--- title: "T_332, sumi ink on paper | Crucible Year" url: https://peteryuill.art/works/T_332 description: "T_332 by Peter Yuill: A single ink hook of stacked grey blocks and a dense black turn, curling around a tongue of bare paper across a wide bark sheet. 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 dark ink hook: grey rectangular blocks at left arc across the top and down the right into black, around a white tongue.] ![T_332, tone-stretched: what the model was shown] ![T_332: every pixel as the measuring code classes it] 97 × 180 cm · the whole sheet, uncropped # T_332 The engine's reading A single ink hook of stacked grey blocks and a dense black turn, curling around a tongue of bare paper across a wide bark sheet. 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_332](https://peteryuill.art/enquiries?work=T_332) Availability, price or a studio visit. Peter replies himself; asking commits you to nothing. The white tongue under the curl is where I would stand. Out past it the swell has been building for weeks, grey laid on grey, and now it leans over the shore with all its weight in the dark part, the part that has stopped moving. Most break early and apologise in foam. This one is still holding, spray already loose at its lip, a few cold drops flung onto the sand behind me. A gull with sense leaves. I stay. The tide line is bright and dry, and the water above it has not yet decided what it owes me. 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_332#details)[The reading](https://peteryuill.art/works/T_332#reading)[How it was read](https://peteryuill.art/works/T_332#read)[Date](https://peteryuill.art/works/T_332#date)[Materials](https://peteryuill.art/works/T_332#materials)[Related](https://peteryuill.art/works/T_332#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:** stacked rectangular blocks at left joined to a broad arcing band and hook - **Movement:** rising from left across the top, then down to bottom right; nothing counters - **Coverage:** ink on about four fifths of the paper - **Tone:** five tonal steps, weighted dark - **Layering:** several translucent grey passes; readable at left, along the top, round the inner curve - **Edges:** crisp block edges throughout; broken dry ends at block tips; soft grey at tongue's mouth - **Feibai:** at block ends left of centre and along the upper band - **Open paper:** white U-shaped tongue entering the hook from lower centre - **Chance marks:** spatter at lower left; blot at right edge; faint creases through the greys - **Frame:** black runs off the bottom at right; upper left and lower left corners open One hook takes the whole paper. It starts as a stack of grey blocks at the left, climbs across the top in a broad band, and turns down the right side into black, wrapping a tongue of bare paper that pushes in from below. The turn is the best of it. Around the inner curve the greys step outward in clean bands, each pass readable through the next, because half-sized bark paper holds a wash where it lands. Where blocks end, the hairs split into fast parallel streaks of white. The tongue is drawn as carefully as the ink. The costs sit at the two ends. At the left the blocks are blunt rectangles piled square on square, and the cluster crowds. At the right the black is so dense it barely moves inside, and it seals over the passes beneath. Drops on the bare paper at lower left stay minor. The curve holds from the first grey block to the last black, and few sheets in the archive take one movement this far. The heavy ends are the price. The turn is why it is worth paying. 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_332] ![T_332, tone-stretched] ![T_332, classed by brightness] 81% of the sheet carries ink TONAL STEPS ## 5 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: 0.051 (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 2 BUILT 2 BUILT 2 BUILT 2 BUILT 2 BUILT 2.0 Tonal depth 2 MODELLED 2 MODELLED 2 MODELLED 2 MODELLED 2 MODELLED 2.0 Layering 3 ORDERED 3 ORDERED 2 LEGIBLE 3 ORDERED 3 ORDERED 2.8 Composition 2 WORKING 2 WORKING 2 WORKING 2 WORKING 2 WORKING 2.0 Material and surface 2 SOUND 2 SOUND 2 SOUND 2 SOUND 2 SOUND 2.0 ### READ 1, IN ITS OWN WORDS “This layered hook-shaped arc is close to R3 in method, but it falls short of it. The left blocks are slab-like and the right black mass is flat. Its strength is the layering, and its surface is sound.” Form · BUILT The arc reads as a coherent hook built from stepped bands, but the blocks on the left are blunt rectangles stacked without following a single stroke path. WEAKEST Stacked slab-like rectangles in the left cluster STRONGEST Curving outer arc sweeping round the right Tonal depth · MODELLED Five tonal steps, and the grey bands carry graded tone and dry-brush grain. The large right black mass is mostly flat, with modulation of 0.051, just above the flat threshold. WEAKEST Near-uniform black interior of right-hand arc mass STRONGEST Graded grey bands stepping around the inner curve Layering · ORDERED Several translucent passes overlap in a readable order. Pale outer bands, mid greys and black blocks build depth along the arc, much as in R3's stepped rings. WEAKEST Dense dark overlaps in the upper centre STRONGEST Translucent stepped grey passes around the inner U Composition · WORKING The arc carries the eye from left to bottom right, and the white tongue inside is well shaped. The left cluster is busy and the right black area weighs heavily. WEAKEST Crowded block cluster at the left end STRONGEST Sweeping hook with a shaped white tongue inside Material and surface · SOUND The ink is controlled and the edges are crisp. Small spatter sits at bottom left, there is a blot at the top-right edge, and paper creases are visible through the greys. WEAKEST Stray drops and spatter on the left paper STRONGEST Dry-brush streaks at the ends of the blocks FLAWS ## 6 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 6 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), 4 enclosed voids at true size in their grid cells (amber), the main gesture from start to end (red). Of 17 edge segments, 18% crisp, 82% soft or bloomed, 0% 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_332). ## 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_332 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_331](https://peteryuill.art/works/T_331) [Back to all works](https://peteryuill.art/works) [Next T_333](https://peteryuill.art/works/T_333) ## 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)