Pavement Art (or, how a sidewalk made a great portrait)

Bust of a man etched randomly in the sidewalk

I stand in awe of the world sometimes. Here’s a crack in a granite sidewalk with the remnants of a metal signpost and various sized stones stuck into the dirt and it is creating, at least for me, an portrait of a slightly disheveled and anxious man.

francis_bacon_portrait_blog

 

Let’s just say it reminds me of a Francis Bacon painting and, well, Mr. Bacon himself.

black & white photograph of Francis Bacon

Hugging Tar (or, how an abstract line became a koala)

Pavement tar and white dividing line create koala hugging tree

This photo is of a road with a tar patch and white divider line.

Look at it again: can you see that the tar patch takes on the shapes of some sort of square-headed bear hugging a white tree trunk?

No, I’m not crazy. I’m seeing basic shapes.

We learn how to draw by looking at things. But most of the time we think we need to put a bowl of fruit or a live model in front of us to gather information.

If you wanted to learn how to draw a koala bear hugging a tree, you’d go to the source or find a picture and you’d use that as your teacher. But sometimes drawing lessons come to us. Like right now: this is a strong opportunity to grasp the basics of the koala image by looking at this tar patch. It’s true!

Lesson: Basic structure

The basic structure is: a rectangular shape (the bear) behind a skinnier and taller rectangle (the tree) with another smaller shape coming around to the front (the bear’s arm holding onto the trunk). And while we’re at it, that smaller dark triangle below the arm? Let’s call that his little foot grasping the bark and maybe the manhole cover is a sun…

Lesson: How does it work?

How does this work? The bear has to sit behind the tree. One way to do this is to make it a similar value as the background (value is dark or light) in this case that’s the dark grey. For the tree to come in front of the bear it has to be sharper, stronger or a different value and in this case, it’s white, sharp and bold.

For the bear’s arm to come around in front of the tree, it now has to be different enough from the tree so that it stands in front of it. So, it’s a strong shape and a different color. Add appropriate proportions to all of these elements, i.e., the size of bear shape to tree trunk and the size of a bear arm to its bear body, and you’ve got the basic structure of a koala hugging a tree.

Beauty: The take away

So you’re not drawing a koala bear anytime soon? Not a problem. Gather your observations and store them in your mind’s eye. You’ll be able to pull upon them when you are working on drawings that work with similar elements.

I’ll be finding more examples from the street and post them. If you find some, feel free to share.

Looking Around (or, staying open to interpretations)

Paper plates and pizza box strewn on the sidewalk

Store window with 3 round nesting tables and rectangular books

Sometimes I walk around and something catches my eye. These 3 paper plates did just that. They registered in my brain as 3 bright white discs. I continued walking.

Not twenty feet away, I passed a shop window and saw these nesting tables. They also registered. I paused. There they were again, the 3 discs.

Take a look back at the picture of the paper plates; here they lay, fallen in a sequence not unlike the nesting tables. One, two, three, almost like they’ve been pulled out one from under the other.

And the pizza box, that shape, there it is sitting on top of the tables.

How beautifully random, this find, these objects, their close proximity. If I had seen the window display even one block later I probably would never have connected the plates to it.

These visual connections are everywhere. Try and catch them when you can though because they are fleeting. When I went back to snap a photo of the paper plates, a shop owner was sweeping the sidewalk. Thirty seconds later those plates were gone.