--- title: "T_334, sumi ink on paper | Crucible Year" url: https://peteryuill.art/works/T_334 description: "T_334 by Peter Yuill: Two fans of grey and black arcs wheel around a small round of bare paper, split from above by a pale wedge that drops straight into it. 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 grey and black curved bands encircle a small white circle at bottom centre, divided by a pale wedge descending from the top.] ![T_334, tone-stretched: what the model was shown] ![T_334: every pixel as the measuring code classes it] 97 × 180 cm · the whole sheet, uncropped # T_334 The engine's reading Two fans of grey and black arcs wheel around a small round of bare paper, split from above by a pale wedge that drops straight into it. 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_334](https://peteryuill.art/enquiries?work=T_334) Availability, price or a studio visit. Peter replies himself; asking commits you to nothing. The pale wedge is a door left open a hand's width, the way you leave it for someone afraid of the dark and too old to admit it. Hallway light slides down and stops in a round white pool on the floorboards, about the size of a dropped plate. I was the one awake. On the right the dark piled up like coats on a chair after a party, heavier than any single coat could be. On the left it was thinner, folded, a blanket kicked off and pulled back again and again before morning. Somewhere a pipe knocked twice and settled. The circle of light held still on the boards, and something small walked into it barefoot. 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_334#details)[The reading](https://peteryuill.art/works/T_334#reading)[How it was read](https://peteryuill.art/works/T_334#read)[Date](https://peteryuill.art/works/T_334#date)[Materials](https://peteryuill.art/works/T_334#materials)[Related](https://peteryuill.art/works/T_334#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 of curved bands meeting around a central white circle - **Movement:** arcs turning inward around the circle; the pale wedge falls downward against them - **Coverage:** ink on about four fifths of the paper - **Tone:** five tonal steps, weighted dark - **Layering:** many translucent arc passes, pale outer under dark inner, readable on both fans - **Edges:** crisp along arc curves; dry, combed ends where right blocks meet the gap - **Feibai:** none - **Open paper:** a downward wedge from the top edge ending in a small circle, bottom centre - **Chance marks:** fine crease lines through the dark arcs on both sides - **Frame:** ink runs off left, right and bottom; top stays open A pale wedge drops from the top edge into a small round of bare paper near the foot of the sheet, and two fans of ink wheel around it. The eye falls down the wedge and is held in the circle. Everything around it turns. The left fan is where the paper does its finest work. Grey arc lies over grey arc, each pass still visible through the next, because half-sized bark paper keeps a wash near the surface instead of drinking it down. Read from the outside in, the bands climb from near-paper to black in clean steps, and the innermost curls hug the white circle closely. Across the gap, the right-hand blocks end in dry, combed brush, so each stroke shows exactly where it began. The cost sits low on the right. There the blacks stack until the passes merge into one dense, nearly flat mass, and that half grows heavy with little relief. A blunt slab at the bottom left stiffens its corner. Fine crease lines thread the darks and read as texture. These are real debts, and small. The sheet holds its centre with complete authority, and it stands among the finest in the archive. 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_334] ![T_334, tone-stretched] ![T_334, classed by brightness] 85% 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: 0.056 (under 0.045 reads as flat). FIVE READS ## Five reads, agreeing on 2 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 2 BUILT 3 FLUENT 3 FLUENT 3 FLUENT 2.8 Tonal depth 2 MODELLED 2 MODELLED 3 DEEP 3 DEEP 3 DEEP 2.6 Layering 3 ORDERED 3 ORDERED 3 ORDERED 3 ORDERED 3 ORDERED 3.0 Composition 2 WORKING 3 COMMANDING 2 WORKING 2 WORKING 2 WORKING 2.2 Material and surface 2 SOUND 2 SOUND 2 SOUND 2 SOUND 2 SOUND 2.0 ### READ 1, IN ITS OWN WORDS “This is a radial arc vortex close in kind to R3, with fluent bands and legible translucent layering. It is denser and heavier than R3, the lower-right blacks are fairly flat, and the paper has little room to breathe.” Form · FLUENT Radial arc bands everywhere follow the brush's sweep, with dry-brush ends on the bands at upper right; the blunt left-edge block is minor. WEAKEST Squared-off dark block at far left edge STRONGEST Inner curling arcs hugging the white central void Tonal depth · MODELLED Five tonal steps; greys from pale wash to black. Tone-stretched view shows grain and veining in most masses, but the lower-right blacks stay heavy and nearly uniform. WEAKEST Lower-right black band, near-flat interior STRONGEST Upper-right dark arc with grain and veining Layering · ORDERED Many translucent arc passes overlap in readable sequence, especially at left and upper right. The pale outer washes sit under the darker inner bands. WEAKEST Right-side darks stacked so deep that order blurs STRONGEST Left fan of translucent grey arcs overlapping Composition · WORKING The radial vortex pulls the eye to the white centre at the bottom, but 85% ink coverage leaves little breathing paper, and the right half is dense and weighty. WEAKEST Crowded heavy dark mass filling lower right STRONGEST White central void with the arcs swinging around it Material and surface · SOUND Ink is controlled with clean arc edges. A fine crackle network runs through the dark masses, legible as texture. There are no tide lines or rings. WEAKEST Crackle crease lines across dark interiors STRONGEST Dry-brush band ends at upper right 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: 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 20 edge segments, 40% crisp, 45% soft or bloomed, 15% 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_334). ## 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_334 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_333](https://peteryuill.art/works/T_333) [Back to all works](https://peteryuill.art/works) [Next T_335](https://peteryuill.art/works/T_335) ## 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)