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KiT

Your MEssagE—DElivErED

Welcome

If you’re looking for a way to deliver your message quickly and economically to potters and ceramic artists, then look no further than Pottery Making Illustrated.

For more than 15 years Pottery Making Illustrated has had one mission—provide clay lovers with the information they need to have more success and more fun with clay.

Our readers actively work in clay and enjoy all the great information, techniques and projects delivered in an easy-to-follow step-by-step format. Does it work? In the past year our circulation has grown by more than 11% and we’re adding even more subscribers with our new interactive tablet edition.

Whether you provide kilns, tools, services or supplies, Pottery Making Illustrated readers want to know about them. By advertising in Pottery Making Illustrated, you’re sure to reach them—they’re waiting to hear from you.

Bill JonesEditor

Charlie SpahrPublisher

CONTENTS

Skilled Readers 1

Total Market Coverage 2

Active Readers 3

Active Customers 4

Purchasing Activities 5

Editorial Mission 6

2014 Editorial Calendar 7

2014 Advertising Rates 8

Production Specs 9

Ceramic Arts 2015 10

2014 Arts Guides 11

Ceramic Arts Daily 12

Contact Information 14

Artist: Deborah Schwartzkopf

1 2014 Pottery Making Illustrated Media Kit

SKIlleD ReaDeRS

48.3%Very Effective

41.3%Effective

10.4% Somewhat

Effective

Source: Pottery Making Illustrator subscriber survey July 2013.

3% Beginner (learning

fundamentals)

63%Intermediate

(mastered some aspects)

34% Advanced (mastered

most aspects)

Types of readers*

* Individuals can be in more than one category

Professionals (derive income) 49%

Educators/teachers 26%

Enthusiasts/clay lovers 61%

a Great LearNING tOOL For all PoTTErs

An overwhelming majority of our readers believe PMI is effective for learning about clay-related tools and supplies.

Skill level in making ceramic art

Artist: Nancy Zoller


ToTal maRKeT coveRage

Pottery Making Illustrated primary subscribers + pass-along recipients

Total paid/requested circulation 14,920

Average pass-along recipients/copy 5.39

Total pass-along recipients/issue 80,419

TOTAL MARKET REACH 95,339

From the Publisher’s Statement for the September/October 2013 issue. Pass-along information from the Pottery Making Illustrated subscriber survey July 2013

Pottery Making Illustrated subscribers save issues for future reference

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

Front to back 80%

Look at most pages 18%

Look at half the pages 1.6%

Look at less than half the pages 0.5%

PMi rEachEs MOre reaDerS

2% Save half the issues

13% Save most

issues

2% Save less than half the issues

79% Save all issues

Pottery Making Illustrated reaches more

than 95,000 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: Brenda Quinn


4% Save few or none


acTIve ReaDeRS

PMI subscribers teach and train others*

*Individuals can be in more than one category

Delivered presentations or speeches 38%

Taught or trained others 75%

Taught at workshops or seminars 24%

Also in this issue . . .10 Ways to Throw SmarterHow to Work with LustersBig Platters the Easy Way

Kaleidoscope Patterns

C E L E B R A T I N G 1 5 Y E A R S

May/June 2013

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Where the

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davinci-kilns

Angelique Tassistro’s Sake Set

Also in this issue . . .

Traditional Ewer Forms

Developing a Personal Blend

Apple Bakers


Sept/Oct 2013

Angelique Tassistro’s Sake Set

Also in this issue . . .

Traditional Ewer Forms

Developing a Personal Blend

Apple Bakers

Doug Peltzman’s Juice Cups Also in this issue . . .Finessing Flared FormsLoose-Leaf TeapotsFermenting Crocks


July/August 2013

.5% Read half the issues

.5% Read less than half the issues

92% Read all issues

Pottery Making Illustrated subscribers read all or most of the issues

7.6% Read most

issues

42%1–10 day/mo.

26%21–31 day/mo.

32%11–20 day/mo.

PMI subscribers enjoy spending time in the studio each month

To Improve their skills,

82% of Pottery Making

Illustrated readers expect

to attend workshops in

the next two years.



acTIve cuSTomeRS

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 years

Increase 28%

No Change 54%

Decrease 18%

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

Your aDvertISING wOrkS iN PMi

Discussed a product with others involved in ceramic arts 60%

Saved an advertisement for future reference 59%

Phoned or emailed an advertiser or visited their website 76%

Passed information in an ad onto other potters 47%


82% of Pottery Making

Illustrated’s subscribers

expect to maintain or

increase their level of

spending for products

and services over the

next two years.

