--- title: "T_348, sumi ink on paper | Crucible Year" url: https://peteryuill.art/works/T_348 description: "T_348 by Peter Yuill: Sumi ink on Qing Yi Cooked Xuan, 70 × 140 cm, 2026.06.06. Crucible Year." source: generated from the Crucible Year master database --- ![T_348, sumi ink on qing yi cooked] ![T_348, tone-stretched: what the model was shown] ![T_348: every pixel as the measuring code classes it] 70 × 140 cm · the whole sheet, uncropped # T_348 Record - **Date:** 2026.06.06 - **Dimensions:** 70 × 140 cm - **Paper:** [Qing Yi Cooked Xuan](https://peteryuill.art/papers/S7) - **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_348](https://peteryuill.art/enquiries?work=T_348) 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_348#details)[How it was read](https://peteryuill.art/works/T_348#read)[Date](https://peteryuill.art/works/T_348#date)[Materials](https://peteryuill.art/works/T_348#materials)[Related](https://peteryuill.art/works/T_348#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_348] ![T_348, tone-stretched] ![T_348, classed by brightness] 85% 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: 0.030 (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 2 BUILT 2 BUILT 2 BUILT 2.2 Tonal depth 1 THIN 1 THIN 1 THIN 1 THIN 1 THIN 1.0 Layering 3 ORDERED 2 LEGIBLE 2 LEGIBLE 2 LEGIBLE 3 ORDERED 2.4 Composition 3 COMMANDING 2 WORKING 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 “A radial double-fan sheet close to R3 in structure and layering, with fluent arcs and a strong central void. The dark interiors are measured as flat and the coverage is heavy, so it sits below R3.” Form · FLUENT Radial wedges and arc bands follow the brush's curved travel and the walls hold. The small rectangular blocks near the centre-right are a little slab-like but minor. WEAKEST Small stacked rectangles left of the right fan STRONGEST Outer curved arc bands sweeping round both fans Tonal depth · THIN The tone-stretched view shows grain in the paler wedges, but dark interior modulation is 0.030 with only two tonal steps, so the main black masses are flat inside. WEAKEST Central black interiors of both fans STRONGEST Dry-brush grain in the upper left wedge Layering · ORDERED Several translucent passes overlap in a readable order, with grey arcs under darker wedges in both fans. The overlap edges stay crisp and build depth outward. WEAKEST Dense core where the darkest passes merge STRONGEST Translucent grey wedges overlapping the outer arcs Composition · COMMANDING Two radial fans open around a white central void and a vertical channel, with a strong arch movement. Coverage of 0.85 leaves the paper with little room except the centre. WEAKEST Heavy coverage crowding the lower corners STRONGEST Central vertical gap opening into the pale arch Material and surface · SOUND The ink is controlled and the edges are clean. There is a small white speck in the right fan and fine crease lines across the darks; the faint top-right grey haze is minor. WEAKEST White speck in the right dark mass STRONGEST Dry-brush streaking at the wedge edges FLAWS ## 6 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 6 distinct places, 17 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 16 edge segments, 38% crisp, 56% soft or bloomed, 6% 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_348). ## 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_348 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 Cooked Xuan](https://peteryuill.art/papers/S7), 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_347](https://peteryuill.art/works/T_347) [Back to all works](https://peteryuill.art/works) [Next T_349](https://peteryuill.art/works/T_349) ## 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 S7 every work on it](https://peteryuill.art/papers/S7)