--- title: "T_342, sumi ink on paper | Crucible Year" url: https://peteryuill.art/works/T_342 description: "T_342 by Peter Yuill: A fan of stepped grey and black ink bands arches across a long sheet toward a small white doorway, with horizontal slabs stacked at the left. Sumi ink on Qing Yi Half-Raw Xuan, 70 × 140 cm, 2026.06.06. Crucible Year." source: generated from the Crucible Year master database --- ![Long sheet with a fan of grey to black bands arching toward a small white opening lower right, grey bars and a dark block at left.] ![T_342, tone-stretched: what the model was shown] ![T_342: every pixel as the measuring code classes it] 70 × 140 cm · the whole sheet, uncropped # T_342 The engine's reading A fan of stepped grey and black ink bands arches across a long sheet toward a small white doorway, with horizontal slabs stacked at the left. 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_342](https://peteryuill.art/enquiries?work=T_342) Availability, price or a studio visit. Peter replies himself; asking commits you to nothing. The small white door at the bottom of the arch is the one left open after everyone has gone to bed. The light is the kitchen, someone at the counter in socks, drinking water straight from the tap because every glass is in the dishwasher. The hall between here and there is all dark wool, and I walk it with one hand on the wall, reading the plaster like a map. I could call out. I don't. Some love is only leaving a light on and letting the other person find their own way back to bed. Halfway down, the floorboard that always creaks creaks, and the light at the end stays exactly where it is. 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_342#details)[The reading](https://peteryuill.art/works/T_342#reading)[How it was read](https://peteryuill.art/works/T_342#read)[Date](https://peteryuill.art/works/T_342#date)[Materials](https://peteryuill.art/works/T_342#materials)[Related](https://peteryuill.art/works/T_342#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:** radial arch fan around a small inner arch; horizontal bars and slab at left - **Movement:** arcs sweep down to the opening; left bars run horizontal against them - **Coverage:** ink on about four fifths of the paper - **Tone:** four tonal steps, weighted dark - **Layering:** pale, mid and dark passes; readable in upper fan and left bars - **Edges:** crisp along arc walls; broken and grainy at band and bar ends - **Feibai:** none - **Open paper:** pale wedge at top left; white notch at lower centre; arched opening - **Chance marks:** water-stain blotches in bottom-left block; faint creases across central dark fan - **Frame:** runs off left, bottom, right and top centre; top-left corner stays open A great arch of stepped grey opens across the paper and narrows, band by band, to a small white doorway low on the right. The eye goes down the fan and through that door in one movement. On the left, flat bars and a dark slab lean in toward it. The arc bands hold the sheet up. Each pass of dilute ink keeps its wall as it curves, and the half-sized paper stops it from bleeding into the next, so the greys stack in a legible order from pale rim to dark core. Where a band ends, the brush has dragged, and the grain shows through in fine streaks. The upper fan, where translucent passes cross, is the richest surface here. The bottom-left block undoes some of this. It is filled where the arcs are drawn, blunt at its ends, and it buries the passes beneath it. Water has pooled and dried in blotches at its right end. The central dark wedge is sealed and flat as well, so the core reads as a surface rather than a depth. The arch is well built and the greys are controlled. The lower left is a real debt, and the arch bears that weight without coming down. 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_342] ![T_342, tone-stretched] ![T_342, classed by brightness] 80% of the sheet carries ink TONAL STEPS ## 4 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: 0.034 (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 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 1 FLAWED 2 SOUND 1 FLAWED 1 FLAWED 1.4 ### READ 1, IN ITS OWN WORDS “A layered fan around an arch, in R3's mode but weaker. The layering is ordered and legible, but the dark masses are flat inside. The left slabs and bottom-left block are blunt and crowd the arrangement.” Form · BUILT The arc bands around the central arch are coherent and follow the stroke's travel. The left horizontal bars and the bottom-left block are blunt slabs of ink. WEAKEST Bottom-left rectangular slab, bulky and blunt STRONGEST Concentric arch bands following the brush's travel Tonal depth · MODELLED Four tonal steps and a good range of greys in the outer arcs. The dark-interior modulation of 0.034 is flat, and the central black fan and bottom-left block are uniform inside. WEAKEST Flat central dark fan and bottom-left block STRONGEST Translucent grey arc bands with dry-brush grain Layering · ORDERED Several translucent passes overlap legibly across the fan. Their order is readable, and the stepped overlaps build depth toward the central arch. WEAKEST Bottom-left block covers the lower passes STRONGEST Overlapping translucent arc segments around the arch Composition · WORKING The radiating arch gives a clear direction into the small white opening. The left bars and the heavy bottom-left block feel added on, and the lower-centre white is leftover. WEAKEST Heavy bottom-left block crowding the lower edge STRONGEST Radiating fan drawing the eye into the arch Material and surface · SOUND The ink is controlled, with grain at the band edges. The bottom-left block has small mottled blotches, and the dark fan shows faint crease lines. These are minor at viewing distance. WEAKEST Mottled blotches inside the bottom-left dark block STRONGEST Dry-brush grain at the edges of the arc 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, 10 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: 11 principal ink masses traced (cyan), 5 enclosed voids at true size in their grid cells (amber), the main gesture from start to end (red). Of 45 edge segments, 49% crisp, 49% soft or bloomed, 2% 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_342). ## 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_342 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_341](https://peteryuill.art/works/T_341) [Back to all works](https://peteryuill.art/works) [Next T_343](https://peteryuill.art/works/T_343) ## Where next [T_340 same date, with 9 others](https://peteryuill.art/works/T_340)[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)