--- title: "T_379, sumi ink on paper | Crucible Year" url: https://peteryuill.art/works/T_379 description: "T_379 by Peter Yuill: Broad arcs of grey and black ink, laid one over another, climb from the lower left and roll over into a dark wheel at the right. Sumi ink on Half-Cooked Red Star Mo She 6-Foot Bark Xuan Paper, 97 × 180 cm, 2026.09.23. Crucible Year." source: generated from the Crucible Year master database --- ![Wide sheet of broad grey and black curved bands sweeping from lower left to upper right, darkest at lower right, dot cluster at left.] ![T_379, tone-stretched: what the model was shown] ![T_379: every pixel as the measuring code classes it] 97 × 180 cm · the whole sheet, uncropped # T_379 The engine's reading Broad arcs of grey and black ink, laid one over another, climb from the lower left and roll over into a dark wheel at the right. Record - **Date:** 2026.09.23 - **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), [Boku-Undo Gentoku Super Concentrated](https://peteryuill.art/inks/MB8), [Yi De Ge Pine Soot Ink](https://peteryuill.art/inks/MB9), colour inks [Enquire about T_379](https://peteryuill.art/enquiries?work=T_379) Availability, price or a studio visit. Peter replies himself; asking commits you to nothing. Point a camera at the pole star, leave the shutter open all night, and the sky does this: arcs, stacked, every star dragging its own band around a centre that holds nothing at all. The pale bands are the old light. The black in the middle is the pole, the one place in that sky that does not move. The wheel was turning before there was anyone to be awake for it, and it does not slow down for the audience. Up at the top, a small grey ring sits outside all of it, a world that missed the orbit and was never asked again. The light from the wheel will reach it eventually, late, cold, and still bending. 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_379#details)[The reading](https://peteryuill.art/works/T_379#reading)[How it was read](https://peteryuill.art/works/T_379#read)[Date](https://peteryuill.art/works/T_379#date)[Materials](https://peteryuill.art/works/T_379#materials)[Related](https://peteryuill.art/works/T_379#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:** stacked concentric arc bands, overlapping, joined in one fan - **Movement:** lower left climbing to upper right, nothing running against it - **Coverage:** ink on about nine tenths of the paper - **Tone:** five tonal steps, weighted dark - **Layering:** many translucent arc passes, readable at the pale outer and top bands - **Edges:** squared crisp ends at left and top; dry streaked ends top right - **Feibai:** none - **Open paper:** irregular strip along the top and upper left - **Chance marks:** drop cluster at left; grey spatter ring at top centre - **Frame:** ink runs off bottom and right edges; top and left stay open A fan of broad arcs climbs out of the lower left and rolls over to the right, each band laid on the last like shingles on a roof. The pale bands sit outside and underneath, the darks gather inward and down, and the whole sheet turns as one heavy wheel. The upper right is where it lives. The dark band there holds its curve from end to end, and the greys stepping out from it toward the top edge stay distinct. The half-raw bark paper keeps each pass apart, so grain and crinkle show through the pale bands, and the band ends at the top right break into dry streaks that keep the stroke's speed. The cost is in the middle. Right of centre the passes pile into one black that has gone flat and sealed, and that mass jams the bottom right corner with little paper left to breathe. At the left, the bands stop in blunt squared ends that read as slabs rather than strokes. A grey spatter ring at top centre sits on open paper, which absorbs it. Still, the turning holds. Order, weight and climb are clear at a glance, and the faults sit inside a movement strong enough to carry them. 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_379] ![T_379, tone-stretched] ![T_379, classed by brightness] 88% of the sheet carries ink TONAL STEPS ## 5 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 “A stepped-arc sheet in R3's family with legible translucent layering. It is crowded and heavy, the black core is flat, and the arcs end in blunt slabs, so it sits nearer R2 than R3.” Form · BUILT Arc bands hold their walls and follow the curve of the brush, but the right-centre black block is broad and slab-like, with blunt squared ends. WEAKEST Bulky blackest arc band at right centre STRONGEST Stepped arc bands sweeping from left to right Tonal depth · MODELLED Five tonal steps and graded grey bands, but the dark interior modulation of 0.042 is flat; the core black mass right of centre reads as uniform surface. WEAKEST Flat black interior right of centre STRONGEST Graded grey bands in upper right arc Layering · ORDERED Several translucent arc passes overlap in a readable order from pale outer bands to dark inner ones, like R3; the lower right blacks merge somewhat. WEAKEST Dense overlaps in lower right blacks STRONGEST Translucent stepped passes across the upper arcs Composition · WORKING The arc gives a clear direction, but 88% ink coverage crowds the frame, the bottom right is a heavy block and the top paper is leftover. WEAKEST Crowded heavy lower right, little breathing room STRONGEST Sweeping arc movement left to right Material and surface · SOUND Ink is controlled and the paper crinkle shows in the greys; a small grey blot sits on bare paper at top centre, away from the masses; the left drops look deliberate. WEAKEST Grey blot splatter at top centre STRONGEST Crinkle texture in the translucent greys 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. 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_379). ## Date 2026.09.23, day 269 of the Crucible Year, one of 2 paintings from that date (1 shown). 11 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: [P4 S14](https://peteryuill.art/phases/P4) (working title). THE YEAR ## T_379 among all 402 Every painting of the year by date; this one is outlined. [Every painting from 2026.09.23](https://peteryuill.art/days/2026-09-23) · [This date in the year](https://peteryuill.art/year?follow=2026-09-23) ## 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 MB8:** [Boku-Undo Gentoku Super Concentrated](https://peteryuill.art/inks/MB8), Boku-Undo - **Ink MB9:** [Yi De Ge Pine Soot Ink](https://peteryuill.art/inks/MB9), Yi De Ge (Beijing) - **Colour:** colour inks, recorded together The sheet of paper was made 168 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 [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_377](https://peteryuill.art/works/T_377) [Back to all works](https://peteryuill.art/works) [Next T_381](https://peteryuill.art/works/T_381) ## Where next [T_381 the next shown painting in the sequence](https://peteryuill.art/works/T_381)[2026.09.23 2 paintings on this date](https://peteryuill.art/days/2026-09-23)[Paper S14 every work on it](https://peteryuill.art/papers/S14)