--- title: "T_400, sumi ink on paper | Crucible Year" url: https://peteryuill.art/works/T_400 description: "T_400 by Peter Yuill: Two wheels of black ink turn side by side on white paper eyes, their flat-brush bars fanning out toward every edge of a long sheet. Sumi ink on Huiyun Tianxuan Ge \"Dot Ink Becomes Gold\" Master Special, semi-cooked (self-sized, aged), 97 × 180 cm, 2026.10.26. Crucible Year." source: generated from the Crucible Year master database --- ![Two large black radiating wheels of ink, each with a white circular centre, sit side by side on a wide sheet with pale corners.] ![T_400, tone-stretched: what the model was shown] ![T_400: every pixel as the measuring code classes it] 97 × 180 cm · the whole sheet, uncropped # T_400 The engine's reading Two wheels of black ink turn side by side on white paper eyes, their flat-brush bars fanning out toward every edge of a long sheet. Record - **Date:** 2026.10.26 - **Dimensions:** 97 × 180 cm - **Paper:** [Huiyun Tianxuan Ge "Dot Ink Becomes Gold" Master Special, semi-cooked (self-sized, aged)](https://peteryuill.art/papers/S13) - **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), [Shisan Yue Calligraphy and Painting Ink](https://peteryuill.art/inks/MB10) [Enquire about T_400](https://peteryuill.art/enquiries?work=T_400) Availability, price or a studio visit. Peter replies himself; asking commits you to nothing. Two engines, idling. I logged them the way you log a ship that comes in under its own power and asks for nothing: turbines spun down, intakes wide and white, the long vanes still ticking as they cool. The left one runs rough. You can see it in the heavy plates bolted to its flank, the kind of repair done at the edge of a colony with whatever was left in the hold. The right one runs clean. Between them the coupling has fused black, which is what happens when two machines share one heart for too long. I would fly it. I would not fly it far. Past the bottom edge the exhaust keeps going, grey over grey, toward a sun it was built to reach. 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_400#details)[The reading](https://peteryuill.art/works/T_400#reading)[How it was read](https://peteryuill.art/works/T_400#read)[Date](https://peteryuill.art/works/T_400#date)[Materials](https://peteryuill.art/works/T_400#materials)[Related](https://peteryuill.art/works/T_400#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:** two radiating wheels, each around a white disc, joined at a dark central seam - **Movement:** rotation around both centres in a figure-eight; radial bars push outward against it - **Coverage:** ink on about nine tenths of the paper - **Tone:** two tonal steps, weighted dark - **Layering:** many translucent flat-brush passes, readable on the outer rims, merging at the centre - **Edges:** crisp at the white discs and bar sides; dry, broken ends on outer bars - **Feibai:** none - **Open paper:** two round discs at the wheel centres, plus pale corners - **Chance marks:** small spatter specks and faint pink tint at top left; tiny blot in left disc - **Frame:** runs off bottom and right edges, grazes top and left; corners stay open Two wheels of ink spin across a long sheet, each turning on a hole of bare paper. Flat-brush bars fire outward from the rims while arc bands circle in, and the whole surface becomes one rotating figure-eight with two white pupils fixed open. The right wheel has the finest drawing. Around its eye, curved bands lap one over another, each pass thin enough to show the one beneath. The paper, sized by hand to a half-cooked surface, keeps every layer sitting where it fell, distinct from the next. Out on both rims the same stacking steps down through clear greys, and the bar ends break into dry grain. The trouble sits on the left. A broad wedge at the middle and the squared blocks beside the left disc are filled rather than drawn: slabs with no travel in them. Between the wheels the passes pile up until they seal into one flat black, and with ink across nearly all the paper, the centre has no room left to breathe. A few spatter specks at top left barely register. The machinery is sure and the right wheel is well built. A heavy left and a choked middle keep this good, steady work from turning into anything more. Measured ## How it was read Read by the Visual Analysis Engine, version 23.11, on 2026.10.26: 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_400] ![T_400, tone-stretched] ![T_400, classed by brightness] 87% 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: 0.045 (under 0.045 reads as flat). FIVE READS ## Five reads, agreeing on 3 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 1 READ 2 READ 3 READ 4 READ 5 MEAN Form 2 BUILT 2 BUILT 3 FLUENT 2 BUILT 3 FLUENT 2.4 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 3 COMMANDING 2.2 Material and surface 2 SOUND 2 SOUND 2 SOUND 2 SOUND 2 SOUND 2.0 ### READ 1, IN ITS OWN WORDS “This uses the same radial-band method as R3 but is denser and darker. The layering is legible and ordered, but the central blacks are flat, the coverage crowds the sheet and the wide wedges feel slab-like. Overall it is ordinary to slightly better.” Form · BUILT Radial bands and arcs hold their walls and follow the rotation, but several wide wedges, especially at left and lower right, are slab-like fills. WEAKEST Bulky wedge slab at left middle STRONGEST Curved arc bands circling the right hole Tonal depth · MODELLED Outer bands step through translucent greys, but the central dark masses read flat in colour; interior modulation 0.0447 measures as flat. WEAKEST Near-uniform black core around the left circle STRONGEST Stepped greys in the outer radial bands Layering · ORDERED Many translucent radial and arc passes overlap legibly, and the tone-stretched view shows a clear stacking order; only the central junction thickens toward a single dark. WEAKEST Dense black overlaps where the two circles meet STRONGEST Translucent stacked bands on both outer rims Composition · WORKING Two radial wheels with white cores make a strong paired movement, but 87% coverage crowds the sheet; the empty paper is mostly leftover corners. WEAKEST Crowded dark centre with little open paper STRONGEST Twin white holes anchoring a rotating figure-eight Material and surface · SOUND Ink is controlled, with clean edges at the holes; there are small specks top left and in the left hole and a faint pink tint, all away from the principal masses. WEAKEST Stray spatter specks at top left STRONGEST Dry-brush edges on the radial band ends 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_400). ## Date 2026.10.26, day 302 of the Crucible Year, one of 5 paintings from that date. 14 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). Made after one of the busiest fortnights of the previous two months: 14 works in the fourteen days before. THE YEAR ## T_400 among all 402 Every painting of the year by date; this one is outlined. [Every painting from 2026.10.26](https://peteryuill.art/days/2026-10-26) · [This date in the year](https://peteryuill.art/year?follow=2026-10-26) ## Materials - **Paper:** [Huiyun Tianxuan Ge "Dot Ink Becomes Gold" Master Special, semi-cooked (self-sized, aged)](https://peteryuill.art/papers/S13), 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](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) - **Ink MB10:** [Shisan Yue Calligraphy and Painting Ink](https://peteryuill.art/inks/MB10), Shisan Yue (Thirteenth Month) The sheet of paper was made 5138 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 · 4 Same paper and inks, other dates · 4 [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_399](https://peteryuill.art/works/T_399) [Back to all works](https://peteryuill.art/works) [Next T_401](https://peteryuill.art/works/T_401) ## Where next [T_399 same date, with 3 others](https://peteryuill.art/works/T_399)[T_387 same paper and inks, 2026.10.16](https://peteryuill.art/works/T_387)[2026.10.26 5 paintings on this date](https://peteryuill.art/days/2026-10-26)[Paper S13 every work on it](https://peteryuill.art/papers/S13)