2013 Pottery Making Illustrated Media Kit - Ceramic Arts Daily

1 2013 Pottery Making Illustrated Media Kit

editorial eXPerts and contents

media Kit 2013


Time To Celebrate

Welcome

In 2013, Pottery Making Illustrated celebrates its 15th anniversary. Since the first issue was published in 1998, the magazine has filled a much needed spot in the world of ceramic art by offering studio potters timely information on materials, techniques, supplies and equipment.

Beginning as a quarterly with 3,500 subscribers, we’ve increased the frequency to six times a year, and more than tripled the circulation. Being able to provide more information to more potters more often has been one of our proudest achievements.

Since we began, many things have changed in the world. The once fledgling internet is now a major influence in our lives, and the handheld device revolution will be a major factor for everyone in the next 15 years.

But clay? It maintains its place in our fast-paced digital world as a haven for people, young and old alike, to take refuge in a tactile real world that engages all the senses as no other craft can.

In 2013, PMI readers will spend at least as much, if not more, time and resources on ceramics. Our commitment is to see that Pottery Making Illustrated continues to meet their needs so that their time in the studio continues to be enjoyable.

Bill JonesEditor

Charlie SpahrPublisher

CONTENTS

Our Readers 3

Your Audience 4

Reader Activities 5

Purchasing Activities 6

Editorial Mission 8

2013 Editorial Calendar 9

2013 Advertising Rates 10

Production Specs 11

Ceramic Arts 2014 12

Ceramic Arts Guides 13

Ceramic Arts Daily 14

Contact Information 16

Artist: Lisa Pedolsky


our readers

47%Very Effective

40%Effective

0.3% Not Very Effective12.6%

Somewhat Effective

Artist: Nick Ramey

Source: Pottery Making Illustrator subscriber survey July 2012.

9% Beginner (learning

fundamentals)

60%Intermediate

(mastered some aspects)

31% Advanced (mastered

most aspects)

Types of readers*

* Individuals can be in more than one category

Professionals (derive income) 49%

Educators/teachers 31%

Enthusiasts 55%

Pmi is a Great tool for learninG

An overwhelming majority of readers feel PMI is effective for learning about ceramic arts-related tools and supplies.

Skill level in making ceramic art


Your audience

Pottery Making Illustrated primary subscribers + pass-along recipients

Total paid/requested circulation 14,771

Average pass-along recipients/copy 2.97

Total pass-along recipients/issue 43,867

TOTAL MARKET REACH 58,638

From the Publisher’s Statement for the September/October 2012 issue. Pass-along information from the Pottery Making Illustrated subscriber survey July 2012.

Pottery Making Illustrated subscribers save issues for future reference

Pottery Making Illustrated subscribers go through most or all of every issue

Source: Pottery Making Illustrated subscriber survey July 2012.

Front to back 80%

Look at most pages 18%

Look at half the pages 1.2%

Look at less than half the pages 0.7%

Pmi reaches More SubSCriberS

3% Save half the issues

10% Save most

issues3%

Save less than half the issues

84% Save all issues

Pottery Making Illustrated reaches

more than 58,000 subscribers and

pass-along readers. In addition to the

paid monthly circulation and retail

distribution, Pottery Making Illustrated

also offers bonus distribution at

high-profile art conferences including,

NCECA, community centers, workshops

and events.

Artist: Sam Scott


reader activities

PMI subscribers teach and train others*

*Individuals can be in more than one category

Delivering presentations at exhibitions 31%

Teaching courses 42%

Teaching workshops, seminars 36%

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July/Aug 2012

Also in This Issue . . .Sculpting the FigureGo with the FlowSplit Personality

Nesting Bowls

May/June 2012

Also in

This Issue . . .

Coiling with Slabs

Fast-Firing Saggars

Throwing Bowls

Layer by

Layer

“I discovered L&L when I

bought a beautiful used L&L

kiln in the 1980’s that had been

built in the 1960’s. I used it for

years. These kilns keep looking

new for decades because of

the element holders. Now with

the zone control, they fire

absolutely evenly from top to

bottom. All of this excellent

engineering, along with their

reasonable prices, make L&L

the best electric kiln on the

market.”

Lisa Orr has been a

professional potter and student

of ceramics for over 25 years.

She completed an MFA at the

NYSCC at Alfred University in

1992 and later received grants

including a Fulbright and a

MAAA/NEA. Her work is in

numerous public and private

collections including the Fine

Arts Museum of San Francisco

and the San Angelo Museum

of Fine Arts. Currently she

teaches, lectures and shows

nationally.

Lisa Orr discovered L&L

in the 1980’s with a used

kiln built in the 1960’s.

Toll Free: 877.468.5456

L&L Kiln’s

patented

hard

ceramic

element

holders

protect your kiln.

Also in This Issue . . .Sculpting the FigureGo with the FlowSplit Personality

Nesting Bowls

Also in

This Issue . . .

