--- title: "T_331, sumi ink on paper | Crucible Year" url: https://peteryuill.art/works/T_331 description: "T_331 by Peter Yuill: A wheel of black and grey ink bands turns round a white disc of bare paper, with stepped black blocks and pale slabs leaning off to the right. 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 --- ![A large dark arc of black and grey bands curves around a white circle at upper centre, with stepped black and grey blocks at right.] ![T_331, tone-stretched: what the model was shown] ![T_331: every pixel as the measuring code classes it] 97 × 180 cm · the whole sheet, uncropped # T_331 The engine's reading A wheel of black and grey ink bands turns round a white disc of bare paper, with stepped black blocks and pale slabs leaning off to the right. 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_331](https://peteryuill.art/enquiries?work=T_331) Availability, price or a studio visit. Peter replies himself; asking commits you to nothing. I read the right-hand blocks as rubble. Something struck the big wheel early, before anything had a name, and these are what came off: square, stiff, still warm, stepping away in a hurry. Debris like that does not stay debris. Give it long enough falling around the thing it left and it rounds itself, gets a face, starts pulling at the seas. I would not tell the blocks that yet. They think they are a mistake. Past them, the pale stripes are already trailing off like the start of a ring, and the white at the centre has not cooled. Down in the far corner one black drop has landed alone, a stone that missed everything and kept going. 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_331#details)[The reading](https://peteryuill.art/works/T_331#reading)[How it was read](https://peteryuill.art/works/T_331#read)[Date](https://peteryuill.art/works/T_331#date)[Materials](https://peteryuill.art/works/T_331#materials)[Related](https://peteryuill.art/works/T_331#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:** large concentric arc at left; stepped block cluster at right, pale stripes above it - **Movement:** clockwise sweep from top left round to bottom; right cluster leans the same way - **Coverage:** ink on about nine tenths of the paper - **Tone:** four tonal steps, weighted dark - **Layering:** several translucent grey passes under black, readable in arc segments at lower left - **Edges:** crisp ends on arc segments; dry, broken starts on right blocks; soft pale outer rim - **Feibai:** present, outer pale arc at lower left and inner rim of the black band - **Open paper:** white disc at top centre, opening into a broad field at top right - **Chance marks:** isolated blot near right edge, lower; grey specks top right; faint stray line at left edge - **Frame:** ink runs off top, left and bottom edges; right edge and top right stay open A wheel of ink turns across the left of the paper, entering at the top and sweeping round to the bottom edge. Its hollow is bare paper, a white disc at top centre. On the right, a stepped black block and a row of pale slabs lean into the same turn. The wheel holds everything that matters. At lower left its grey bands overlap in translucent segments, pale outer rings under darker passes, black last, each pass legible. The half-sized bark paper keeps every wash at its own edge, so the greys step inward like stacked glass, grain and crackle showing through. On the inner rim of the black band the hairs part in long dry streaks, and the wheel looks turned rather than filled. The right side is weaker. Its blocks are blunt rectangles with stiff, stepped joins, set beside the arc more than grown from it. The blacks, there and in the main band, dry almost flat inside. Crease lines cross the dark masses, and a lone blot sits harmlessly near the right edge. Still, the wheel wins. Its greys are layered with real clarity and its turn is sure from edge to edge. The right side costs something; the painting stands clear of it, large and firm. 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_331] ![T_331, tone-stretched] ![T_331, classed by brightness] 85% of the sheet carries ink TONAL STEPS ## 4 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: 0.044 (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 3 FLUENT 3 FLUENT 2 BUILT 2 BUILT 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 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 concentric-arc sheet close to R3: the arcs are fluent, the translucent passes are layered in a clear order and the rotation is strong. The black masses are flat inside, and there are small marks on the blank paper.” Form · FLUENT Concentric arc strokes follow brush travel with dry-brush trailing edges; right-hand block cluster is more rectilinear but its strokes still read as made, with no clumsy joins. WEAKEST Right cluster of stiff stepped rectangular blocks STRONGEST Large black arc sweeping from top to centre Tonal depth · MODELLED Measured dark modulation 0.044 is flat; black arc and right black block are uniform inside. Grey bands show crackle, grain and stepped density, giving four tonal plateaus. WEAKEST Interior of the main black arc band STRONGEST Stepped grey arcs in lower-left quarter Layering · ORDERED Several translucent grey arc passes overlap in readable order beneath the black; the stepped segments build depth from the outer pale rings inwards to the black. WEAKEST Black block in right cluster covers earlier greys STRONGEST Overlapping translucent arc segments lower left Composition · COMMANDING Large arc wheels the eye from top-left around to bottom; empty circular void top-centre is shaped and active; right cluster echoes the rotation and counters the mass. WEAKEST Bottom-left edge, crowded with pale arcs STRONGEST Open curved void at top centre Material and surface · SOUND Ink controlled with dry-brush edges; small blot lower right and grey specks in top-right paper sit away from principal masses; crackle texture in greys reads as paper character. WEAKEST Stray ink blot near lower right edge STRONGEST Dry-brush trailing edge on black arc 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, 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. GEOMETRY ## Measured from the 16-bit master. The previous engine (V22) measured this sheet's master file: 1 principal ink mass traced (cyan), 5 enclosed voids at true size in their grid cells (amber), the main gesture from start to end (red). Of 15 edge segments, 53% crisp, 40% soft or bloomed, 7% 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_331). ## 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_331 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_330](https://peteryuill.art/works/T_330) [Back to all works](https://peteryuill.art/works) [Next T_332](https://peteryuill.art/works/T_332) ## 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)