/T_330) ## Where next [T_328 same date, with 10 others](https://peteryuill.art/works/T_328)[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)