Coiling with Slabs

Fast-Firing Saggars

Throwing Bowls

Layer by

Layer

Jan/Feb 2012

Also in This Issue . . .Making FlamewareBuilding AbstractionsPerfect Desserts

Pouring on the glaze

.5% Read half the issues

.5% Read less than half the issues

90% Read all issues

Pottery Making Illustrated subscribers read all or most of the issues

9% Read most

issues

38%1–10 day/mo.

25%21–31 day/mo.

37%11–20 day/mo.

PMI subscribers enjoy spending time in the studio each month

To Improve their skills, 84% of

Pottery Making Illustrated readers

expect to attend workshops in

the next two years.


Purchasing activities

Source: The Pottery Making Illustrated subscriber survey July 2012

Pottery Making Illustrated

subscribers expect to maintain

or increase their level of

spending for products and

services over the next two years.

95%Feel that PMI is a unique

medium to learn about techniques & tools

Readers rely on Pottery Making Illustrated

Trend in expenditures for next two yearsIncrease 32%

No Change 48%

Decrease 20%

Pottery Making Illustrated readers take action based on ads in the magazine

how advertiSinG workS For YoU

Discussed a product with others involved in ceramic arts 58%

Saved an advertisement for future reference 56%

Phoned or emailed an advertiser or visited their website 74%

Passed information in an ad onto other potters 46%

Other 1.8%

Artist: Lyla Goldstein

Artist: Courtney Murphy


Purchasing activities

Artist: Jen Mecca

Ownership of ceramic materials, tools, equipment and supplies

Prepared clay 95%

Raw materials 63%

Prepared glazes 75%

Hand tools 98%

Molds 49%

Clay mixers/pug mills 16%

Kilns 79%

Wheels 81%

Slab Rollers 47%

Extruders 39%

Studio furniture (racks, shelves, tables, etc.) 55%

aUdience buyinG Power

Currently Will Purchased in the likely/possibly within purchasing purchase within past 24 Mos. process next 24 Mos.

Prepared clay 64% 68% 44%

Raw materials 63% 56% 40%

Prepared glazes 62% 52% 48%

Hand tools 71% 49% 42%

Molds 67% 23% 36%

Clay mixers/pug mill 30% 9% 60%

Kilns 63% 10% 36%

Wheels 72% 12% 22%

Slab rollers 56% 8% 41%

Extruders 52% 3% 46%

Studio furniture 56% 20% 50%

Purchasing activities of PMI subscribers

Artist: Jen Mecca


editorial mission

12 PotteryMaking Illustrated | May/June 2012

tips from the prosClay Molds and Wildflowersby David Scott Smith

As artists, we are con-stantly reflecting on the motivations behind our

ceramics. Where does our work come from, and what makes our work (and us!) so unique and individual?

I have a love for flowers, especially wildflowers, that I can trace back to when I was a young boy. My step-grand-father, Charles Parsons, has always been a great inspiration for me—for 18 years he owned Coldwell Florist in Spokane, Washington, and after ‘retire-ment’ he worked for 15 years as Instructor of Horticulture at Spokane Community College. Floral design, plant propaga-tion, landscaping—these are all areas of Charlie’s expertise. But he also has a great love for plants that flower naturally in the wild, and some of my fond-est memories were chasing wild-flowers with my grandfather.

Wildflowers are usually as delicate as they are beautiful. Sometimes only a few inches tall, their cycles might last a brief couple of days to a week, and each warm spring day welcomes new growth, and new flowers. If you live in the mountains, you can follow blooms with the elevation as the snow recedes; but even the first few weeks of spring on the flatlands are a riot of flowers that will disappear with the heat of summer.

Capturing Delicate TexturesWhen I first started exploring mold-making in the early ’90s, I only worked with plaster. Try making a mold of a wildflower with plaster sometime—it’s a catastrophe. So for years I made molds of easily castable objects and shied away from plants and flowers. However, some years back I started using clay to make molds, which

opened up a whole new arena of possibilities.

We are all familiar with sprig molds, or simple stamps and rollers made with clay. However, there’s no reason why a bisque clay mold can’t be as large as you want (or as large as you can fire in your kiln). I’ve found that clay molds give you the opportu-nity to easily cast textures that are nearly impossible with plaster. I have clay molds of al-ligator skin, insects, tree bark, carpet, lace, braids of hair—and of course wildflowers!

The best part is, once you’ve made the mold, you can use it for just about anything. I’ll use the same mold for slab-built pots, lamps, fountains, tile, etc. And if you keep your molds clean (and never use a ‘release’ agent) they will last almost indefinitely. I remember when I first started using large clay molds I foolishly thought I had

developed the technique, and a professor showed me the work of Bernard Palissy (French ceramist, 1510–1590), not to mention the ceramic work of a dozen ancient cul-tures. People have been using clay molds for thousands of years, and if you buried your bisque molds below the frost line someone could dig them up in a thousand years and use them. In many respects, clay molds are superior to plaster, and certainly easier to make.

Making the MoldI prefer a smooth high-fire clay body for making bisque molds. For small or delicate flowers and leaves I use a slab about ¼-inch thick, but you can use a thicker slab for plants with more relief. First, carefully wipe the slab smooth of any texture; I use a lightly dampened sponge, but you can also use a rubber rib.

