--- title: "T_364, sumi ink on paper | Crucible Year" url: https://peteryuill.art/works/T_364 description: "T_364 by Peter Yuill: Black ink wedges fan out like spokes from a bare white circle, trailing stepped grey shadows, with a violet arc turning underneath. 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 --- ![Black and grey wedges radiate from a white circle right of centre on a wide pale sheet, a faint violet arc behind them.] ![T_364, tone-stretched: what the model was shown] ![T_364: every pixel as the measuring code classes it] 97 × 180 cm · the whole sheet, uncropped # T_364 The engine's reading Black ink wedges fan out like spokes from a bare white circle, trailing stepped grey shadows, with a violet arc turning underneath. 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_364](https://peteryuill.art/enquiries?work=T_364) Availability, price or a studio visit. Peter replies himself; asking commits you to nothing. The eye of a storm is the only weather that tells the truth. Everything else is in a hurry. Inside it the sky goes blue straight up, and the cloud wall turns on every side like a mill grinding the sea. The forecasts leave out the birds. They get caught in the calm and ride it for days, thin and furious, too tired to cross the wind and too proud to fall. This one has no birds. Only the bare hole, grey bands peeling off one after another, and a violet bruise where the sky stopped halfway through a word. Then the wall comes back from the heavy side, as it always does, and the water goes dark first. 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_364#details)[The reading](https://peteryuill.art/works/T_364#reading)[How it was read](https://peteryuill.art/works/T_364#read)[Date](https://peteryuill.art/works/T_364#date)[Materials](https://peteryuill.art/works/T_364#materials)[Related](https://peteryuill.art/works/T_364#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 black wedges around an inner ring and open circle - **Movement:** rotation outward from the centre, nothing running against it - **Coverage:** ink on about nine tenths of the paper - **Tone:** four tonal steps, weighted dark - **Layering:** grey offsets, violet arc, black wedges; readable at wedge margins - **Edges:** broken on ring arcs, soft on grey fringes, firmer on black - **Feibai:** none - **Open paper:** white circle just right of centre, pale gaps between spokes - **Colour:** violet arc behind the wheel, violet seams along wedge edges - **Chance marks:** violet run at left edge, small spots near lower right - **Frame:** ink runs off left and bottom edges; top and right stay open A wheel turns on a white hole. Black sectors fan out from a bare circle set just right of centre. Each drags a train of grey offsets behind it, and a violet arc runs under the whole rotation like a track. The centre is the stronger part. The inner ring is laid in short arcs, one cut open at the top, and its edges break into dry brush where the hairs ran thin on the half-raw paper. That broken edge gives the ring a grip the outer wedges never get. The grey fringes earn their place too. On the right fan each translucent pass steps out from the last and stays legible, so you can count the turns. The weight sits in the wrong place. The lower-left quarter is packed with black, little paper left between the slabs, and the upper-left wedge is sealed flat inside. Dense black on this paper closes over whatever went down first, so the history survives only at the margins. A violet run off the left edge and a few spots near the lower right barely register. That leaves a clear wheel with a live centre and heavy limbs. Fair, typical work. 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_364] ![T_364, tone-stretched] ![T_364, classed by brightness] 86% 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: 0.033 (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 1 THIN 1 THIN 1 THIN 1 THIN 1 THIN 1.0 Layering 2 LEGIBLE 2 LEGIBLE 2 LEGIBLE 2 LEGIBLE 2 LEGIBLE 2.0 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 fan follows the same idea as R3 but is heavier. The dense, flat black wedges crowd the sheet and bury the layering. The translucent fringes and central ring carry it. Overall an ordinary sheet.” Form · BUILT Radial arc segments follow the brush's travel and hold their walls. The large black wedges at bottom left and upper right are slab-heavy and filled in. WEAKEST Bulky black wedge at bottom left STRONGEST Inner ring and cut arc around the central circle Tonal depth · THIN Dark interior modulation of 0.033 counts as flat. The big black wedges show only faint banding. Greys exist mainly at the fringes and edges of the passes. WEAKEST Flat black interior of the upper-left wedge STRONGEST Grey arc fringes on the right fan Layering · LEGIBLE Several grey passes stay legible where they step out around the wedge edges. The violet ring sits under the black. The dense black passes hide the earlier layers. WEAKEST Black wedges cover the earlier passes beneath them STRONGEST Stacked translucent grey arcs at the fan edges Composition · WORKING A clear radial structure pivots on the white central circle. With 86% ink coverage the sheet is crowded and heavy, and the empty paper is mostly leftover corners. WEAKEST Crowded lower-left quarter with little empty paper STRONGEST Radial fan around the open central circle Material and surface · SOUND The ink is controlled. The violet is deliberate. There is a small violet run at the left edge and a few specks of paper spotting at bottom right, all away from the principal masses. WEAKEST Violet drip run at the left edge STRONGEST Dry-brush edges on the ring arcs 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, 11 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), 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, 40% soft or bloomed, 7% 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_364). ## 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_364 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_363](https://peteryuill.art/works/T_363) [Back to all works](https://peteryuill.art/works) [Next T_365](https://peteryuill.art/works/T_365) ## 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)