--- title: "T_353, sumi ink on paper | Crucible Year" url: https://peteryuill.art/works/T_353 description: "T_353 by Peter Yuill: Wide flat-brushed wedges of black and grey wheel out from a small white disc and run off every edge of a long sheet. Sumi ink on Red Star Mo She Imitation Antique Chu Bark, Exhibition Edition, half-raw, 97 × 180 cm, 2026.06.14. Crucible Year." source: generated from the Crucible Year master database --- ![A dark radial burst of wide grey and black brush wedges spreading from a small white circle just above the centre of a wide sheet.] ![T_353, tone-stretched: what the model was shown] ![T_353: every pixel as the measuring code classes it] 97 × 180 cm · the whole sheet, uncropped # T_353 The engine's reading Wide flat-brushed wedges of black and grey wheel out from a small white disc and run off every edge of a long sheet. Record - **Date:** 2026.06.14 - **Dimensions:** 97 × 180 cm - **Paper:** [Red Star Mo She Imitation Antique Chu Bark, Exhibition Edition, half-raw](https://peteryuill.art/papers/S10) - **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_353](https://peteryuill.art/enquiries?work=T_353) Availability, price or a studio visit. Peter replies himself; asking commits you to nothing. Look down a deep enough well and the moon is at the bottom, small and white and perfectly round. The old story says the monkeys saw it there and made a chain of themselves, hand to tail, to fish it out. Everyone laughs at the monkeys. I was the one on the end. The walls go past in slabs, each course of stone a shade darker than the last, and the cold comes up off the water like a held breath. Above me, hands and tails all the way to the sky, every grip holding. Below me, the moon, starting to tremble, because my fingertips have just touched the water. 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_353#details)[The reading](https://peteryuill.art/works/T_353#reading)[How it was read](https://peteryuill.art/works/T_353#read)[Date](https://peteryuill.art/works/T_353#date)[Materials](https://peteryuill.art/works/T_353#materials)[Related](https://peteryuill.art/works/T_353#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:** small white disc hub, broad wedge spokes, pale arcs ringing behind them - **Movement:** radial outward from the hub; pale concentric arcs circle across the spokes - **Coverage:** ink on about nine tenths of the paper - **Tone:** four tonal steps, weighted dark - **Layering:** many translucent wedge passes; order clearest in upper-right fan, thickening lower centre - **Edges:** crisp squared ends on dark wedges; softer streaked ends on outer arcs; crisp hub rim - **Feibai:** present in the pale arcs above the hub and the narrow gap below it - **Open paper:** small round white disc just above centre, the only bare reserve - **Chance marks:** small dark specks near top-right edge; cloudy grey wash at left edge - **Frame:** ink runs off all four edges; corners lighten to pale grey arcs A wheel of ink turns around a small white disc set just above the middle of a long sheet. Wide wedges of black and grey fan out on every side and run off all four edges. The eye is pulled into the hub and thrown back out in the same look. The upper-right fan is the best of it. Translucent wedges stack there in an order you can read. Each earlier pass shows its edge through the later one, and the greys step down in bands. Half-raw paper keeps the layers from sinking together. Above the hub and down the narrow gap below it, pale arcs break into flying white, bare paper streaking with the turn of the brush. Those streaks keep the wheel moving. The cost is weight. The lower half is packed. The dark mass at bottom centre is nearly even in tone and faintly brown, with little air around it. At upper left a large slab stops on a blunt squared end, filled more than travelled. Those are real drags on one side of the wheel. It turns anyway. The hub holds, the layering builds real depth, and the sheet sits well above the archive's common run. 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_353] ![T_353, tone-stretched] ![T_353, classed by brightness] 93% 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: 0.064 (under 0.045 reads as flat). 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 1 READ 2 READ 3 READ 4 READ 5 MEAN Form 2 BUILT 2 BUILT 2 BUILT 2 BUILT 3 FLUENT 2.2 Tonal depth 2 MODELLED 2 MODELLED 3 DEEP 3 DEEP 3 DEEP 2.6 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 burst in the same family as R3, with legible stacked passes. It is heavier and more crowded, with blunter slab wedges and darks in the lower half that read flatter.” Form · BUILT Radial wedge strokes hold their walls and follow the arc, but lower-right and left dark wedges read as squared, slab-like blocks with blunt ends. WEAKEST Bulky dark rectangular wedges, lower right STRONGEST Upper-right radial fan strokes following the arc Tonal depth · MODELLED Stretched view shows banding and grain in most wedges (modulation 0.064, four steps), but the large lower-centre and lower-right darks read flat at viewing distance. WEAKEST Dense lower-centre dark mass near-uniform in colour view STRONGEST Upper-right fan with banded, stepped greys Layering · ORDERED Many translucent radial passes stacked in readable order; overlaps step tone outward across the sheet, though the lower-centre stack thickens toward opacity. WEAKEST Lower centre where stacked darks merge STRONGEST Overlapping translucent wedges in upper right Composition · WORKING Radial burst around a white centre gives clear direction, but 93% coverage crowds the frame; corners and lower half feel jammed and heavy. WEAKEST Crowded, near-total coverage leaves little shaped paper STRONGEST Central white circle anchoring the radial burst Material and surface · SOUND Ink controlled with streaked dry-brush edges; small specks top right and a cloudy grey patch at mid-left sit away from principal darks. WEAKEST Cloudy pale wash at left edge STRONGEST Dry-brush streaks in vertical lower-centre gap FLAWS ## 3 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 3 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: 2 principal ink masses traced (cyan), 7 enclosed voids at true size in their grid cells (amber), the main gesture from start to end (red). Of 15 edge segments, 53% crisp, 47% 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_353). ## 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](https://peteryuill.art/phases/P3) (working title). THE YEAR ## T_353 among all 402 Every painting of the year by date; this one is outlined. [Every painting from 2026.06.14](https://peteryuill.art/days/2026-06-14) · [This date in the year](https://peteryuill.art/year?follow=2026-06-14) ## Materials - **Paper:** [Red Star Mo She Imitation Antique Chu Bark, Exhibition Edition, half-raw](https://peteryuill.art/papers/S10), 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](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 151 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 · 6 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_352](https://peteryuill.art/works/T_352) [Back to all works](https://peteryuill.art/works) [Next T_355](https://peteryuill.art/works/T_355) ## Where next [T_351 same date, with 5 others](https://peteryuill.art/works/T_351)[T_229 same paper and inks, 2026.04.18](https://peteryuill.art/works/T_229)[2026.06.14 8 paintings on this date](https://peteryuill.art/days/2026-06-14)[Paper S10 every work on it](https://peteryuill.art/papers/S10)