Please tell us about your art business?

My website is dinawakley.com. I design products for Ranger, Ink. My line is called Dina Wakley Media, and includes stamps, stencils, journals, acrylic paints and mediums, brushes, collage tissues, tapes, and more. I travel all over the world and teach classes with my weird art (I call it art that everyone can do). I also have online courses on my
website.

Dina Wakley’s Art Background

I am self-taught. I come from a very creative family and we grew up having lots of creative pursuits. I started scrapbooking in 1995 and stamping in 1996. Then, I discovered mixed media and art journaling. I have kept a personal journal since I was 9 years old, so art journaling was a logical and easy fit for me. I started art journaling in earnest in 2004.

When did you get started with your business?

I always say my business is accidental, backed up by TONS of hard work. Basically I had my head down, working hard, and people took notice and some great opportunities came my way. I was scrapbooking for several product manufacturers (as their token “artsy” scrapbooker). That helped me get published in the scrapbooking magazines occasionally. Then I was blogging about my art journaling, and Somerset contacted me and asked me to send in my journals. So, I got published a few times there. Then someone asked me if I ever teach art journaling, and I said “sure.” I started teaching classes, and that grew over time by word of mouth. I started off doing two or three
locations a year, and then that grew to two or three times a month. I enjoy teaching a lot. I like people, I like art, and it’s a privilege to be in a place to witness art being born.

Please tell us about your art products on Ranger,
Ink.com?

I have been with Ranger about 5 years. That came about because I knew Dyan Reaveley, who was first the European educator and then later a signature designer with Ranger. I had taught at her store in England in 2009, and we became fast friends. So Ranger really noticed me because we were hanging out together and supporting each other.

I talked with them about what I thought my line would contain, and they thought about it and then later offered me a contract. Working with them is definitely a privilege, and I am very grateful. I come to them with ideas of what I would like to use personally in my art, and then they develop/source and help make the dreams a reality. Sometimes ideas get shelved or some things aren’t possible, but we do our best to make things happen. Product development has lots of facets, from concept to sourcing/chemistry to testing to revision, and then eventually release to the market.

How do in-person workshops compare with your
online classes?

My online classes are sorely neglected right now. I desperately need to do new ones. The nice thing about online classes is that you do the work once and can sell it in perpetuity. The downside is there is less personal interaction, feedback, and sense of community. I definitely prefer the in-person format, but have lots off new online classes
planned…I just need more time in the day.

Is it getting more difficult for artists to successfully
offer courses and workshops?

I think students are more discerning than they used to be and expect a higher level of production value. But a slick video will never make up for crappy teaching. Regarding competition, I think a rising tide raises all ships. I am not competitive in the least, I think there is room for everyone. If you have a class to offer, go for it. It doesn’t threaten me… in fact, it helps. Hopefully they’ll take your class and get infected by the art bug, and maybe they’ll take my class next.

Please tell us about your book?

I have two books. Art Journal Freedom came first. It iis about how color theory and design principles can help you make better art journal pages. My second book, Art Journal Courage, is about all the art things you are afraid to do (like draw faces), but that I know you can do. Both books were fun to do. Lots of work, but fun. If I ever do another, I will probably self-publish it and offer it on a small scale. Books haven’t a been a big money maker, when you compare the time it takes to make one to what you get. They’re cool, though. It’s not always about the money.

With so much information online now, do you think
it’s still a good idea for artists to publish books?

You know, that is the golden question. Especially since yesterday F&W Media filed bankruptcy (they are the parent company for North Light, which published my books). People are reticent to pay for content, since so much is free online. I still buy books, though, of all kinds. Art books, novels, you name it. I hope artists still publish. We all need to adapt and learn how to live in this digital age, though.

Please tell us what you do?

I am an artist and business owner. On the business side, I most enjoy the idea part, where I bask in the sun with my kitties and venture into blue-sky territory, when I get to think and dream and make lists and mind maps for my business. The artist side is the same but different; I enjoy playing mad scientist and pushing the limit of the wonderful supplies in the market today and how I can use them with stencils. I am excited when I get to share my ideas with other like-minded souls in workshops and online classes.

How did you get started with stencils?

When I was exhibiting in the art fairs, I started becoming interested in pattern and especially the idea of repeating pattern within my work. I hand cut several stencils and used them in my work. After I transitioned into teaching, I was still using my hand cut stencils, mainly because I couldn’t find stencils that offered the artistry and complexity
that I wanted. My students asked if I would make stencils to sell, so, in 2010 I had 100 each made of six designs, to sell at a retreat, ArtFest. They were immediately popular to the point they all sold out instantly! No one was more surprised than me. I decided to start StencilGirl® Products and today we have over 1,600 designs.

Why do you focus on stencils?

I see stencils everywhere. Seriously, ha! It is like an illness. I simply love pattern and design. At the time I started the company, in 2010, it was very difficult to find the stencils I wanted. I had no idea they would
become trendy, I was simply following my passion. Once I started to sell my own designs, I realized other artists had design voices. I am proud of the royalty program we offer our artists.

Can you please give some examples of how artists
use stencils?

Stencils have more uses than you might imagine! They are used in craft and fine art applications. Artists use them with every type of paint, with pastel, glass, fiber, clay, wood, and wax. Stencils are appropriate tools to create design elements in paintings, to decorate wall, work in art journals, make collage papers, add dimension to paints, make home décor items, embellish food and clothing. Lately, I have been excited to use our stencils as a template for embroidery.

What advice do you have for artists who want to
create a business around their passions?

I am guided by passion and authenticity and I believe these things are absolutely necessary to succeed. I rely on gut checks as they seldom lead me astray. I don’t follow trends; I prefer to make my own way. I am very lucky in that I found a niche that continues to delight me day after day. I do what I think is right and treat people the way I want to be treated. I take my business seriously, but I try not to take myself seriously, at least not all the time. I like to have fun and operate from a place of love and joy. I believe that, once you find your ‘calling’, the rest will fall into place with more ease than you might expect. That is not to say I don’t work hard, I certainly do. But I am blissed by my path.