Mark Hewatt

Author: Mark Hewatt

  • Small stream at Little Mulberry

    Small stream at Little Mulberry

    This illustration comes from a reference photo I took years ago during a hike. I’ve always loved how the water in this small stream cuts through the heavy rocks and fallen debris.

    To capture the richness of the season, I used pen and ink for the structure, but relied on an acrylic wipe and india inks for the color. I feel this perfectly mimics the texture of mossy stones and the deep, rusty tones of autumn leaves on the forest floor. A permanent record of a fleeting season.

    Technical Details:

    • 6×9 140lb cold press
    • Sakura Pigma pens
    • Faber-Castell Pitt pens
    • Acrylic swipe
  • Hidden Falls

    Hidden Falls

    This hidden waterfall in North Georgia was difficult to find when I photographed it years ago, and today, it’s impossible to reach. It exists now only in memory and in this illustration.

    Technical Details:

    • 6×9 140lb cold press
    • Sakura Pigma pens
    • Faber-Castell Pitt pens
    • Acrylic swipe
  • Helen Bridge

    Helen Bridge

    This piece focuses on the bridge crossing the Chattahoochee. I was drawn to the composition here—how the gnarled tree on the left acts as a natural frame for the stone arch and the Germanic architecture beyond. It’s a study in the intersection of nature and the unique character of this Alpine village.

    Technical Details:

    • 6×9 140lb cold press
    • Sakura Pigma pens
    • Acrylic swipe

  • Roadside house with trees illustration

    Roadside house with trees illustration

    Technical Details:

    • 9×12 140lb hot press
    • Sakura Pigma pens
    • Dip pen
    • Acrylic swipe
  • The Throat – Physical Version

    The Throat – Physical Version

    This is the final, physical state of “The Throat.” My goal was to capture the sensory experience of claustrophobia, but the transition to paper added a layer of grime and texture that the concept was missing. The way the red wash sits on the page makes the air in the hallway feel thick, heavy, and hot.

    It transforms a mundane domestic hallway into a trap. The sharp perspective tries to pull your eye immediately to that pitch-black doorway at the end, but don’t rush. Let your gaze slide slowly down the hall instead. Along that saturated path, past the silent clutter and the shapes near the floorboards. The real tension isn’t waiting at the destination; it’s right here, holding its breath in the corridor.

    Technical Details

    • Medium: Acrylic swipe, Sakura Pigma pens, Drip Pen w/ India Ink
    • Surface: 9×10 Fabriano hot press
    • Dimensions: 9×12

  • Unicoi, an Interior Study #02

    Unicoi, an Interior Study #02

    Some rooms are like crystals; they hold and refract the light of past moments. This latest piece in my “Chambers” series focuses on a small seating area at Unicoi Lodge, treating it as a container for the very atmosphere of the place.

    The warm, glowing light from the fixtures mixes with the cool, bright daylight from the windows, filling the space with a unique, nostalgic energy. The rich textures in the chairs feel like the imprint of countless conversations. It’s an exploration of “Interiority”—not just of a room, but of the memories and light it holds, making it a true chamber of memory.

    Technical Details:

    • 6×9 140lb cold press
    • Sakura Pigma pens
    • Acrylic swipe

  • Unicoi, an Interior Study #01

    Unicoi, an Interior Study #01

    Some rooms are like crystals; they hold and refract the light of past moments. This latest piece in my “Chambers” series focuses on a small seating area at Unicoi Lodge, treating it as a container for the very atmosphere of the place.

    The warm, glowing light from the fixtures mixes with the cool, bright daylight from the windows, filling the space with a unique, nostalgic energy. The rich textures in the chairs feel like the imprint of countless conversations. It’s an exploration of “Interiority”—not just of a room, but of the memories and light it holds, making it a true chamber of memory.

    Technical Details:

    • 6×9 140lb cold press
    • Sakura Pigma pens
    • Faber-Castell Pitt pens
  • A Fleeting Thought, Held

    A Fleeting Thought, Held

    This piece explores the visual and emotional dialogue between the enduring and the fleeting. The foreground is dominated by a vibrant bloom of bluebonnets, rendered with a delicate touch to emphasize their ephemeral nature – like a beautiful, transient thought taking tangible form. Their cool tones offer a moment of respite within the overall warmth of the composition, a temporary splash of serenity.

    The choice of a strong, almost cadmium orange-yellow for the sky was deliberate. It serves to create a sense of visual tension, a feeling of being enveloped or even constricted by the intensity of the atmosphere. This deliberate contrast in color and feeling aims to highlight the preciousness and temporary nature of the bluebonnets, making their ephemeral beauty all the more poignant against the persistent, almost weighty sky.

    Technical Details:

    • 9×12 140lb cold press
    • Sakura Pigma pens
    • Acrylic brush and swipe
  • Illustration of Dragon Tree

    Illustration of Dragon Tree

    Illustration of Dragon Tree

    Technical Details:

    • 9×12 140lb hot press
    • Sakura Pigma pens
    • Faber-Castell Pitt pens

  • Flowers and Undergrowth

    Flowers and Undergrowth

    I am sharing a new piece today that steps away from the ink and mixed media for a moment to focus entirely on pure pencil work. There is a specific kind of quiet intimacy that comes with a graphite study—it feels like a direct, unfiltered look into the sketchbook.

    This drawing is a study of the wild, tangled details of the undergrowth. My main goal was to play with extreme contrast and negative space. By heavily shading the background to create a deep, soft, almost hazy shadow, I was able to push the untouched white of the cold press paper forward. This allows the delicate petals of the flowers to catch the light and practically glow against the darkness.

    To keep the composition from feeling too heavy, I used sweeping, thin lines for the tall grasses. That fine linework gives the piece a lot of kinetic energy, which balances perfectly against the heavier, more textured shading in the centers of the blooms.

    It is a quiet observation of the forest floor, relying entirely on shifting values to find the light hidden in the shadows.

    Technical Details:

    • Mitsubishi graphite pencils
    • 9×12 140lb cold press

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