Mark Hewatt

Tag: georgia

  • Old Live Oak

    Old Live Oak

    I spotted this shack while driving. It was anchored by an old live oak with heavy, sprawling limbs. The wood was grey and tired. The tree was the opposite—covered in a vibrant green moss that felt alive against the weathered boards.

    What I found most interesting was this dimension of time. You have a structure slowly surrendering to the elements while the tree just keeps reaching. It’s a quiet, roadside dialogue.

    I used a mix of ink and acrylic for this piece. I also made a specific choice: I stopped correcting myself. If the ink bled or a line went wide, I let it stay. Usually, these are called errors. Here, the errors were the effort. They belong in the work, much like the rot belongs on the shack. It’s an honest way to record a moment.

    The ink defines the twisting architecture of the oak. The acrylic adds the weight to the sky and the moss. It is a rougher, more experimental process than my usual work, but it captures the grit I was looking for.

    Technical Details:

    • Acrylic swipe
    • Sakura Pigma pens
    • India ink with drip pen
    • 9×12 140lb cold press press
  • Roadside Blue

    Roadside Blue

    We pass these structures every day on the backroads of Georgia—weathered barns settling slowly into the landscape. This piece comes from a reference photo I snapped years ago, capturing the specific texture of the vertical siding and the tin roof.

    For this study, I wanted to contrast the intricate, scratchy pen work of the aged wood with a bold, abstract splash of blue. It pushes the sketch beyond a simple observation into something more graphic and modern. A memory of the road, captured in ink.

    Technical Details:

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

    River Bottom Watchman

    This Barred Owl lives nearby and is a frequent sight (and sound) among the trees along the river. For this study, I wanted to capture how perfectly his plumage blends with the textured bark of the pines.

    It’s a challenge in camouflage—using pen and ink to define the bird while letting him remain part of the forest. The wash adds depth without breaking the stillness of the scene. A quiet portrait of a local resident.

    Technical Details:

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

  • 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
  • Illustration: Southern Barn in Late Winter

    Illustration: Southern Barn in Late Winter

    Pencil drawing of a small barn along the roadside in late southern winter.

    Technical Details:

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

  • St. Simon Red Cedar – Pencil Sketch

    St. Simon Red Cedar – Pencil Sketch

    From the sun-drenched coast of St. Simons Island, Georgia.

    This illustration is a portrait of a single, magnificent Southern Red Cedar that caught my eye. More than just depicting the tree, this piece is a direct study in light—how a bright, clear sun can describe every twist of a branch and lay its entire structure bare in the shadows below.

    A quiet moment of observation on the Georgia coast.

    Technical Details:

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

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