--- title: "T_381, sumi ink on paper | Crucible Year" url: https://peteryuill.art/works/T_381 description: "T_381 by Peter Yuill: Sumi ink on Red Star Mo She Imitation Antique Chu Bark, Exhibition Edition, half-raw, 97 × 180 cm, 2026.09.25. Crucible Year." source: generated from the Crucible Year master database --- ![T_381, sumi ink on red star mo she imitation antique chu bark, exhibition edition] ![T_381, tone-stretched: what the model was shown] ![T_381: every pixel as the measuring code classes it] 97 × 180 cm · the whole sheet, uncropped # T_381 Record - **Date:** 2026.09.25 - **Dimensions:** 97 × 180 cm - **Paper:** [Red Star Mo She Imitation Antique Chu Bark, Exhibition Edition, half-raw](https://peteryuill.art/papers/S10) - **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) [Enquire about T_381](https://peteryuill.art/enquiries?work=T_381) Availability, price or a studio visit. Peter replies himself; asking commits you to nothing. Detail at full resolution, cut by code where the brushwork is finest · select to enlarge [Details](https://peteryuill.art/works/T_381#details)[How it was read](https://peteryuill.art/works/T_381#read)[Date](https://peteryuill.art/works/T_381#date)[Materials](https://peteryuill.art/works/T_381#materials)[Related](https://peteryuill.art/works/T_381#related) 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_381] ![T_381, tone-stretched] ![T_381, classed by brightness] 82% of the sheet carries ink TONAL STEPS ## 2 families of tone. Every inked pixel's brightness in 64 bins, smoothed; each circled peak holds at least 4% of the ink. Two or fewer: Tonal depth is held at the bottom rung whatever the model reads. A dense sheet of many translucent passes can count low here, so Layering is left to the reads. 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 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 “A radial-arc S-composition in the vein of R3, but heavier and darker. The fluent, layered upper fan is offset by a dense, near-flat lower mass. The sheet is ordinary overall.” Form · BUILT Upper arcs follow the brush's rotation cleanly, with crisp stepped ends. The lower half swells into a heavy slab where the separate strokes are lost. WEAKEST Bulky, undifferentiated lower dark mass STRONGEST Fanned arc strokes in the upper head Tonal depth · MODELLED Dark interior modulation of 0.047 is barely above flat, with only 2 tonal steps. The upper fan shows graded bands, but the lower mass reads as one dense dark. WEAKEST Lower-left dark mass, nearly flat in colour view STRONGEST Graded translucent arcs at top and right edge Layering · LEGIBLE Many overlapping arcs stay readable at the top and right edges. In the lower body the passes build up into a single dark where their order is lost. WEAKEST Stacked passes fused in the lower mass STRONGEST Overlapping translucent arcs on upper right Composition · WORKING The vertical S-movement and the two cut-in white notches give the sheet direction. The heavy lower half fills the frame, so the empty paper is only edge leftovers. WEAKEST Crowded, heavy bottom half with little paper STRONGEST S-curve rising through the two white notches Material and surface · SOUND The ink is controlled, with clean arc edges. Faint crease and wrinkle lines cross the dark mass, there are scattered drops at top right, and the paper has a beige tint. None disrupts a principal form. WEAKEST Crease lines crossing the central dark mass STRONGEST Dry-brush stepped edges of the upper arcs FLAWS ## 5 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 5 distinct places, 17 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_381). ## Date 2026.09.25, day 271 of the Crucible Year, one of 2 paintings from that date (1 shown). 13 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_381 among all 402 Every painting of the year by date; this one is outlined. [Every painting from 2026.09.25](https://peteryuill.art/days/2026-09-25) · [This date in the year](https://peteryuill.art/year?follow=2026-09-25) ## Materials - **Paper:** [Red Star Mo She Imitation Antique Chu Bark, Exhibition Edition, half-raw](https://peteryuill.art/papers/S10), China Xuan Paper Co., Ltd. (中国宣纸股份有限公司), made 2026.01.14 - **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) The last painting on S10 so far, after 40 others. 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_379](https://peteryuill.art/works/T_379) [Back to all works](https://peteryuill.art/works) [Next T_383](https://peteryuill.art/works/T_383) ## Where next [T_383 the next shown painting in the sequence](https://peteryuill.art/works/T_383)[2026.09.25 2 paintings on this date](https://peteryuill.art/days/2026-09-25)[Paper S10 every work on it](https://peteryuill.art/papers/S10)