Mark Hewatt

Tag: gothic

  • Physical: Nunnally Road

    Physical: Nunnally Road

    Here is the first of the physical work for this series.

    I’m excited to introduce the first piece in a new three-part illustrative series. The theme is a blend of seasonal whimsy and the gentle, spooky feeling of unique, isolated structures. Over the years, I’ve collected photographs of fascinating buildings, and this series gives them a new life and a new story.

    I chose a stark, graphic style with strong linework to evoke the feeling of a classic block print or a storybook illustration. While this image was created digitally, I’m currently working on its physical counterpart, exploring the dialogue between the two mediums. This piece, “Nunnally Road,” is the beginning of that exploration.

    Technical Details:

    • Acrylic swipe
    • Sakura Pigma pens
    • 9×12 140lb cold press
  • Physical: Cemetery Road

    Physical: Cemetery Road

    Physical version of this original digital piece.

    And with that, the series is complete. This three-part digital collection was an exploration of seasonal whimsy and the mysterious vibes of forgotten places. From the first piece to this final one, “Cemetery Road,” my goal was to take real structures I’ve photographed and imbue them with the feeling of a modern folk tale.

    For this final installment, I used a monochromatic green palette and the enchanting glow of fireflies to create a uniquely eerie and magical atmosphere. It’s been a fantastic journey blending photography, memory, and digital illustration. Physical versions of all three are still in the works!

    Technical Details:

    • Acrylic swipe
    • Sakura Pigma pens
    • 9×12 140lb cold press
  • 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

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