In a departure from the more familiar subtly-modulated tonal transitions between the tarmacked road surface & the ‘double black lines’ painted upon, in this particular picture as photographically framed (capturing as it does the intersection of a junction, as a side road curves into another) the addition of further road markings of broad white strokes diagonally arranged dominate the composition across the picture plane & give it a particular dynamic, providing a bold contrast with the habitual horizontals of the ‘double black lines’ & the remaining visible instances of the underlying original yellow lines that, in places, outline them.
The white marks also serve to add a further 'archaeolgical' layer to the narrative of the road surface's history of painted amendments, overlaying as they do the other strata of lines.
The striped design upon the surface of the ‘roadkill’ can then adds further counter-angularity & a sequence of tonal contrasts to the composition, of course, whilst the cream colour (which also features rather neatly in text form, in that Jasper Johnsian naming-of-colours manner) relates to the yellow of the visible remnants of the original lines…
Then creating a monochrome version to concentrate upon a purely tonal study of the lines & stripes upon the surfaces of both the road & the object...
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