Charlie Parsons, the author’s grandfather, collect-ing and admiring wildflowers.

STEP-BY-STEP FORMATProfessional potters sharing their knowledge, techniques and projects in PMI’s unique well-illustrated step-by-step format.

INSTRUCTORS FILEPractical information and lesson plans educators can implement in their curriculum.

TIPS FROM THE PROSFocuses on tested techniques from professional potters who share their secrets.

FEATURE ARTICLES

Easy-to-follow and well-illustrated techniques allow readers to quickly learn new skills. With practical information on tools and supplies, they’re able to make sound decisions about what they need for even greater success.

24 PotteryMaking Illustrated | May/June 2012 PotteryMaking Illustrated | May/June 2012 25

The Process

After the base layer of stencils is secure, apply a layer of slip over the surface.

Drape a ½-inch thick clay slab over a bisque hump mold. Trim the edge and immediately attach a foot ring.

After allowing the clay to set up overnight, attach a coil rim to the platter.

Sgraffito areas of drawing into the surface. Note the crop duster stencil still under the slip.

Tack the first stencil down with water once you’re satis-fied with the placement.

Mask all areas that you want to remain bare with latex and let set for 24 hours under plastic.

When the surface returns to leather hard, peel the protec-tive latex coating off of the corn imagery.

Next remove all layers of stencils and clean up any areas where the slip bled under using a sgraffito tool.

If single firing, apply glaze prior to removing latex from the rim and foot.

Sgraffito in the corn tassels and any other details you would like to add.

Mask out any areas of corn that fall within the dust stencil using latex.

With the dust stencil set, brush under-glaze into the unprotected space.

Apply the canary stencils and more un-derglaze, then remove the bird stencils.

4 5

6 7

8 9

10 11 12

13 14

15 16

INSTRUCTORS FILE

PotteryMaking Illustrated | March/April 2012 41

instructors fileTy Johnson’s Bird Feedersby Annie Chrietzberg

Ty Johnson is a sculptor and a resident artist at the Eye of the Dog Art Center in San Marcos, Texas. His interest in functional sculpture has led him to

make bird feeders with chambers that hold, and then dis-pense bird seed as it’s consumed from a platform that’s usually the open mouth of a quirky clay creature.

Building the SnoutTy starts his clay pieces by making several 3⁄8-inch-thick slabs using a slab roller. He uses a coarse, open white-stoneware clay body with medium grog. After transfer-ring the slab to a ware board, he uses a metal rib held at a 45° angle to the slab and smooths the surface in criss-crossing strokes to both remove the canvas texture and to compress the surface. His intention is to add strength to the slabs and to thin them slightly. The final slabs used to construct the feeders are at least a 1⁄4-inch thick. Once the slabs are prepared, he cuts the shapes freehand.

To begin making a dog-shaped bird feeder, Ty cuts out an elongated, blunt triangle (figure 1), and domes it into the shape of a dog’s snout. This is going to the be the chamber that holds the bird seed, so he gives it a lot of volume. He sets the domed snout on another slab, traces and cuts around it, scores the two pieces, sprays the scored areas, and attaches the pieces (figure 2). Once those are together, he sets the larger semi-circular end (the back of the dog’s snout, toward the eyes) on another slab, and repeats the joining procedure to complete the seed chamber. He leaves an opening only at the nose, which is the filling point. Ty then cuts a half-circle hole

Cut out a blunt triangle from a prepared slab that is about 1/4 inch thick.

1Dome the blunt triangle, and attach it to another slab to make the dog’s snout, which will hold the bird seed.

2

Wild Thing Bird Feeders/ Spot Dog, 14 inches (36 cm) in length, medium grog stoneware, Spectrum high-fire white glaze with added yellow iron oxide, Spectrum high-fire black glaze, Mayco Stroke & Coat red and green color spots, fired to cone 9 electric.

into the back end that will dispense the seed into the back of mouth of the feeder (figure 3).

Next, he adds side slabs, looking something like dog jowls (figure 4), molding them into animated shapes. Now for the dental work, Ty pinches clay into fangs, cuts the ‘root’ of the teeth into penetrating angles, and plunges them into the jaw line to firmly set them (figure 5).

The base is the neck of the dog, and he makes this piece by cutting an 8-inch-diameter circle out of a slab, then

PotteryMaking Illustrated | May/June 2012 33

by Richard Phethean

M aking bowls requires different skills to mak-

ing cylindrical pots, with perhaps the most

significant difference being the switch of em-

phasis from the exterior outline of the form to

the interior surface and shape. Broadly speaking, all forms

develop from a narrower diameter than they have in their

final form, so where a cylinder grows from a cone shape,

a bowl grows from a flowerpot shape. We can of course make bowls with flat bases, but when

making a bowl with a rounded interior form, a second, dis-

tinct refining and finishing process is used at the leather-

hard stage. The process is known as trimming or turning,

and is used to create a ‘foot-ring’ on which the form stands.

