--- title: "T_369, sumi ink on paper | Crucible Year" url: https://peteryuill.art/works/T_369 description: "T_369 by Peter Yuill: A broken wheel of grey, black and red ink turns around a small white hub, throwing a fan of wedges and blocks up toward the far corner. 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 ring segments circle a small white hub left of centre, fanning into translucent wedges and black blocks toward the upper right, with red arcs.] ![T_369, tone-stretched: what the model was shown] ![T_369: every pixel as the measuring code classes it] 97 × 180 cm · the whole sheet, uncropped # T_369 The engine's reading A broken wheel of grey, black and red ink turns around a small white hub, throwing a fan of wedges and blocks up toward the far corner. 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_369](https://peteryuill.art/enquiries?work=T_369) Availability, price or a studio visit. Peter replies himself; asking commits you to nothing. The hole in the middle is where the handle went. Every quern has one. In the old story a sailor stole the mill that grinds whatever you ask for, asked it for salt, and sailed off without learning the word that makes it stop. The boat went down heavy and white. The mill is still turning on the sea floor, which is why the sea tastes the way it does. I lean close to that small white eye and the grit comes off it in grey and black, flung up toward a corner where it thins to nothing. Asbjørnsen and Moe wrote the tale down in Norway, but not the word. Down in the dark, its rim gone red with the effort, the stone goes round. 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_369#details)[The reading](https://peteryuill.art/works/T_369#reading)[How it was read](https://peteryuill.art/works/T_369#read)[Date](https://peteryuill.art/works/T_369#date)[Materials](https://peteryuill.art/works/T_369#materials)[Related](https://peteryuill.art/works/T_369#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:** off-centre hub, concentric arc segments, fan of wedges and blocks to the right - **Movement:** radial sweep from hub to upper right; right-hand blocks sit square against it - **Coverage:** ink on about two thirds of the paper - **Tone:** four tonal steps, weighted dark - **Layering:** translucent grey passes, a red pass, black; readable in fan, merging below hub - **Edges:** crisp squared ends on blocks and wedges; soft feathered outer grey arcs - **Feibai:** none - **Open paper:** broad wedge across the top left, shaped by the fan's diagonal - **Colour:** red bands, one arc lower left of hub, another arc through the fan - **Chance marks:** paper creases and faint horizontal line in upper paper; small red mark at top edge - **Frame:** ink runs off left, bottom and right edges; top stays open A wheel turns on the left of the paper, its hub a small white eye, and from it a fan of grey and black throws itself up toward the top right corner. Above the fan the paper stays open, and the diagonal gives that emptiness its shape. The arcs carry the sheet. They follow the brush round the hub in broken rings. The best of them is the grey arc above and left of the hub, and it is all grain: the half-sized bark paper catches the hairs, so the pass leaves fine banding that holds light inside the grey. Out in the fan, translucent wedges stack and their order stays legible, because this paper holds each wash where it lands. The red sits as its own pass, a warm rim lower left and again through the fan, and it anchors the black. The costs gather low and right. Below the hub the overlaps thicken into near black, and the core is a sealed, even dark with nothing moving inside it. At the right edge the fan hardens into filled rectangles, and a heavy slab is sliced by the frame. Those losses are real, and they stay in the lower half. The wheel and its open sky above are untouched, and they carry the sheet: a confident, well-built painting whose motion reaches across a room, held back only by its crowded floor. 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_369] ![T_369, tone-stretched] ![T_369, classed by brightness] 70% 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: 0.042 (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 radial sheet is like R3 but busier: the overlapping passes and red bands are layered so each can still be read. The dark hub is flat inside, the right-side blocks look stiff, and the lower centre is crowded.” Form · BUILT Left arcs and ring segments follow the brush's travel; right-side fan becomes boxy slabs, e.g. the dark block at right edge and stacked rectangles. WEAKEST Stiff rectangular blocks at right edge and centre-right STRONGEST Concentric arc segments around the central hub Tonal depth · MODELLED Measured dark modulation 0.042 is flat; central black disc and lower-centre darks are uniform, though grey arcs and fan wedges show grain and stepped density. WEAKEST Central dark hub mass reads flat STRONGEST Grained grey arc upper-left of hub Layering · ORDERED Many translucent grey passes overlap legibly across the fan; red bands sit as a clear separate pass under and beside black; order readable across most of sheet. WEAKEST Lower-centre overlaps compress into dense dark STRONGEST Translucent fan wedges stacking toward top right Composition · WORKING Hub left-of-centre drives a diagonal fan to the upper right, shaping the empty top; lower half jammed and heavy, right-edge block feels cut off. WEAKEST Crowded dark lower-centre and cropped right block STRONGEST Radial sweep from hub up to top right Material and surface · SOUND Ink controlled; dry-brush grain used in arcs; only paper creases and faint lines in empty paper; no stains in principal masses. WEAKEST Dense lower darks lose material character STRONGEST Dry-brush grain in upper-left grey arc FLAWS ## 7 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 7 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: 3 principal ink masses traced (cyan), 5 enclosed voids at true size in their grid cells (amber), the main gesture from start to end (red). Of 20 edge segments, 35% crisp, 50% soft or bloomed, 15% 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_369). ## 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_369 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_367](https://peteryuill.art/works/T_367) [Back to all works](https://peteryuill.art/works) [Next T_370](https://peteryuill.art/works/T_370) ## Where next [T_359 same date, with 8 others](https://peteryuill.art/works/T_359)[T_370 the next shown painting in the sequence](https://peteryuill.art/works/T_370)[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)