Back in June when we launched Wildlife Art Journal, it took us just two weeks to achieve readership in 30 countries.  Even we were surprised.  But surpassing that satisfaction is watching how word of our magazine is rapidly spreading, going viral as they say.

Today, our international reach has more than doubled and within the last week alone, traffic has surged.  Here are the nations, in descending order, that rank in our Top 10: U.S., Japan, United Kingdom, Canada, Netherlands, India, France, Australia, Germany, and Sweden.  

We’ve gone global with visitation to wildlifeartjournal.com because our audience is global.  So, too, is the scope of our content, the varying homelands of our subscribers, and the interest from advertisers who have sold artworks and other products simply by having viewers click on their ads.  

Indeed, there is a lot of free content out there on the Web, just as there is a lot of free art, free medical advice, and free food, but not a lot that you’d like to feast upon.

Readers get what they pay for.  Solid content matters.  It’s relevant, entertaining, thought provoking and reliable.  

We’re not pretentious; we’re merely confident that those of you who have found Wildlife Art Journal, and who visit often, and who have become subscribers or purchased ads understand the difference between professional art journalism and the stuff that isn’t.  It’s the same with art.

As editor of Wildlife Art Journal, I can tell you with certainly that I don’t know exactly where new media is headed.  No one does if they are being honest. 

But we like where our instincts have lead us.

I have been a professional journalist for more than 25 years and as much as I love holding a paper book, magazine or newspaper in my hands, I keenly understand the profound advantages that exist with a groundbreaking online magazine.  

In these past few months, I’ve had long conversations with old friends, many of whom are considered to be among the premier nature painters and sculptors in the world.  Even they, the neo-Luddites, who have resisted computers and the Internet realize that we’ve crossed a divide and we will never go back to what media was during the last century.

Not only did they buy computers as artists for the first time in their eighties and nineties this summer, but they purchased subscriptions to Wildlife Art Journal because they appreciate the spirit of our efforts.  They get it.  They, too, are adapting their sails to the winds of change.

The coming weeks and months will mark our biggest rollout of new content yet.  

The greatest advantage of having a premium subscription to Wildlife Art Journal is that if you miss one of our stories, or have a desire to view again the hundreds upon hundreds of images we offer, you can always find them in our growing archives.  

When you throw away a printed magazine, it can be a chore getting another copy.  Our stories are there whenever you want them, wherever you are.

These first 90 days have been breezy and heady ones.   We are glad you’re here.  Help us continue to go viral.

The best is always yet to come.

Todd Wilkinson
Editor