--- title: "T_362, sumi ink on paper | Crucible Year" url: https://peteryuill.art/works/T_362 description: "T_362 by Peter Yuill: Broad grey and black bands fan out from a small white arch set low on the paper, turning across the sheet like a slow wheel. 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 --- ![Broad grey and black bands fan out from a small white arched opening low left of centre, with dense dark masses across the bottom.] ![T_362, tone-stretched: what the model was shown] ![T_362: every pixel as the measuring code classes it] 97 × 180 cm · the whole sheet, uncropped # T_362 The engine's reading Broad grey and black bands fan out from a small white arch set low on the paper, turning across the sheet like a slow wheel. 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), colour inks [Enquire about T_362](https://peteryuill.art/enquiries?work=T_362) Availability, price or a studio visit. Peter replies himself; asking commits you to nothing. One door in this kingdom was never painted, because the painter sent to do it never came back. It is small and arched, and the whole kingdom has been built facing it, every wall swung round on its hinge to look. The keep has one law: each night a new shutter is laid over the last, grey on grey, and none may be taken down. The lower halls are solid dark now; the stewards walk them by memory. The towers still let light through in thin skins. I asked the gatekeeper what the door opens onto. She said, the paper before the spell. Then she set a violet lamp on the sill and went back to sweeping. 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_362#details)[The reading](https://peteryuill.art/works/T_362#reading)[How it was read](https://peteryuill.art/works/T_362#read)[Date](https://peteryuill.art/works/T_362#date)[Materials](https://peteryuill.art/works/T_362#materials)[Related](https://peteryuill.art/works/T_362#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 fan of flat bands around a white arch; stepped blocks at lower right - **Movement:** outward from the arch, sweeping left to right; lower-right horizontal band runs against it - **Coverage:** ink on about nine tenths of the paper - **Tone:** three tonal steps, weighted dark - **Layering:** many translucent passes; readable across the upper fans, merging into black below - **Edges:** crisp walls along the radial bands; broken, grainy ends at stroke tips; soft at grey margins - **Feibai:** present, at the outer ends of the upper radial strokes, top centre and upper right - **Open paper:** ragged strip along the top, widest top right; small arched window low left of centre - **Colour:** violet tint beside the arch, along the left edge and at the right edge - **Chance marks:** crease lines inside the upper-right dark wedge; light spatter at top right - **Frame:** ink runs off left, bottom and right edges; top stays mostly open A small white arch sits low and left of centre, and the rest of the sheet turns around it. Broad flat bands fan from its rim, over the top and down the right side: a wheel caught mid-turn, its hub open to the light. The upper fan is the high point. Grey passes lie one over another, and on half-sized bark paper each keeps its own wall, so their order stays legible. In the tilted wedge at upper right the greys climb from smoke to near-black, and the stroke ends split into combed dry streaks that keep the edges awake. A violet stain by the arch and at the right edge warms the black and stays put. The lower half pays for it. The passes close there into one sealed dark, and the slabs at bottom left and right centre sit as filled rectangles, not travelled strokes. With almost no open paper below, the base becomes a wall. Creases in the upper-right wedge are absorbed. The wheel still turns, and the small white door holds all that weight. A sure, well-built sheet, heavier than it needs to be below, and very good above. 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_362] ![T_362, tone-stretched] ![T_362, classed by brightness] 90% 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: 0.044 (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 “The radial layered fan around an arch window recalls R3, with legible translucent passes. It is overcrowded and dark-heavy, its lower masses flat and slab-like, so it sits nearer an ordinary sheet than R3.” Form · BUILT Radial strokes hold their walls and follow the arc, but the lower-left and right-centre dark blocks read as filled slabs, not fluent strokes. WEAKEST Bulky dark slab at lower left beside the arch STRONGEST Radial fan strokes at upper left following brush travel Tonal depth · MODELLED Banding and grain run through the upper fans, but dark interior modulation is 0.044, below flat. The lower-left and centre-right darks are largely uniform. WEAKEST Flat dark interior of lower-left mass STRONGEST Banded greys in upper-right fan wedge Layering · ORDERED Many translucent radial passes overlap in a readable order around the arch. Edges of each pass stay visible, especially across the upper half. WEAKEST Lower dark zone where passes pile into near-black STRONGEST Stacked translucent wedges across upper fan Composition · WORKING The fan radiating from the arch gives clear movement, but 90% coverage crowds the sheet. The lower half is a dense dark wall and the empty paper is mostly leftover top-right. WEAKEST Crowded, heavy lower band with little open paper STRONGEST Radial convergence on the white arch window Material and surface · SOUND Controlled ink with grainy stroke ends. Paper crease and crackle lines show inside the upper-right and centre darks, but they are minor. The violet colour is deliberate. WEAKEST Crease lines crossing upper-right dark wedge STRONGEST Dry-brush grain edges on radial strokes FLAWS ## 4 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 4 distinct places, 12 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), 6 enclosed voids at true size in their grid cells (amber), the main gesture from start to end (red). Of 18 edge segments, 56% crisp, 44% 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_362). ## 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_362 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 - **Colour:** colour inks, recorded together The sheet of paper was made 111 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 · 9 Same paper and inks, other dates · 6 [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_361](https://peteryuill.art/works/T_361) [Back to all works](https://peteryuill.art/works) [Next T_363](https://peteryuill.art/works/T_363) ## Where next [T_359 same date, with 8 others](https://peteryuill.art/works/T_359)[T_371 same paper and inks, 2026.09.12](https://peteryuill.art/works/T_371)[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)