Crucible Year Peter Yuill
T_352, sumi ink on red star mo she imitation antique chu bark, exhibition edition T_352, tone-stretched: what the model was shownT_352: every pixel as the measuring code classes it
97 × 180 cm · the whole sheet, uncropped

T_352

Record
Date
2026.06.14
Dimensions
97 × 180 cm
Paper
Red Star Mo She Imitation Antique Chu Bark, Exhibition Edition, half-raw
Ink
Yi De Ge Refined Ink Juice, Boku-Undo Genso, Yi De Ge Yun Tou Yan
Enquire about T_352Availability, 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
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.

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_352T_352, tone-stretchedT_352, classed by brightness
84%of the sheet carries ink
Black 55%Grey 40% SHARE OF THE INK, NOT OF THE SHEET
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: 0.029 (under 0.045 reads as flat).

0.300.7512 BLACK INK TRANSLUCENT GREYS PALEST INK, 0.88 LUMINANCE OF EVERY INKED PIXEL, 64 BINS. PAPER (ABOVE 0.88) IS LEFT OUT.
FIVE READS

Five reads, agreeing on 3 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 1READ 2READ 3READ 4READ 5MEAN
Form2BUILT2BUILT2BUILT2BUILT2BUILT2.0
Tonal depth1THIN1THIN1THIN2MODELLED1THIN1.2
Layering2LEGIBLE2LEGIBLE2LEGIBLE3ORDERED2LEGIBLE2.2
Composition2WORKING2WORKING2WORKING2WORKING2WORKING2.0
Material and surface2SOUND2SOUND2SOUND2SOUND2SOUND2.0

READ 1, IN ITS OWN WORDS

“Radial fan like R3 in idea, but denser and flatter: dark interiors are uniform, there are only two tone families, the right block is stiff and stepped, and the sheet is crowded. Surface sound.”

Form · BUILT

Left spiral arcs follow brush travel well; right-hand group ends in squared, stacked slab tops that read as stiff, bulky blocks.

WEAKEST Stepped blocky slab ends of right-hand fan

STRONGEST Curving arc bands spiralling into lower-left eye

Tonal depth · THIN

Measured dark interior modulation 0.029 (flat) and only two tonal plateaus; banding mostly at band edges, the big dark interiors read uniform.

WEAKEST Large dark mass centre-left, flat interior

STRONGEST Dry-brush streaking in arc near centre bottom

Layering · LEGIBLE

Many overlapping band edges remain readable at the fan rims, but the facts show two tone families; dark core passes merge into one tone.

WEAKEST Dense centre where overlaps converge into one dark

STRONGEST Translucent overlapping bands at outer fan edges

Composition · WORKING

Spiral gives clear movement toward the white hole; 84% coverage leaves only a top-right wedge of paper, and the right block sits heavy.

WEAKEST Crowded right half, little shaped empty paper

STRONGEST Spiral sweep leading into white eye, lower left

Material and surface · SOUND

Ink controlled overall; minor drops near lower-left eye, fine crease lines top-centre, specks top-right paper, none disrupting a principal mass.

WEAKEST Small spots and creases in paper, lower left

STRONGEST Dry-brush grain in central arc stroke

FLAWS

5 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 5 distinct places, 15 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.

4 × OTHER“crease/crack lines across upper bands”2 × OTHER“scattered specks on bare paper”1 × WATER STAIN“pale cloudy patch where the two fans meet”5 × OTHER“small dark drops/spots left of the white eye”WHOLE SHEET · 3 × OTHERWATER STAINOTHER
GEOMETRY

Measured from the 16-bit master.

The previous engine (V22) measured this sheet's master file: 1 principal ink mass traced (cyan), 6 enclosed voids at true size in their grid cells (amber), the main gesture from start to end (red). Of 16 edge segments, 75% crisp, 25% soft or bloomed, 0% broken.

A1B1C1D1E1F1A2B2C2D2E2F2A3B3C3D3E3F3H1H2H3H4H5H6

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.

Date

2026.06.14, day 168 of the Crucible Year, one of 8 paintings from that date (7 shown). 31 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 (working title).

THE YEAR

T_352 among all 402

Every painting of the year by date; this one is outlined.

Every painting from 2026.06.14 · This date in the year

Materials

Paper
Red Star Mo She Imitation Antique Chu Bark, Exhibition Edition, half-raw, China Xuan Paper Co., Ltd. (中国宣纸股份有限公司), made 2026.01.14
Ink MB4
Yi De Ge Refined Ink Juice, Yi De Ge (Beijing)
Ink MB5
Boku-Undo Genso, Boku-Undo
Ink MB6
Yi De Ge Yun Tou Yan, Yi De Ge (Beijing)
The sheet of paper was made 151 days before this painting.
When each paper was in use