Mark Hewatt

Tag: trees

  • 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
  • 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

  • Mountain Stream and Masonry

    Mountain Stream and Masonry

    There is a quiet permanence in a stone bridge that I find endlessly compelling, especially against the backdrop of the Blue Ridge Mountains. Unlike the shifting water beneath it or the skeletal branches of the trees above, the bridge stands as a testament to craftsmanship and time.

    In this piece, I wanted to capture that contrast. The challenge was in the sheer variety of textures found in this mountain landscape: the jagged, individual faces of the foreground rocks, the weathered masonry of the bridge, and the delicate, almost ethereal network of the winter trees.

    Working in this monochromatic style allows me to focus entirely on the “architecture” of the scene—how light hits a rough surface versus how it filters through a dense thicket. It’s a meditative process of building layers to find the true weight of the place.

    Technical Details:

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

  • 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

  • Unicoi Lake

    Unicoi Lake

    Date taken: 2/27/26
    Camera: Pentax istDL
    ISO 200 | 1/250
    M42 Lens

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