--- title: "T_359, sumi ink on paper | Crucible Year" url: https://peteryuill.art/works/T_359 description: "T_359 by Peter Yuill: Translucent blades of ink wheel out from a small white eye at lower left and sweep across the paper toward a dark slab on the right. Sumi ink on Half-Cooked Red Star Mo She 6-Foot Bark Xuan Paper, 97 × 180 cm, 2026.07.28. Crucible Year." source: generated from the Crucible Year master database --- ![Grey and black rectangular blades fan in a wide spiral from a small white circle at lower left toward heavy dark blocks at right.] ![T_359, tone-stretched: what the model was shown] ![T_359: every pixel as the measuring code classes it] 97 × 180 cm · the whole sheet, uncropped # T_359 The engine's reading Translucent blades of ink wheel out from a small white eye at lower left and sweep across the paper toward a dark slab on the right. Record - **Date:** 2026.07.28 - **Dimensions:** 97 × 180 cm - **Paper:** [Half-Cooked Red Star Mo She 6-Foot Bark Xuan Paper, self-sized from October 2026](https://peteryuill.art/papers/S14) - **Ink:** [Yi De Ge Yun Tou Yan](https://peteryuill.art/inks/MB6), [Kuretake Shogei Purple-Navy Black](https://peteryuill.art/inks/MB7), [Boku-Undo Gentoku Super Concentrated](https://peteryuill.art/inks/MB8) [Enquire about T_359](https://peteryuill.art/enquiries?work=T_359) Availability, price or a studio visit. Peter replies himself; asking commits you to nothing. The white eye at lower left is an oculus. The one in Rome has stood open to the weather since Hadrian rebuilt the Pantheon: on a wet night the rain comes straight down onto the marble, and the floor, laid with a slight crown, sends it off through small drains. Around that opening the coffers step back ring by ring. On this sheet the rings come loose. They lift off the eye and wheel east over the rooftops, district after district, each laid over the last, until the final blocks come down hard and dark at the edge of town. I stood at the centre looking up while it turned. Rain fell through the eye in one white column and did not move. 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_359#details)[The reading](https://peteryuill.art/works/T_359#reading)[How it was read](https://peteryuill.art/works/T_359#read)[Date](https://peteryuill.art/works/T_359#date)[Materials](https://peteryuill.art/works/T_359#materials)[Related](https://peteryuill.art/works/T_359#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 blades around a ringed white hub at left; looser fan right; dark slab and bar - **Movement:** wheels up over the top, sweeps left to right; nothing runs against it - **Coverage:** ink on about four fifths of the paper - **Tone:** three tonal steps, weighted dark - **Layering:** many translucent passes; readable in the outer blades, compressed in the dark cores - **Edges:** crisp wedge and slab sides throughout; broken dry ends on the outer blade tips - **Feibai:** present, at the blade ends of the upper-left fan - **Open paper:** band along the top, widest at top left; wedge below the hub - **Chance marks:** small round dark drop at right edge, mid-height; faint specks top left - **Frame:** ink runs off bottom and right edges, touches left; top stays open The sheet turns. From a small white eye low on the left, ringed by broken black arcs, broad blades of ink wheel up over the top and roll away to the right, one long sweep from tight hub to open fan. The upper right is the best of it. Blade lies over blade like cards fanned in a hand, each pass thin enough to see through. The half-sized bark paper holds a wash long enough for the next to cross it intact, so every edge survives and the greys step down in order toward the core. At the upper left the blade ends break into flying white. DISPUTED BY THE ARTIST'S RECORD · 2026.09.30 Peter's own notes on this batch of paper record the opposite: it bleeds, is weak when wet and barely holds an edge, and he sized it himself. The layering the sentence describes is in the painting; the credit it gives the paper is not supported. [Peter's notes on this paper](https://peteryuill.art/papers/S14) The cost sits right of centre. A large dark rectangle and the tall bar beside it fill to a nearly flat black, slabs among blades that still show their travel. They load the right half and crowd the lower right, so the sweep lands heavier than it set out. A small drop at the right edge sits clear of the masses and does no harm. Those are real faults on a very good sheet. The fan stands firm, the layers keep their order under long looking, and the painting holds its place among the archive's stronger sheets. 