Note that the shape of your centered clay needs to vary

according to the width of form you intend to make. In the

diagram on p. 34, the centered dome shape is superim-

posed over the cross sections of three generic forms.Throwing a Small BowlWhen you are making wider, open, or shallow forms, the

speed of the wheel needs to slow more, and slow sooner,

as the form grows, or the centrifugal force can cause the

pot to collapse. To make small bowls for cereal, soup, or

dessert, or for making tea cups and saucers, use around

350–650 grams of clay. Here I’m using 600 grams. The

clay has been centered into a slightly shallower dome,

hollowed down to about 12 mm (½ in.) and opened out

with a curved base.With the wheel turning at medium speed, lubricate the

wall inside and out and place your fingertips at the base of

the inside and outside of the opened ball (figure 1).

Lift the wall upwards into a flowerpot shape (figure 2).

I find the fingertips to be adequate, and more sensitive to

subtle variations in thickness, for throwing small bowl

shapes. Lightly compress the rim with your fingertips.

Slow the wheel for subsequent pulls. Gently flare the

walls outwards and take care not to over-thin the middle

(figure 3). You have reached the final width and height: A ‘V’ shape

rises from a curved interior base, sloping outwards gently

to the rim like the bell of a trumpet. It is always a good

idea to steady and reinforce the rim by briefly using the ‘H’

hold (finger inside, thumb outside, horizontal finger lightly

compressing the rim) (figure 4). Sponge dry the interior then use a rounded rib to form

the shape and finish the inside surface of the bowl (figure

5). Press the rib firmly into the center of the bowl, angled

slightly in the direction of the wheel’s spin, and slide up

into the wall with decreasing pressure to compress the clay

and to unify the curve of the base with the wall to cre-

ate a seamless, continuous shape. Support the wall on the

outside with the fingers of the right hand and form a con-

ThrowingBowls

PotteryMaking Illustrated | July/August 2012 17

by Judith Berk King

I’ve always been fascinated by early interpretations of

the natural world. Explorers and scientists depicted

insects, reptiles, and other creepy crawlies in their

natural habitats, hunting and devouring their prey.

While drawing these creatures, I began to put myself in

their shoes: What would I long to snack on if it were me?

How wonderful it would be to come upon a doughnut as

large as a chair, or to have it rain gumdrops!

A split personality is sometimes hard to deal with: What

to do when half of you wants to draw and paint, and

the other half wants the immense satisfaction of making

things in clay? At some point I had a eureka moment,

and realized that I could have it all by creating images

on a clay ‘canvas’. Through this daydream, a collision of

worlds has developed where Candy Land meets David At-

tenborough’s nature documentaries; where the repellent

encounter the delectable. Now the utilitarian ceramic ob-

ject becomes a canvas for a unique personal fantasy world

of scientific investigation and sumptuous tidbits, where

everyone gets their just desserts.

Making a Platter

My two-dimensional drawings tend

to be very precise, and I prefer white

earthenware to make the platters so the

drawings remain bright and crisp. I’ve

also found that a smoother surface is easier

to draw on using underglaze pencils, so using

a fine grogged clay and smoothing out the areas

where you plan to draw your images prior to drying

and bisque firing works best.

To build the platter, roll a slab of clay, place it on a hump

mold and trim it to a desired shape. Refine the seams and

edges, preserving some irregularities in the form and surface

that add to the character of the finished piece. Add three

feet with holes in them so that the platter can be either dis-

played flat or hung on the wall. Having three feet instead

of four ensures that it won’t wobble, and when hung up the

third foot keeps the platter parallel to the wall. Use a level

on each pair of feet while the platter is still upside down on

the mold to make sure the platter will sit flat when turned

right-side-up. Bisque fire the platter to cone 04.

Prepare the bisqued platter by brushing on a coat of a

diluted underglaze (figure 1) (a light golden underglaze is

used here) and then wiping off as much as possible with

a damp sponge. This accentuates any texture you’ve left

on the platter, giving the final image more depth. Once

thoroughly dry, the surface is ready for an image.

Creating and Preparing an Image

Drawing a detailed image on paper serves both as a pattern

for transfer to the bisqueware and as a reference for the

actual painting (figure 2). I create a drawing in pencil, scan

it into the computer, and then use Photoshop to finish the

work and scale it to the desired size. This step isn’t crucial

but it’s convenient. The design and color scheme can be re-

SPLITSPLITSPLITPersonality

Candy Rain reflects the artist’s daydreams about candy

raining down from the sky and her studio dreams of

combining her love of drawing and of clay.

PotteryMaking Illustrated

by Richard Phethean

M aking bowls requires different skills to mak-

ing cylindrical pots, with perhaps the most

significant difference being the switch of em-

phasis from the exterior outline of the form to

the interior surface and shape. Broadly speaking, all forms

develop from a narrower diameter than they have in their

final form, so where a cylinder grows from a cone shape,

a bowl grows from a flowerpot shape. We can of course make bowls with flat bases, but when

making a bowl with a rounded interior form, a second, dis-

tinct refining and finishing process is used at the leather-

hard stage. The process is known as trimming or turning,

and is used to create a ‘foot-ring’ on which the form stands.

