On 'Lemon Disc', Mel Gooding writes, 'the disc ... is the major feature, its faintly amorphous square-round shape, focal and dominant, an unmistakeable Heron motif. Equally characteristic is the asymmetric pressing of complex shapes and figures into the extreme right quarter of these pictures ... these new pictures are painted in a virtuosic variety of brushing techniques, and a directly linear painting-drawing, direct from the tube, has entered the work to add rhythmic accent to the interplay and counter-point of colour areas that are themselves distinctive in texture. These are spell-binding compositions of that complex, and yet brilliantly resolved "abstract music of interacting form-colour" that Heron had long before identified in the painting of Bonnard.' (Gooding, p.211)

The feel of West Cornwall and of being surrounded by Atlantic waters is alluded to by Gooding later on, again when writing about 'Lemon Disc', 'the colour of green is specifically evocative ... and the startling dark green zig-zags irresistibly allude to the indeterminate colour and rhythmic energy of the sea as it rides into shore ... The stipple of white in the lemon disc, a reflective sparkle achieved by leaving uncovered the white of the primed canvas; the translucency of the purple shore; the reappearance of a pool of the zig-zagged sea-green to extreme right; sudden linear tracings, direct from the tube, of deep blue and crimson.

The former owner of this painting, Alan Gouk (1929-2024), wrote an essay for the catalogue of the 1985 Barbican retrospective which included 'Lemon Disc', describing the variations in brushwork allowing 'the contained energy of the orb to spread its effect in a continuously pulsing wave right to the four edges of the canvas.'