Crucible Year Peter Yuill
T_387, sumi ink on tianxuan ge dot ink becomes gold, semi-cooked (self-sized), aged T_387, tone-stretched: what the model was shownT_387: every pixel as the measuring code classes it
110 × 97 cm · the whole sheet, uncropped

T_387

Record
Date
2026.10.16
Dimensions
110 × 97 cm
Paper
Huiyun Tianxuan Ge "Dot Ink Becomes Gold" Master Special, semi-cooked (self-sized, aged)
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_387Availability, 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_387T_387, tone-stretchedT_387, classed by brightness
83%of the sheet carries ink
Black 65%Grey 30% 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: 0.036 (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
Form2BUILT2BUILT2BUILT2BUILT2BUILT2.0
Tonal depth1THIN1THIN1THIN1THIN1THIN1.0
Layering3ORDERED2LEGIBLE2LEGIBLE2LEGIBLE2LEGIBLE2.2
Composition2WORKING2WORKING2WORKING2WORKING2WORKING2.0
Material and surface2SOUND2SOUND2SOUND2SOUND2SOUND2.0

READ 1, IN ITS OWN WORDS

“This radial fan is related to R3 and has good translucent layering, but the dark masses are flat inside, the sheet is crowded and the lower-right bands are blocky. Overall it is ordinary to slightly above, near R2.”

Form · BUILT

The fan blades follow the brush's arc and end in sharp spikes. The stacked horizontal bands at lower right are slab-like and filled in.

WEAKEST Blocky horizontal slabs, lower right

STRONGEST Radial blades tapering to spikes, upper left

Tonal depth · THIN

Measured modulation inside the darks is 0.036 (flat), with only 2 tonal steps. The large left and centre blacks are uniform; tone changes only at the overlap edges.

WEAKEST Flat black interior of left fan mass

STRONGEST Grainy translucent greys at the outer rim

Layering · ORDERED

Many translucent radial passes overlap in a readable order and build toward the centre. The outer edges show each pass, but the core blacks fuse together.

WEAKEST Central darks where passes merge to black

STRONGEST Translucent stacked blades around the outer rim

Composition · WORKING

The fan rotates around a small white hook, and the white wedge at the bottom is shaped. At 83% coverage the sheet is crowded, and the lower-right block is heavy.

WEAKEST Crowded, heavy lower-right block

STRONGEST White hook and wedge opening at centre bottom

Material and surface · SOUND

The ink is controlled and the edges are crisp. A beige stain at the top-left corner, small drops at the bottom and creases all sit away from the principal masses.

WEAKEST Tinted stained paper in top-left corner

STRONGEST Dry-brush grain at the blade edges

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, 15 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.

5 × WATER STAIN“beige tint/stain at top-left paper corner”2 × DEAD INK“flat uniform black in left-centre sector of f…”5 × OTHER, DEAD INK“paper creases running through central dark ma…”3 × OTHER“stray ink drops on white paper below fan”WATER STAINDEAD 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_387 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
Huiyun Tianxuan Ge "Dot Ink Becomes Gold" Master Special, semi-cooked (self-sized, aged), Anhui Jingxian Huiyun Tianxuan Ge Xuan Paper Art Products Co., Ltd. (安徽泾县徽韵天宣阁宣纸艺术品有限公司), made 2012.10
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 first painting on S13. 11 more followed on the same paper.
When each paper was in use