Note that the shape of your centered clay needs to vary

according to the width of form you intend to make. In the

diagram on p. 34, the centered dome shape is superim-

posed over the cross sections of three generic forms.Throwing a Small BowlWhen you are making wider, open, or shallow forms, the

speed of the wheel needs to slow more, and slow sooner,

as the form grows, or the centrifugal force can cause the

pot to collapse. To make small bowls for cereal, soup, or

dessert, or for making tea cups and saucers, use around



hollowed down to about 12 mm (½ in.) and opened out

with a curved base.With the wheel turning at medium speed, lubricate the

wall inside and out and place your fingertips at the base of

the inside and outside of the opened ball (

Lift the wall upwards into a flowerpot shape (

I find the fingertips to be adequate, and more sensitive to

subtle variations in thickness, for throwing small bowl

shapes. Lightly compress the rim with your fingertips.

Slow the wheel for subsequent pulls. Gently flare the

walls outwards and take care not to over-thin the middle

(figure 3). You have reached the final width and height: A ‘V’ shape

rises from a curved interior base, sloping outwards gently

to the rim like the bell of a trumpet. It is always a good

idea to steady and reinforce the rim by briefly using the ‘H’

hold (finger inside, thumb outside, horizontal finger lightly

compressing the rim) (Sponge dry the interior then use a rounded rib to form

the shape and finish the inside surface of the bowl (

5). Press the rib firmly into the center of the bowl, angled

slightly in the direction of the wheel’s spin, and slide up

into the wall with decreasing pressure to compress the clay

and to unify the curve of the base with the wall to cre

ate a seamless, continuous shape. Support the wall on the

outside with the fingers of the right hand and form a con

BowlsBowls




Making a Platter

My two-dimensional drawings tend

to be very precise, and I prefer white

earthenware to make the platters so the

drawings remain bright and crisp. I’ve

also found that a smoother surface is easier

to draw on using underglaze pencils, so using

a fine grogged clay and smoothing out the areas

where you plan to draw your images prior to drying

and bisque firing works best.

To build the platter, roll a slab of clay, place it on a hump

mold and trim it to a desired shape. Refine the seams and

edges, preserving some irregularities in the form and surface

that add to the character of the finished piece. Add three

feet with holes in them so that the platter can be either dis-

played flat or hung on the wall. Having three feet instead

of four ensures that it won’t wobble, and when hung up the

third foot keeps the platter parallel to the wall. Use a level

on each pair of feet while the platter is still upside down on

the mold to make sure the platter will sit flat when turned

right-side-up. Bisque fire the platter to cone 04.

Prepare the bisqued platter by brushing on a coat of a

diluted underglaze (figure 1) (a light golden underglaze is

used here) and then wiping off as much as possible with

a damp sponge. This accentuates any texture you’ve left

on the platter, giving the final image more depth. Once

thoroughly dry, the surface is ready for an image.

Creating and Preparing an Image

Drawing a detailed image on paper serves both as a pattern

for transfer to the bisqueware and as a reference for the

actual painting (figure 2). I create a drawing in pencil, scan

it into the computer, and then use Photoshop to finish the

work and scale it to the desired size. This step isn’t crucial

but it’s convenient. The design and color scheme can be re-


A Question of balance by Edith Garcia

A rthur Gonzalez is a phenomenally prolific artist whose career has spanned more than 30 years. For the last five years Gonzalez has focused on retelling the tale of Pinocchio, creating works

that deal with the concept of truth and myth within so-ciety. Currently he is focusing on the writing of Frank Stella, and the notion that the common thread in all art is a displacement of atmosphere, which constitutes a figure/ground relationship or the subject/object relationship.

How did you get started in clay? I was trained as a photorealist painter; however, this pro-cess was too controlling and predictable to me. I needed to explore a more experimental practice. I was searching for another surface to paint onto. I theorized that an amor-phous shaped surface would force me to respond to the edge in a different manner and, as a consequence, I would be making art that was less predictable. After watching the ceramics instructors Robert Brady and Peter Vanden-berge at California State University in Sacramento, where I was studying, I realized that clay would be the perfect

material. Through observation, I learned to sling slabs into unpredictable shapes and then fired them. I would then oil paint on them with imagery that would appear to be responding to the various shapes of the clay canvas.

How would you describe your work?I realize that others classify me as a narrative artist but I actually see myself as a student of the nature of story. When the figure is placed in a context of relationship with other objects, formats, and space, the viewer is trained to subconsciously go into various modes of thinking. As a consequence, a need to relate to the work in a narrative manner is created. I explore this phenomenon. The work often has no true ‘story’; it is however primed for the nature of narrative. Lately, I have come to the realization that I am in league with personal symbolism as well. I now can see the power of the mutant symbol (the com-bination of morphing two or more symbols, creating a hybrid symbol). As a consequence I believe I can create a kind of ‘sentient’ symbol that will point the way to further meaning.

Works by Arthur Gonzalez in the 2009 Contemporary Monsters installation at Northern Clay Center in Minneapolis, show his interest in conveying enigmatic stories through both two dimensional imagery and sculptural figures. Photograph courtesy of the artist and the Northern Clay Center. Edith Garcia’s new book Ceramics and the Human Figure includes an interview with Gonzalez, as well as a description of how he builds his sculptures, which are excerpted here.

