Crucible Year Peter Yuill
T_386, sumi ink on half-cooked red star mo she 6-foot bark xuan paper, self-sized T_386, tone-stretched: what the model was shownT_386: every pixel as the measuring code classes it
97 × 180 cm · the whole sheet, uncropped

T_386

Record
Date
2026.10.16
Dimensions
97 × 180 cm
Paper
Half-Cooked Red Star Mo She 6-Foot Bark Xuan Paper, self-sized from October 2026
Ink
Yi De Ge Yun Tou Yan, Boku-Undo Gentoku Super Concentrated, Yi De Ge Pine Soot Ink, Shisan Yue Calligraphy and Painting Ink
Enquire about T_386Availability, 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
Measured

How it was read

Read by the Visual Analysis Engine, version 23.8, on 2026.10.16: 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.

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_386T_386, tone-stretchedT_386, classed by brightness
80%of the sheet carries ink
Black 78%Grey 14%Light 8% SHARE OF THE INK, NOT OF THE SHEET
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: 0.044 (under 0.045 reads as flat).

0.300.7512 BLACK INK TRANSLUCENT GREYS PALEST INK, 0.88 LUMINANCE OF EVERY INKED PIXEL, 64 BINS. PAPER (ABOVE 0.88) IS LEFT OUT.
FIVE READS

Five reads, agreeing on 4 of 5 qualities.

Each quality placed on its ladder by each read, and the mean the engine keeps. Where reads differ, they differ by one rung; close calls resolve down.

READ 1READ 2READ 3READ 4READ 5MEAN
Form2BUILT3FLUENT2BUILT2BUILT2BUILT2.2
Tonal depth1THIN1THIN1THIN1THIN1THIN1.0
Layering2LEGIBLE2LEGIBLE2LEGIBLE2LEGIBLE2LEGIBLE2.0
Composition2WORKING2WORKING2WORKING2WORKING2WORKING2.0
Material and surface2SOUND2SOUND2SOUND2SOUND2SOUND2.0

READ 1, IN ITS OWN WORDS

“This is a radial fan like R3, but much heavier and flatter: 80% coverage, mostly one black family, and flat dark interiors. The arcs are coherent and the white eye anchors the sheet, but tonal life and layering are limited.”

Form · BUILT

Arc bands follow brush travel around the white circle, but the central right and lower dark fans read as filled slabs rather than made strokes.

WEAKEST Bulky filled dark mass right of centre

STRONGEST Radial arc bands with dry-brush tails, upper right

Tonal depth · THIN

Dark share 0.78, two tonal steps, interior modulation 0.044 is flat; greys appear only at the fan tips, and the main masses are uniform black inside.

WEAKEST Uniform black interior of right-centre fan

STRONGEST Grey stepped fan tips at upper edges

Layering · LEGIBLE

Successive passes are legible at the fan edges, top right and left, but across the lower and central interiors the passes merge into one dark field.

WEAKEST Overlaps fused to black in lower centre

STRONGEST Stacked translucent fan tips, upper right edge

Composition · WORKING

Radial movement around the white eye and the diagonal empty top-left give direction, but 80% coverage leaves the bottom and right crowded and heavy.

WEAKEST Crowded, heavy bottom band

STRONGEST Off-centre white circle with radiating fan

Material and surface · SOUND

Ink is controlled and the dry-brush is used on the right; crumple creases show in the dark interiors, and small spatter dots sit in the top-left paper.

WEAKEST Paper creases visible through dark masses

STRONGEST Dry-brush streaking in right 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, 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.

1 × OTHER“stray ink spatter dots on blank paper”4 × OTHER“scattered ink dots in empty upper-left paper”4 × OTHER“paper crinkle creases visible inside dark mas…”1 × DEAD INK“flat cloudy interior of large right-hand dark…”1 × OTHER“paper creases/wrinkles across dark lower-cent…”DEAD INKOTHER

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.

Date

2026.10.16, day 292 of the Crucible Year, one of 12 paintings from that date (9 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: P4 S14 (working title).

The first paintings registered in 21 days.
THE YEAR

T_386 among all 402

Every painting of the year by date; this one is outlined.

Every painting from 2026.10.16 · This date in the year

Materials

Paper
Half-Cooked Red Star Mo She 6-Foot Bark Xuan Paper, self-sized from October 2026, China Xuan Paper Co., Ltd., made 2026.04.08
Ink MB6
Yi De Ge Yun Tou Yan, Yi De Ge (Beijing)
Ink MB8
Boku-Undo Gentoku Super Concentrated, Boku-Undo
Ink MB9
Yi De Ge Pine Soot Ink, Yi De Ge (Beijing)
Ink MB10
Shisan Yue Calligraphy and Painting Ink, Shisan Yue (Thirteenth Month)
The sheet of paper was made 191 days before this painting.
When each paper was in use