North Country Fair

Turn, turn, turn

"mouth of the river" is 11x14, painted with Japanese watercolors and sumi ink on paper. Based on a view of Moonstone Beach in Trinidad, CA, it is one of the new pieces in my 2019 calendar. You can see the piece in process below. A greeting card version reads, "infinite thanks." © Annette Makino 2018

"mouth of the river" is 11x14, painted with Japanese watercolors and sumi ink on paper. Based on a view of Moonstone Beach in Trinidad, CA, it is one of the new pieces in my 2019 calendar. You can see the piece in process below. A greeting card version reads, "infinite thanks." © Annette Makino 2018

Over the past couple of weeks, our family has completely shifted over to school mode. We now have a senior in high school, a senior in college, and a senior in the Over Sixty program at Humboldt State. Instead of lazy mornings, we dash out the door with shoes untied and breakfast in hand.

Meanwhile, nighttime temperatures have dropped into the 40s and the first maple trees are already changing color. It’s hard to say goodbye to summer, but there’s no ignoring the evidence: autumn is coming.

tilted axis
        we slide
                into fall

In the seven years that I’ve been running my art business, a seasonal rhythm has emerged there too. There is the joyful madness of the holiday season. This is followed by the January grind of inventory and accounting, a perfect combination of tedium and frustration. 

year-end accounting
the cat coughs up
another hairball

Spring means creating a new collection of designs and experimenting with some new products. Summer is a juicy, expansive time when I relax at the river with my family and go on week-long painting retreats. 

mouth of the river
an ever-changing story
told to the sea

And September is harvest season, when my best of recent work comes together in the form of a mini-calendar of art and haiku. It’s so satisfying to hold in my hand the culmination of the work I’ve done over the past twelve months, and to know it will bring pleasure to hundreds of others through the coming year.

mouth of the river-in process-1000 px.jpg

“To every thing there is a season, and a time to every purpose under the heaven…” (Ecclesiastes 3:1-8)

With experience, now I know that seemingly fallow weeks will alternate with intensely productive periods. I know that once I survive the dreaded year-end accounting, I will get to create again. And that art-wise, the bittersweet end of the summer means the reward of “bringing in the harvest." So let me be the first to wish you a happy fall equinox!

revolving door
that autumn leaf
comes round again

("revolving door" is part of "Passages," a haiku rengay written with Bill Waters and published in Hedgerow #121, Autumn 2017.)

Makino Studios News

North Country Fair: The North Country Fair takes place in Arcata, California the weekend of Sept. 15-16, from 10 a.m. to 6 p.m. both days. This festive event features 170 art and craft booths, local food, three stages of live entertainment and two parades. I’ll have my newest work at the Makino Studios booth on G Street, plus a free raffle for store credit.

Fieldbrook Art & Wine Festival: Makino Studios will have a booth at this lovely event at the Fieldbrook Winery in Fieldbrook, California on Saturday, Sept. 29, 11 a.m. to 4 p.m.

New paintings and prints: Check out my latest paintings in the Gallery. And see the new signed art prints in the Prints section.

Sneak preview of 2019 calendar: You can see a few images of my mini-calendar of art and haiku online here. Orders will be shipped out the week of Sept. 17.  

One brushstroke at a time

“water and stone” is 11×14, painted with sumi ink and Japanese watercolors on paper. Signed prints are available for $35. © 2015 Annette Makino

“water and stone” is 11×14, painted with sumi ink and Japanese watercolors on paper. Signed prints are available for $35. © 2015 Annette Makino

When I first tried sumi ink painting five years ago, I struggled. There was frustration. There was angst.

In this ancient medium, you grind an ink stick made of pine soot and glue in an ink stone with a few drops of water, then paint with bamboo brushes on rice paper. Sounds simple enough, right? But in practice, there are many ways to go wrong—and I excelled at all of them.

I ground the ink too thin and it dried sad and gray on the paper; I ground it too thick and my strokes ran out early, gasping for ink. I got too much water in the brush and my strokes grew wide and blobby. I moved my arm too slowly and the lines looked tentative; too quickly and the lines skipped and went awry.

But with the encouragement of family and friends, I kept plugging away.  Occasionally, almost by accident, a painting would work, and that was enough to keep me going.

water and stone
how we shape
each other

Multiplying the challenges, I soon added Japanese watercolors (gansai paints) to my pieces. And I gradually moved away from the simple lines and white backgrounds of traditional Japanese ink painting toward more colorful and detailed pieces—images involving tricky subjects like animal fur, water reflections or storm clouds. In the words of management guru Tom Peters, I learned to “fail forward fast.”