Pottery Making Illustrated is unique because it is 100% dedicated to tips, tools and techniques.


2013 editorial calendar

Issue Topic Reservation Deadline Materials Deadline Description/Bonus Distribution

January/February Texas Potters Features ceramic artists and potters from Texas and the techniques they use.

November 21, 2012 November 28, 2012 •Beginthenewyearshowcasingyourbestproducts and services. This issue features a variety of techniques from active Texas potters.

•Bonusdistribution:NCECA2013,Houston,TX

March/April Handbuilding Theslabroller,extruderandhandtoolsopenupaworldof opportunities for projects and ideas.

January 23, 2013 January 30, 2013 •Thisissuefocusesonhandbuildingtechniquesforbothsculpturalandfunctionalprojects.Lookforavariety of innovative techniques from the pros.

May/June Throwing Usingthewheelputsacreativespinonmakingallkindsofworkfromfunctional to sculptural.

March 27, 2013 April 3, 2013 •Assummerapproacheswe’llfocusonthewheelandthrowing.Proswillofferadviceandprovideinsightsonvarioustechniques.

July/August Mid-Range Alookatavarietyofforming,finishing,andfiringtechniques in the mid-range.

May 22, 2013 May 29, 2013 •Asceramicartistslookformoreopportunities,wepresentaseriesoftechniquesdealingwithmid-rangetemperatures–clay,glaze,decoratingandmore.

September/October Surface Decoration The surface offers as many opportunitiesasforming—one of our hottest topics!

July 24, 2013 July 31, 2013 •We’llexploredifferentaspectsofdecoratingandsomeoftheunusualtechniquesperfectedbytalented ceramic artists.

November/December Functional Step-by-steptechniquesformakingandfinishingprojects in time for the Holidays.

September 25, 2013 October 2, 2013 •Makingfunctionalworkrequirestherightforms,therightclaysandtherightglazes.We’lllookatwaystoimprovetheoddsofsuccessforthestudioartistintentonmakinggifts.


2013 advertising rates

Advertising ratesSIZES 1x 3x 6x 10x 13x 16x 19xFull page $1,720 1,635 1,465 1,345 1,265 1,170 1,0852/3 page $1,375 1,315 1,170 1,070 1,005 945 8651/2 page Island $1,235 1,155 1,035 960 905 825 7751/2 page $1,095 1,055 945 865 810 755 7001/3 page $ 865 825 740 685 640 590 5601/4 page $ 660 625 560 520 480 450 4251/6 page $ 495 480 435 410 365 350 315

Add color: $695 for full page $590 for 2/3 page, 1/2 island or 1/2 page $415 for 1/3 page, 1/4 page or 1/6 page

For Display Advertising, contact Mona Thiel at (614) 794-5834 or email at [email protected]. For Classified & Business Services advertising, contact Jan Moloney at (614) 794-5843 or email at [email protected].

issUe reserve bY maTerials dUe mail

Jan/Feb Nov. 21, 2012 Nov. 28, 2012 Dec. 18, 2012Mar/Apr Jan. 23, 2013 Jan. 30, 2013 Feb. 19, 2013May/Jun Mar. 27, 2013 Apr. 3, 2013 Apr. 23, 2013Jul/Aug May 22, 2013 May 29, 2013 June 18, 2013Sep/Oct July 24, 2013 July 31, 2013 Aug. 20, 2013Nov/Dec Sept. 25, 2013 Oct. 2, 2013 Oct. 22, 2013

Important dates

Information

eFFecTive daTeJanuary/February 2013 issueFreqUencYBimonthlycover raTesCovers are sold on a non-cancelable 4-color basis for the contract year. Rates for the second and third cover positions are the earned color rate plus 25%. The rate for cover four is the earned color rate plus 35%.

PreFerred PosiTionsPreferred positions are sold on a non-cancelable 4-color basis for the contract year. The rate for special positions is the earned color rate plus 10%.agencY commission & Terms15% of gross billing to recognized agencies on space, color and preferred position charges, provided payment is made within 30 days of the invoice date. Thereafter, gross rates apply, and a late fee of 11/2% monthly is assessed.

websiTe adverTisingSee pages 14 and 15 for details.inserTs and TiP-onsSubject to publisher approval. Stock and copy sample must be submitted to publisher by the first of the month, two months prior to the scheduled issue for publisher approval (for example, January 1 for a March/April issue). Contact the publisher for specifications, quantities, shipping instructions and rates.

Artist: Kip O’Krongly


Production sPecs

Ad sizes Specifi cations

FILES: A press-quality PDF is preferred (with all fonts embedded). Other fi le formats accepted are JPEG, TIFF, EPS and most major Macintosh page-layout programs.

FONTS: Type 1 fonts are required. TrueType fonts will be replaced with the closest match available.

ART: All placed images, graphics, logos, and fonts must be included.

