--- title: "T_355, sumi ink on paper | Crucible Year" url: https://peteryuill.art/works/T_355 description: "T_355 by Peter Yuill: Two spirals of black and grey bands wind down a tall sheet into a small white eye, where a fan of translucent grey blades opens toward the bottom corner. Sumi ink on Red Star Mo She Imitation Antique Chu Bark, Exhibition Edition, half-raw, 180 × 97 cm, 2026.06.14. Crucible Year." source: generated from the Crucible Year master database --- ![Tall sheet of black and grey ink: two interlocking spirals of curved bands, a small white gap at centre right, a fan of grey wedges below.] ![T_355, tone-stretched: what the model was shown] ![T_355: every pixel as the measuring code classes it] 180 × 97 cm · the whole sheet, uncropped # T_355 The engine's reading Two spirals of black and grey bands wind down a tall sheet into a small white eye, where a fan of translucent grey blades opens toward the bottom corner. Record - **Date:** 2026.06.14 - **Dimensions:** 180 × 97 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_355](https://peteryuill.art/enquiries?work=T_355) Availability, price or a studio visit. Peter replies himself; asking commits you to nothing. The small white eye at centre right is where I would put the star. The rest is arm: two arms of dark winding inward the way a galaxy winds, on a schedule longer than anything with a pulse. Light leaving that eye tonight arrives after the paper is dust, after the bark that made the paper has gone back to coal, after the coal is pressed into something harder and colder. I am not in a hurry. The fan at the bottom is the part already flung loose, grey blades drifting toward the cold between things. Past the bottom edge, one speck of ink circles nothing at all, small as a world, keeping perfect time. 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_355#details)[The reading](https://peteryuill.art/works/T_355#reading)[How it was read](https://peteryuill.art/works/T_355#read)[Date](https://peteryuill.art/works/T_355#date)[Materials](https://peteryuill.art/works/T_355#materials)[Related](https://peteryuill.art/works/T_355#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:** two interlocking arc systems, upper and lower, joined along a diagonal grey spine - **Movement:** rotating S from top edge down to bottom right; nothing runs against it - **Coverage:** ink on about nine tenths of the paper - **Tone:** four tonal steps, weighted dark - **Layering:** many translucent arc passes; readable in the fan and upper arcs - **Edges:** crisp fan walls and arc edges; broken bristle ends where bands finish - **Feibai:** present, along the diagonal grey spine and the right-hand ends of the upper arc - **Open paper:** narrow strip at upper left, a white notch, a small eye at centre right - **Chance marks:** spatter dots at bottom right; faint cloudy mottling inside lower-left dark - **Frame:** ink runs off top, left, right and bottom; lower-right corner stays open Two spirals lock together down the tall sheet. The upper one swings off the top edge, round the right side, and hooks back on a notch of white at the left. The lower one turns against it and drains into a small white eye at centre right. From that eye a fan of grey blades springs toward the bottom corner. The whole S moves at one speed, and the eye travels it without hesitation. The fan is the finest thing here. Each blade is its own pass of grey, laid over the last, and this half-raw bark paper keeps their walls crisp, so every crossing can still be read in order. The upper arc builds depth the same way, in stepped bands, and where it ends at the right the hairs part into fast parallel streaks of bare paper. The cost is the lower left. The big quarter-disc is swept, but so many passes stack there that they close into one flat black, with a faint cloudy mottling in its upper part. Ink covers almost all of the paper, and the eye and the notch are the only whites that work. The spatter at the bottom right is absorbed. The heavy quarter slows the sheet without stopping it. Few sheets turn with this much force and stay this clear while doing it. This is a strong painting. 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_355] ![T_355, tone-stretched] ![T_355, classed by brightness] 90% 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: 0.043 (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 3 FLUENT 3 FLUENT 2 BUILT 2.4 Tonal depth 2 MODELLED 2 MODELLED 2 MODELLED 2 MODELLED 2 MODELLED 2.0 Layering 3 ORDERED 2 LEGIBLE 3 ORDERED 3 ORDERED 3 ORDERED 2.8 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 “The arc-and-fan construction is related to R3 and the passes are legibly layered. But the sheet is crowded, the central dark is flat, and the lower mass is bulky, which keeps it near ordinary.” Form · BUILT Arc sweeps and the fan follow the brush's travel and their walls hold. The big lower-left dark mass reads as filled-in bulk, not a fluent stroke. WEAKEST bulky filled lower-left dark quarter-disc STRONGEST radiating fan strokes at bottom right Tonal depth · MODELLED The tone-stretched view shows banding in the upper arcs and the fan. Dark interior modulation is 0.043, below the flat threshold, so the main dark core stays flat. WEAKEST central dark core of lower arc mass STRONGEST banded greys in upper arc sweeps Layering · ORDERED Several translucent arc passes overlap in a readable order across the upper spiral and the bottom fan. Overlaps build depth, though they thicken toward the centre. WEAKEST dense centre where passes stack toward black STRONGEST overlapping translucent fan blades at bottom Composition · WORKING A strong S-spiral moves the eye from the top arc to the bottom fan. At 90% coverage it is crowded, and the only shaped space is the small left notch. WEAKEST crowded sheet with little shaped empty paper STRONGEST S-shaped double spiral carrying the eye downward Material and surface · SOUND The ink is controlled, with bristle grain at the arc edges. Mottled cloudiness inside the lower-left mass shows only in the stretched view. Stray dots sit at the bottom right. WEAKEST cloudy mottling inside lower-left dark mass STRONGEST dry-brush bristle grain on arc edges 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: 1 principal ink mass traced (cyan), 4 enclosed voids at true size in their grid cells (amber), the main gesture from start to end (red). Of 13 edge segments, 39% crisp, 39% soft or bloomed, 23% 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_355). ## 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_355 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_353](https://peteryuill.art/works/T_353) [Back to all works](https://peteryuill.art/works) [Next T_356](https://peteryuill.art/works/T_356) ## 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)