--- title: "T_337, sumi ink on paper | Crucible Year" url: https://peteryuill.art/works/T_337 description: "T_337 by Peter Yuill: Bands of grey and black ink wheel up around a white arch at the bottom edge, split by a pale channel and heaped dark at lower 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 --- ![Curved black and grey bands radiate around a white arch at bottom centre, darkest at lower right, with pale paper across the top.] ![T_337, tone-stretched: what the model was shown] ![T_337: every pixel as the measuring code classes it] 97 × 180 cm · the whole sheet, uncropped # T_337 The engine's reading Bands of grey and black ink wheel up around a white arch at the bottom edge, split by a pale channel and heaped dark at lower 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_337](https://peteryuill.art/enquiries?work=T_337) Availability, price or a studio visit. Peter replies himself; asking commits you to nothing. The pale channel left of centre is the gap in Fortune's wheel. The medieval painters put riders on her rim and gave each a line of Latin: I shall reign, I reign, I have reigned, I am without a kingdom. Here the left is all ascent, grey stepped over grey like a stair still being climbed, and the right is all aftermath, black and settled, heavy with having been king. Fortune turns her handle and never looks. I would rather be the one in the crack. A few drops of ink have slipped through it already, falling toward the white arch at the hub, the only place on any wheel that stays still while the rest goes round. 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_337#details)[The reading](https://peteryuill.art/works/T_337#reading)[How it was read](https://peteryuill.art/works/T_337#read)[Date](https://peteryuill.art/works/T_337#date)[Materials](https://peteryuill.art/works/T_337#materials)[Related](https://peteryuill.art/works/T_337#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:** concentric arc bands around a white arch, split by a pale vertical channel - **Movement:** radial sweep upward and outward; squared band ends and top-right blocks cut across it - **Coverage:** ink on about four fifths of the paper - **Tone:** six tonal steps, weighted dark - **Layering:** pale, mid and dark passes; readable on the left and upper right - **Edges:** crisp squared band ends throughout; soft fringes on outer greys; broken dry ends lower right - **Feibai:** present, upper central black band and trailing arc ends at lower right - **Open paper:** wide band across the top, narrow channel left of centre, arch at bottom centre - **Chance marks:** small grey drips beside the central channel; one dark speck at upper right edge - **Frame:** ink runs off left, right and bottom edges; top stays open A great wheel rises out of the bottom edge. Its hub is a white arch, and its bands step outward in grey and black until they stop short of the open top of the paper. A pale channel splits the wheel just left of centre, and the eye drops down it into the arch. The left wing is the clearest thinking on the paper. Grey lies over grey, each pass squared off and still visible through the next, climbing from pale outer arcs to a dark core. The paper is half-sized, so every wash dried to its own edge and kept its place in the order. Above the centre, the long black band bends with the brush, and its speed has parted the hairs into streaks of bare paper. The cost sits at lower right. There the black is so dense and even that it buries the greys beneath it and reads as a slab filled in, heavy where the left is airy. A few grey drips by the channel barely matter. The sweep still holds. The wheel turns from end to end, its order legible, its centre open: a sheet of real authority, weighed down in one corner and not sunk by it. 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_337] ![T_337, tone-stretched] ![T_337, classed by brightness] 85% of the sheet carries ink TONAL STEPS ## 6 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: 0.055 (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 3 FLUENT 3 FLUENT 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 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 “A radial arc composition in the manner of R3, with clear translucent layering, but heavier and more crowded. The large lower-right black is bulky and flat inside, which keeps form, tone and composition at an ordinary level.” Form · BUILT Concentric arc bands hold their walls and follow the sweep; the lower-right black mass and top-right inner rectangle read as bulky, filled slabs. WEAKEST Heavy lower-right black block, bulky and filled in STRONGEST Upper central dark arc band following brush travel Tonal depth · MODELLED Upper arcs show banding, dry streaks and grain; grey left bands stepped. Large lower-right black is mostly flat; modulation 0.055 only modest. WEAKEST Lower-right black mass, near-uniform interior STRONGEST Upper central arc band with brush banding and grain Layering · ORDERED Six tonal steps; pale, mid and dark arc passes overlap translucently in a readable order on left and top right, building depth like R3. WEAKEST Lower-right black covers earlier passes opaquely STRONGEST Stepped translucent grey arcs on left and top right Composition · WORKING Radial arcs carry the eye round to the open circle at bottom centre; the white gap is shaped, but 85% coverage leaves the right crowded and weighty. WEAKEST Crowded, heavy dark lower right STRONGEST White vertical channel opening into bottom-centre circle Material and surface · SOUND Ink controlled; small ink drops near left-centre gap and a speck at right edge; paper creases visible in tone-stretched darks, not disruptive. WEAKEST Stray drips beside left-centre grey bands STRONGEST Dry-brush trailing edges at bottom right of arcs 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 18 edge segments, 50% crisp, 50% 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_337). ## 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_337 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_336](https://peteryuill.art/works/T_336) [Back to all works](https://peteryuill.art/works) [Next T_338](https://peteryuill.art/works/T_338) ## 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)