RESOLUTION: Line art, 1200 dpi; color art, 300 dpi. Low-resolution images will be resampled to appropriate levels as needed.

COLOR: All color images must be set to CMyK output with no ICC or CIE color profi les attached. A hard-copy proof is required in order for color to be considered critical. The publisher cannot be held responsible for the reproduction quality if the proofi ng requirements are not met or if materials are submitted past closing date.

HALFTONES: Black-and-white halftones should be set to gray scale.

Files may be submitted on CD-ROM or FTP.

Please label artwork with the Issue Date, Advertiser Name, File Name.

For proofs and fi le transfer instructions, contact Jan Moloney at [email protected].

Mechanical requirements

Publication specifi cations➤ Publication trim size: 8 1/4 ” x 10 /”➤ Bleed: 1/” all around (full page ads only)➤ Live Matter: Keep 1/4 ” from trim edge (full page ads only)➤ Halftone Screen Requirements: 150-line screen➤ Type of Binding: Saddle stitch

Artists: Linda and Charlie Riggs

2 Facing pages 16 1/2" x 10 /"Full page 8 1/4" x 10 /"Full page (with bleed) 8 1/2” x 11 1/”2/3 page 4 /" x 10"1/2 page island 4 /" x 7 /"1/2 page (vertical) 3 /" x 10"1/2 page (horizontal) 7" x 4 /"1/3 page (vertical) 2 1/4 " x 10"1/3 square 4 /" x 4 /"1/4 page 3 /" x 4 /"1/6 page 2 1/4 " x 4 /"


ceramic arts 2014

events you won’t want to miss

celebrating artists

Ceramic Arts 2014 will be mailed to

Ceramics Monthly and Pottery Making

Illustrated subscribers with the

November and November/December

issues respectively.

The most comprehensive distribution

available and guaranteed to put your

message into the hands of the most

avid potters.

➤ The latest trends. Up-to-date information on what’s going on in the studio and in the ceramic art world.

➤ Highlights of the year. Whether it’s a conference, an exhibition, an auctio n, or an anniversary, artists will be able to catch up on news of the fi eld or just savor the memories of the past year.

➤ The latest products. A run-down of new tools and equipment, clay and glaze lines, enhancements and innovations

➤ Artists acknowledged. Ceramic art relies on the greater commu-nity and what better way to give a nod to those that contribute the most than singing their praises.

➤ Up-to-date information. Ceramic Arts 2014 provides the latest on materials and products for the studio artist including raw materi-als, safety, and more.

➤ Comprehensive directory. Since 1997, the Buyers Guide has been the most complete listing of equipment, materials and service providers available. Enhanced listings are available.

A Yearbook and Annual Buyers Guide Defi ning the State of Clay for 2014

a looKaHead


2013 arts guides

CLAY WORKSHOP HANDBOOK advertising ratesSIZES 1x 3x 6x 10x 13x 16x 19xFull Page $1,720 1,635 1,465 1,345 1,265 1,170 1,0852/3 Page $1,375 1,315 1,170 1,070 1,005 945 8651/2 Page Island $1,235 1,155 1,035 960 905 825 7751/2 Page $1,095 1,055 945 865 810 755 7001/3 Page $ 865 825 740 685 640 590 5601/4 Page $ 660 625 560 520 480 450 4251/6 Page $ 495 480 435 410 365 350 315

Add color: $350 for Full page, ⁄ page, ½ island; $240 for ½ page, ⁄ page; $185 for ¼ page, ⁄ pageReserve By: April 10, 2013Materials Due: April 17, 2013 | Mail Date: May 17, 2013

NCECA GUIDE advertising ratesSIZES 1x 3x 6x 10x 13x 16x 19xFull Page $865 820 735 685 630 590 5552/3 Page $695 665 590 545 495 470 4351/2 Page Island $615 580 520 475 450 425 3851/2 Page $555 540 470 435 415 380 3501/3 Page $430 425 370 335 320 300 2851/4 Page $330 315 285 260 245 230 2151/6 Page $255 245 225 210 195 190 160

Add color: $350 for Full page, ⁄ page, ½ island; $240 for ½ page, ⁄ page; $185 for ¼ page, ⁄ pageReserve By: February 6, 2013Materials Due: February 13, 2013 | Posting Date: February 25, 2013

CERAMIC ARTS 2014 advertising ratesSIZES 1x 3x 6x 10x 13x 16x 19xFull Page $2,710 2,580 2,310 2,110 1,980 1,840 1,7102/3 Page $2,165 2,060 1,840 1,680 1,580 1,460 1,3551/2 Page Island $1,930 1,815 1,625 1,490 1,410 1,305 1,2301/2 Page $1,735 1,660 1,460 1,355 1,280 1,195 1,0851/3 Page $1,355 1,305 1,165 1,060 1,005 930 8751/4 Page $1,035 980 875 815 755 710 6551/6 Page $ 785 755 685 625 575 550 485

Add color: $695 for Full page; $590 for ⁄ page, ½ island, ½ page; $415 for ⁄ page, ¼ page , ⁄ pageReserve By: September 6, 2013Materials Due: September 11, 2013 | Mail Date: October 15, 2013

CERAMIC ARTS 2014 YEARBOOKThis comprehensive guide and studio reference is the fi rst place our 26,000+ unduplicated readers turn to for researching equipment and supplies before placing orders. They’ll also keep it on hand as a reference throughout the year.

