--- title: "T_340, sumi ink on paper | Crucible Year" url: https://peteryuill.art/works/T_340 description: "T_340 by Peter Yuill: Sumi ink on Qing Yi Half-Raw Xuan, 70 × 140 cm, 2026.06.06. Crucible Year." source: generated from the Crucible Year master database --- ![T_340, sumi ink on qing yi half-raw] ![T_340, tone-stretched: what the model was shown] ![T_340: every pixel as the measuring code classes it] 70 × 140 cm · the whole sheet, uncropped # T_340 Record - **Date:** 2026.06.06 - **Dimensions:** 70 × 140 cm - **Paper:** [Qing Yi Half-Raw Xuan](https://peteryuill.art/papers/S6) - **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_340](https://peteryuill.art/enquiries?work=T_340) Availability, price or a studio visit. Peter replies himself; asking commits you to nothing. Detail at full resolution, cut by code where the brushwork is finest · select to enlarge [Details](https://peteryuill.art/works/T_340#details)[How it was read](https://peteryuill.art/works/T_340#read)[Date](https://peteryuill.art/works/T_340#date)[Materials](https://peteryuill.art/works/T_340#materials)[Related](https://peteryuill.art/works/T_340#related) 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_340] ![T_340, tone-stretched] ![T_340, classed by brightness] 71% of the sheet carries ink TONAL STEPS ## 2 families of tone. Every inked pixel's brightness in 64 bins, smoothed; each circled peak holds at least 4% of the ink. Two or fewer: Tonal depth is held at the bottom rung whatever the model reads. A dense sheet of many translucent passes can count low here, so Layering is left to the reads. Life inside the black: 0.041 (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 3 FLUENT 2 BUILT 3 FLUENT 2 BUILT 2.6 Tonal depth 2 MODELLED 1 THIN 2 MODELLED 1 THIN 2 MODELLED 1.6 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 1 FLAWED 1 FLAWED 1 FLAWED 1 FLAWED 1 FLAWED 1.0 ### READ 1, IN ITS OWN WORDS “This sheet is in the same family as R3: layered radial arcs with fluent strokes and legible passes. It falls short of R3 on three ladders. The dark base is flat inside, the left side is crowded, and a cloudy water stain sits in the central hollow.” Form · FLUENT Wide arc strokes on both arches follow the brush's curved travel with walls that hold; a few short rectangular stubs near the centre gap feel slightly blocky. WEAKEST Blunt rectangular stub strokes in upper centre STRONGEST Right isolated arc stroke, clean taper along travel Tonal depth · MODELLED Overlaps give stepped greys and the left strokes carry grain, but the dense dark at the bottom centre is flat (modulation 0.041, two tonal steps). WEAKEST Dark lower-centre mass of right arch, flat inside STRONGEST Upper-left fanned strokes with streaked dry-brush grain Layering · ORDERED Many translucent passes are laid radially, and their overlaps read in order across both arches, building stepped depth. Only the densest bottom-centre black closes the sequence up. WEAKEST Bottom-centre dark where overlaps merge into black STRONGEST Translucent stepped bands along the right arch Composition · WORKING Two arches fan around a central hollow, giving a clear radial movement. The top-right paper is shaped, but the left arch is cropped and crowded and the base is heavy. WEAKEST Crowded, cropped left arch and heavy dark base STRONGEST Radial sweep of right arch to isolated end stroke Material and surface · FLAWED A cloudy grey wash with a lobed edge sits in the central hollow below the left arch tip, clearly visible in the colour view; elsewhere the ink is controlled. WEAKEST Cloudy pale wash stain beside left arch end STRONGEST Dry-brush striations in upper-left strokes FLAWS ## 5 distinct places, 1 major. Each read must name every flaw and where it is, in a ninth of the sheet. Here the reads named flaws in 5 distinct places, 13 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. A major flaw holds Material and surface at rung 1. GEOMETRY ## Measured from the 16-bit master. The previous engine (V22) measured this sheet's master file: 2 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 17 edge segments, 88% crisp, 12% 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_340). ## Date 2026.06.06, day 160 of the Crucible Year, one of 11 paintings from that date. 30 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 2026.06.06 is shown here. 2 other dates with more than five works can say the same. THE YEAR ## T_340 among all 402 Every painting of the year by date; this one is outlined. [Every painting from 2026.06.06](https://peteryuill.art/days/2026-06-06) · [This date in the year](https://peteryuill.art/year?follow=2026-06-06) ## Materials - **Paper:** [Qing Yi Half-Raw Xuan](https://peteryuill.art/papers/S6), Jingxian Sichijian Xuan Paper Arts & Crafts Co., Ltd., made unknown - **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) 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 · 10 [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_339](https://peteryuill.art/works/T_339) [Back to all works](https://peteryuill.art/works) [Next T_341](https://peteryuill.art/works/T_341) ## Where next [T_341 same date, with 9 others](https://peteryuill.art/works/T_341)[2026.06.06 11 paintings on this date](https://peteryuill.art/days/2026-06-06)[Paper S6 every work on it](https://peteryuill.art/papers/S6)