In the 1990s, Camblin took to living on the oceanfront in Oregon. His studio was his home, hung with works in progress and becoming a salon to peers. He took extended working trips to the Pacific Islands. Ever open and inquisitive, his palette was greatly enriched in the process. Endless drawing. Endless writing. Drawing, writing, and finally DRAWriting; which was a combination of calligraphy and drawing best described a cross between a Camblin painting and the aesthetics of a haikai poem. This new art form would consume nearly all his time. It was exponential. Thousands of these haiga were produced; becoming so numerous he would cull them for fire-starter in the woodstove.
The haiga he painted varied widely, but were generally drawn from the rich environment of the Oregon Coast. Drawings added meaning or depth to that which was expressed by his poetry, and oftentimes when the poetry came first, a drawing that added depth followed it.