EDUCATION: BOTH LIVE AND IN PRINT Reaches potters attending educational workshops where they continue their personal growth in ceramics. This is your chance to reach highly motivated individuals expanding their skills.

clay workshop

Brought to you by the publishers of

Knowledge and Techniques for the Studio

2012

H A N D B O O Kclay workshop

M O N T H L Y

HOUSTON, TX | MARCH 20–23, 2013Reach 4000+ conference attendees as they plan their visit to workshops, technical sessions and your booth during this intensive 4-day event. Available electronically prior to the conference and notifi cation posted on Ceramic Arts Daily.

CERAMIC ARTS 2014 YEARBOOK


ceramic arts dailY

Ceramic Arts Daily puts you in direct contact.

reachThe FasTesT GrowinG Market

➤ Ceramic Arts Daily provides great information in a variety of

formats on a range of topics clay lovers look for.

➤ Ceramic Arts Daily is the go-to website for how-to videos, step-

by-step techniques, and technical discussions.

➤ Ceramic Arts Daily adds new registered users every day.

➤ Ceramic Arts Daily averages 34,000+ unique visitors every week,

many of whom use CAD as their primary ceramics resource.

➤ Ceramic Arts Daily off ers tips, techniques, projects,

demonstrations, reports, and step-by-step instructions.

➤ Ceramic Arts Daily’s full-time staff constantly adds new materials

to build your audience.

➤ Ceramic Arts Daily delivers your message to a growing, actively

engaged, and connected market.

“thank you for your multiple emails.

Your vision, great information and

professional approach is nothing short

of WoW!” —diane h. art teacher


ceramic arts dailY sPonsorshiPs

“i just wanted to let you know how much i appreciate your website.

i have found such wonderful ideas and so much help.

i have found a mentor in all the information you offer.”

CHooSe anYcombinaTionTo reach our Ceramic Arts Daily audience.

Sponsor one of the fi ve major sections* of the site➤ Free Gifts

➤ Education

➤ Ceramics Monthly

➤ Pottery Making Illustrated

➤ Potters Council

One month $865Three months $1995 (22% savings)Six months $3515 (32% savings)One year $6940 (37% Savings)

* Also includes one sponsored email per month and position on the Home Page.

Sponsor a topic Ceramic Arts Daily has 40 specifi c topics in which content is organized. At least one, and possibly several of these topics, relates directly to your products and provides an excellent context for your advertising message.

You can either have exclusive ownership of a topic or share with two others.

➤ Own It One month $310Three months $850Six months $1540One year $3000

➤ Share ItOne month $130Three months $335Six months $645 One year $1170

Sponsor a “Freemium” One of the most popular features of Ceramic Arts Daily is the monthly “freemium,” a special report prepared by our editors, which we off er free to more than 95,000 registered CAD users. Your sponsorship includes:

1) banner ad headlining the email that promotes the freemium

2) notation on the cover page that “this special report is brought to you with the support of [your company name]”

3) your full-page ad appended to the report, essentially serving as the back cover when a user prints it out for reference.

➤ Cost: $770

Since 2007, Ceramic Arts Daily has grown steadily to attract more than 110,000 unique visitors per month!

w w w. Ce ra m i c A r t s D a i l y. o r g 600 N. Cleveland Ave. | Suite 210 | Westerville, Ohio | 43082

Artist:RichardPhethean

Editor

BILL JONES(614) 895-4219 | [email protected]

Associate Editor

HOLLy GORING(614) 895-4213 | [email protected]

Associate Editor

JESSICA KNAPP(614) 794-5895 | [email protected]

Editorial Assistant

ERIN PFEIFER(614) 794-5867 | [email protected]

Production Editor & Graphic Design

MELISSA BURy(614) 895-4215 | [email protected]

Production Assistant

KEvIN DAvISON(614) 794-5855 | [email protected]

Marketing Manager

STEvE HECKER(614) 794-5809 | [email protected]

Editorial Director

SHERMAN HALL(614) 895-4220 | [email protected]

National Sales Account Manager

MONA THIEL(614) 794-5834 | [email protected]

Advertising Services Representative

JAN MOLONEy(614) 794-5843 | [email protected]

Ceramic Arts Daily video Program ManagerManaging Editor - Ceramic Arts Daily

JENNIFER POELLOT HARNETTy(614) 895-4212 | [email protected]

Audience Development Manager - Ceramic Arts Daily

SANDy MOENING(614) 794-5862 | [email protected]

Webmaster - Ceramic Arts Daily

SCOTT FRESHOUR(614) 794-5871 | [email protected]

Potters Council Senior Manager

CAROLyN DORR(614) 794-5824 | [email protected]

Publisher

CHARLIE SPAHR(614) 794-5876 | [email protected]

Documents

2013 Pottery Making Illustrated Media Kit - Ceramic Arts Daily