--- title: "T_333, sumi ink on paper | Crucible Year" url: https://peteryuill.art/works/T_333 description: "T_333 by Peter Yuill: Two fans of black and grey arc bands swing in from either side of a long sheet and nearly close around a bare white arch. 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 --- ![Wide ink painting: two fans of black and grey curved bands sweep in from left and right around a white arch at bottom centre.] ![T_333, tone-stretched: what the model was shown] ![T_333: every pixel as the measuring code classes it] 97 × 180 cm · the whole sheet, uncropped # T_333 The engine's reading Two fans of black and grey arc bands swing in from either side of a long sheet and nearly close around a bare white arch. 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_333](https://peteryuill.art/enquiries?work=T_333) Availability, price or a studio visit. Peter replies himself; asking commits you to nothing. The white arch rising between the fans has the shape of a held breath. The diaphragm is a dome, and when you breathe in it flattens and the ribs swing out on either side like this, rank behind rank, pale bars stacked over darker ones. I learned that at the swimming baths before I ever saw it in a book. Fill up, go under, sit on the bottom with the tiles wobbling. The ribs creak open, the dome holds, and the pressure climbs to the top of your skull. Up at the narrow neck of the white is where it always gave out, in a bright rush of bubbles. Then the surface, the noise, the chlorine, the high windows, and my chest ringing like a struck bell. 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_333#details)[The reading](https://peteryuill.art/works/T_333#reading)[How it was read](https://peteryuill.art/works/T_333#read)[Date](https://peteryuill.art/works/T_333#date)[Materials](https://peteryuill.art/works/T_333#materials)[Related](https://peteryuill.art/works/T_333#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 curved bands, left and right, converging on a central opening - **Movement:** radial sweep around a low centre; squared block ends cut against the curve - **Coverage:** ink on about nine tenths of the paper - **Tone:** five tonal steps, weighted dark - **Layering:** many translucent grey passes under black; readable upper left and top centre - **Edges:** crisp black arc walls; grainy grey band edges; blunt square ends top left - **Feibai:** present in the black bar at top centre right and the inner grey arc at lower right - **Open paper:** white arch rising from bottom centre, narrowing below the middle; pale top-left corner - **Chance marks:** fine crease lines through grey arcs, lower right and top centre; small black fleck at the right fan's inner tip - **Frame:** ink runs off all four edges; top-left corner and the bottom centre gap stay open Two fans of ink swing in from the sides and nearly meet. Between them the paper stays bare, an arch rising from the bottom edge to a neck just below the middle, and the whole sheet turns on it. The finest passage is at lower right. A broad black arc follows the brush around its curve, and beside it, nearer the void, grey bands keep their grain, the hairs streaking the tone along the line of travel. The half-sized bark paper holds each pass where it fell: across the upper left and the top, pale stepped bands lie over one another like a spread hand of cards, every edge legible, the order of laying plain. The costs are real. The black block at top left stops square, a slab where everything else bends. The big right arc goes flat inside, and the stacked darks around it bury the sequence the left shows so clearly. Fine creases cross the greys at lower right. These are faults at the margins of a painting whose centre is decided. The void is shaped, the arcs are travelled, and the sheet stands well clear of the ordinary. 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_333] ![T_333, tone-stretched] ![T_333, classed by brightness] 88% 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: 0.052 (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 2 BUILT 2 BUILT 2.2 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 2 WORKING 2 WORKING 3 COMMANDING 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 “Close in kind to R3: radial fans of layered translucent arcs around a central void. The black blocks are blunter and flatter inside, and the sheet is more crowded, so it sits below R3.” Form · BUILT Arc bands hold their walls and follow curved travel, but the top-left and upper-right black blocks are bulky rectangles with stiff, squared joins. WEAKEST Top-left black block, slab-like with blunt square ends STRONGEST Lower-right curved black arc following the brush's sweep Tonal depth · MODELLED Grey bands show streaking and stepped density, and there are five tonal steps. Dark interior modulation of 0.052 is only just above flat; the big black masses read mostly flat. WEAKEST Upper-right black block, nearly uniform inside STRONGEST Lower-right grey arcs with banding and dry-brush grain Layering · ORDERED Several translucent grey passes overlap in a readable order across both fans. The overlaps build depth, and the edges stay legible where they cross. WEAKEST Black slabs covering earlier greys at the top left STRONGEST Stacked translucent arcs on the right, sequence readable Composition · COMMANDING Two radial fans converge on a shaped white opening at the bottom centre, carrying the eye inward. Ink covers 88% of the sheet, so the top feels a little crowded. WEAKEST Crowded upper band where the fans nearly close STRONGEST Central white void shaped by the two converging fans Material and surface · SOUND The ink is controlled with clean edges. Paper crease or crackle lines show through the grey arcs at bottom right and top centre, but they are minor and away from the black masses. WEAKEST Crease lines crossing the grey arcs at right STRONGEST Dry-brush streaking at the ends of the 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, 11 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: 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 19 edge segments, 42% crisp, 58% 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_333). ## 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_333 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_332](https://peteryuill.art/works/T_332) [Back to all works](https://peteryuill.art/works) [Next T_334](https://peteryuill.art/works/T_334) ## 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)