A sumi ink stick is ground in an ink stone with a bit of water. Traditionally, the resulting ink is applied onto rice paper with bamboo brushes. Photo © 2011 Yoshi Makino

A sumi ink stick is ground in an ink stone with a bit of water. Traditionally, the resulting ink is applied onto rice paper with bamboo brushes. Photo © 2011 Yoshi Makino

I feel oddly shy sharing this, but I’ve recently had a breakthrough. After years of effort in which my failed paintings ended up as wrapping paper, I think I may be getting the hang of this. Somehow, the dozen paintings I’ve created this summer radiate a new level of aliveness. The sea foam looks lighter, the flower petals more delicate, the river wetter.

blue brushstrokes
the sea laps the edge
of the page

I haven’t yet put in the requisite ten thousand hours of practice to achieve mastery. But I’m getting closer. A few days ago I hung a solo show of local Humboldt landscapes, called “Water & Earth,” and I feel it’s my strongest body of work to date. The journey continues, but I am pausing here to appreciate the view.

rice paper moon
pine trees brush
the inky sky

Makino Studios News

Water & Earth: My current show features landscape paintings inspired by Humboldt County’s beautiful wild places. It is on view at Libation on the plaza in Arcata, California through August 2015, along with my cards and prints.

North Country Fair: Celebrate the fall equinox at the 42nd annual North Country Fair in Arcata the weekend of Sept. 19-20. This festive event features 200 booths, live music on two stages, and two parades. My booth will be in the usual spot on G Street near 9th.

Fieldbrook Art & Wine Festival: The following weekend I’ll have a booth at this lovely event at the Fieldbrook Winery in Fieldbrook, California on Saturday, Sept. 26, 11 a.m. to 4 p.m.

Seabeck Haiku Getaway: This fun and inspiring gathering of haiku poets takes place on Washington State’s beautiful Kitsap Peninsula Oct. 1-4. I will be giving a presentation of my haiga (haiku art) there.

Before we were tamed: Thanks so much to all who came to see Tina Gleave and me at Ramone’s in June during North Coast Open Studios and who visited our show!

Connecting: You can get news, fresh art and haiku on my Makino Studios Facebook page and my Twitter feed.

The truth about being an artist

in-meditation-frog-WP-blog.jpg

I have been having trouble with frogs. Not actual frogs, which I kind of like, in their funny, damp way, but with trying to capture them on paper. To get the image I wanted for the piece shown here, in a long, frustrating process lasting two days, I painted a frog on a lily pad twenty-three times.

Still, each of my paintings fell short in some way. In many there was a problem with the neck, as my 12-year-old, an avid frog-catcher, helpfully pointed out. Others were out of proportion—froggy arms too long for the body, or feet too small. And in a couple, the ink ran in the all-important eyes, ruining the whole piece.

I wasn’t going for anatomical precision—that’s why God invented cameras—but I was still looking for that elusive “aha!” that tells me I’m done.

Exhausted by frogs, I put them away for a couple of weeks, letting the images percolate in my brain. And when I finally got up the gumption to tackle the piece again, I allowed myself to sketch it in pencil first, contrary to traditional Japanese technique.

Aha! Got it.

From the outside, being an artist may seem like a dream job. To have a career that is all about expressing your creativity, to enjoy the freedom of pursuing your passion however you choose, to share your talent with the admiring public, to leave your mark on the world in the most personal of ways . . .

A few of my failed frogs

A few of my failed frogs

There is truth to all of that, and I do appreciate the opportunity I have to walk this path. But the dirty little secret about being an artist is that it is also hard. Really hard.

First there is the overwhelming problem of trying to make a living as an artist, which deserves a whole separate discussion. Then there is the fact that—as rewarding as it is to create a successful painting—on any given morning, it is far easier to check email, Facebook, and Twitter, do laundry, or even (shudder) clean the bathroom, than sit down in the studio and paint.

It takes focused concentration and a mind uncluttered by the demands of a to-do list or a tight schedule. That's a tall order right there.

More fundamentally, although my creative vision is usually clear, my technical skills lag behind. In that gap lies self-doubt and frustration—not to mention a whole lot of wasted ink and paper. I’ve been involved with art and graphic design since childhood, yet some part of me still questions whether I can really call myself an artist. If so, would it really take me twenty-three tries to paint a simple frog? And must the whole process involve so much hair pulling?

And yet . . . I know that it's only by reaching beyond our comfort levels and throwing ourselves into the difficult and unknown that we leave open the possibility of grace. In the case of this particular painting, grace takes the form of a meditating frog, distracted by its many wandering thoughts, peeking an eye open.

Is this goofy painting to be part of my legacy to humanity? Well, so be it. Ribbit.

“in meditation” is 5" x 7", painted with sumi ink and gansai paint (Japanese watercolors) on paper. It is also available as a print or greeting card.

Makino Studios News

North Country Fair: Humboldt folks, please stop by and say hello at my booth at the 40th annual North Country Fair in Arcata, California this coming weekend, September 21-22, 10 a.m. – 6 p.m. The Makino Studios booth will be near the Hot Knots corner on G Street.

Seabeck Haiku Gathering: I will be presenting examples of my haiga (art with haiku) at this fun haiku retreat taking place in Seabeck, Washington October 10-13.

Hello, Oregon: As of this month, the independent bookstore Soundpeace in Ashland is the first retailer in Oregon to carry a selection of my cards.