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_359] ![T_359, tone-stretched] ![T_359, classed by brightness] 80% of the sheet carries ink TONAL STEPS ## 3 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: 0.047 (under 0.045 reads as flat). FIVE READS ## Five reads, one answer. Each quality placed on its ladder by each read, and the mean the engine keeps. 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 2 SOUND 2 SOUND 2 SOUND 2 SOUND 2.0 ### READ 1, IN ITS OWN WORDS “This is a radial layered sheet in the same family as R3, with strong translucent layering. It is heavier and more crowded than R3, with blockier dark masses and flatter dark interiors. The surface is mostly clean.” Form · BUILT Radial arc bands follow brush travel with dry-brush ends; the big dark block right of centre and the tall right bar read bulky and slab-like. WEAKEST Large dark slab-like rectangle right of centre STRONGEST Curved arc bands around the left radial hub Tonal depth · MODELLED Three tonal plateaus; dark interior modulation 0.047, barely above flat. Fan greys are stepped and grained, but the main dark masses stay fairly uniform inside. WEAKEST Dark rectangle right-centre, nearly flat interior STRONGEST Stepped translucent greys in upper-right fan Layering · ORDERED Many translucent passes fan out from two hubs, each blade still readable where it overlaps; the sequence builds depth from pale outer blades to dark inner masses. WEAKEST Dense dark overlap near the left hub STRONGEST Overlapping translucent fan blades, upper right Composition · WORKING Two radial centres drive a clear left-to-right sweep. Ink covers 80% of the sheet and the right half is jammed with dark blocks, so the empty paper is mostly leftover corners. WEAKEST Crowded, heavy right half with little breathing space STRONGEST Rotating sweep from left hub toward upper right Material and surface · SOUND Ink is controlled and the dry-brush edges are clean. There is a small round spot at the right edge and faint specks on the left paper; nothing damages a principal mass. WEAKEST Small dark drop at the right edge STRONGEST Dry-brush streaked blade ends, upper left FLAWS ## 2 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 2 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), 5 enclosed voids at true size in their grid cells (amber), the main gesture from start to end (red). Of 17 edge segments, 47% crisp, 41% soft or bloomed, 12% 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_359). ## Date 2026.07.28, day 212 of the Crucible Year, one of 11 paintings from that date (10 shown). 0 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 first paintings registered in 44 days. THE YEAR ## T_359 among all 402 Every painting of the year by date; this one is outlined. [Every painting from 2026.07.28](https://peteryuill.art/days/2026-07-28) · [This date in the year](https://peteryuill.art/year?follow=2026-07-28) ## Materials - **Paper:** [Half-Cooked Red Star Mo She 6-Foot Bark Xuan Paper, self-sized from October 2026](https://peteryuill.art/papers/S14), China Xuan Paper Co., Ltd., made 2026.04.08 - **Ink MB6:** [Yi De Ge Yun Tou Yan](https://peteryuill.art/inks/MB6), Yi De Ge (Beijing) - **Ink MB7:** [Kuretake Shogei Purple-Navy Black](https://peteryuill.art/inks/MB7), Kuretake - **Ink MB8:** [Boku-Undo Gentoku Super Concentrated](https://peteryuill.art/inks/MB8), Boku-Undo The first painting on S14. 31 more followed on the same paper. 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 · 9 Same paper and inks, other dates · 2 [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_358](https://peteryuill.art/works/T_358) [Back to all works](https://peteryuill.art/works) [Next T_360](https://peteryuill.art/works/T_360) ## Where next [T_360 same date, with 8 others](https://peteryuill.art/works/T_360)[T_370 same paper and inks, 2026.09.12](https://peteryuill.art/works/T_370)[2026.07.28 11 paintings on this date](https://peteryuill.art/days/2026-07-28)[Paper S14 every work on it](https://peteryuill.art/papers/S14)