Artist: Elizabeth Kendall


PuRchaSIng acTIvITIeS

Artist: Chris Campbell

Ownership of ceramic materials, tools, equipment and supplies

Prepared clay 96%

Raw materials 65%

Prepared glazes 81%

Hand tools 97%

Molds 55%

Clay mixers/pug mills 17%

Kilns 81%

Wheels 82%

Slab Rollers 50%

Extruders 39%

Studio furniture (racks, shelves, tables, etc.) 58%

auDiENcE buyING POwer

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

Prepared clay 90% 17% 42%

Raw materials 77% 13% 44%

Prepared glazes 86% 13% 47%

Hand tools 87% 14% 39%

Molds 76% 5% 36%

Clay mixers/pug mill 32% 4% 64%

Kilns 75% 4% 29%

Wheels 79% 1% 23%

Slab rollers 54% 7% 40%

Extruders 50% 8% 43%

Studio furniture 71% 8% 36%

Purchasing activities of PMI subscribers

Artist: Doug Peltzman


Artist: Deanna Ranlett Artist: Marty Fielding Artist: Chris Campbell


eDIToRIal mISSIon

PotteryMaking Illustrated | September/October 20138

in the studio | Surface Decoration

I’m intrigued and inspired to see what other artists are doing. I hope for openness in myself to try new things and techniques that I can tweak, translate, and transform into my own pots. I also use these techniques in workshops and lesson plans. In Jan-uary, I attended the Arrowmont Ceramic Surface Forum 2013, in the clay studio at Arrowmont School of Arts and Crafts in Gatlinburg, Tennes-see. During this week-long gathering, partici-pants worked together in the same space, and shared firings, techniques, and ideas. I was in-spired by the artists, presentations, and shared demonstrations. I also found some new ideas and techniques to explore in my studio, and am adding my own twists to them as I work.

So far, one of the most successful experiments has involved combining a couple of techniques shared during demonstrations by Lana Wilson and Elizabeth Kendall. Both artists use Amaco Vel-vet underglazes in widely differing techniques to create wonderful clay surfaces.

Lana Wilson layers the underglazes on leather-hard slabs of white stoneware then marks through the underglazes into the clay. These slabs are then formed into her unique handbuilt pieces (figure 1).

Elizabeth Kendall paints underglazes on a large plaster bat, then pours white porcelain slip onto the decorated plaster. The clay picks up the decoration as it stiffens to slightly less than leather hard and is removed from the bat. This decorated slab is then rolled out into a thinner and thinner slab. The thinner the slab

Developing a Personal Blendby Tracy P. Gamble

Lana Wilson’s pots start out as slabs with stamped textures, lay-ers of underglazes, and expressive mark making.

Paint underglazes onto a slab of clay, starting with the back-ground color and building up to the foreground colors.

gets, the more the underglaze color on the slab surface is pulled apart and stretched. Once she gets the surface she’s looking for, she forms the slab into various shapes to make her work (figure 2).

A finished plate made by combining the layered underglaze sgraffito technique with the slab pattern thinning and distor-tion technique.

1 2

STEP-BY-STEP FORMATProfessional potters sharing their knowledge, techniques and projects in Pottery Making Illustrated’s signature well-illustrated easy to follow step-by-step format.

THE POTTERS KITCHENThis latest addition to the editorial offering reflects the growing interest in making a statement with food and clay at the same time. Renowned author and potter Sumi von Dassow covers a range of functional pieces and recipes to serve family and friends.

IN THE STUDIOFocuses on tested techniques from professional potters who share their secrets.

FEATURE ARTICLESEasy-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.

PotteryMaking Illustrated | March/April 2013 PotteryMaking Illustrated | March/April 201324 25

process | A Quinntessential Vase | Brenda Quinn

Cut out an octagonal template. With the template supported, drape a slab onto the mold.

1

Turn the piece over and add coils to the rim of the opening. Pinch to combine the coils and add texture.

9

Using the mold board as a support, flip the leather-hard slab over and remove mold board.

3

Create and attach four small handles and four small petal forms. Attach two to each side by scoring and slipping.

11

Use a rasp to create a 45° bevel on the edges of the two pieces. Score and slip the edges of the piece.

5

Draw a pattern onto the glaze with a pencil. Brush wax over the glaze then remove excess glaze from other parts of the piece.

13

Cut away excess clay, leaving only an inch of overlap. Tap the clay, mold, and support on the table causing the clay to slump.

2

Cut the rim into a scalloped edge or desired pattern, and pinch the edges to refine them.

10

Trim the clay to the line left by the board. Draw and cut a line across the middle of the piece.

4

Use your finger or a brush to dab underglaze to the sides. Glaze the sides, let dry, and wax the glazed area.

12

Attach a 2-inch-wide slab to the piece while it’s supported by foam. Pinch the slab to shape and refine the form.

6

Pour glaze over the belly and let dry. Continue the pattern onto the belly. Brush wax over the glaze and drawing and let dry.

14

Score and slip the pinched slab and connect the other half of the slumped slab.

7

Flip the piece so that the opened side is facing down. Add a coil to the base to create a foot.

8

Carve away the wax and glaze on the drawn lines. Use a brush to remove wax burrs and glaze dust, then clean with a sponge.

15

Brush diluted underglaze into the carved lines. Use a sponge to lift off excess underglaze, let the piece fully dry, and fire it.

16

All p

hoto

s: Ke

ith R

enne

r

PotteryMaking Illustrated | September/October 201344

the potters kitchen | Food and Clay

September is, of course, the beginning of apple harvest season. If you have a tree, you’re either getting no apples at all or you are harvesting bushels. Last year I picked 800 pounds of apples; this year due to late frosts, there will be none!

But whether you’re picking your own apples or buying them from the grocery store or farmer’s market, you’ll want to try some new things with them. Pies, crisps, and crumbles are classics with endless variations, but what if you want a quick easy dessert for one or two people? Then maybe it’s time for a baked apple. If you enjoy the flavor of apple pie but you don’t want to go to all that trouble, you need an apple baker.

Nobody ever guesses what an apple baker is without being told. Upon seeing one, most people think it’s a ring holder. An apple baker is a small bowl with a spike of clay protruding up from the center. A cored apple (with or without the peel) is set into the apple baker upright over the spike, sprinkled with sugar and sea-sonings, and baked. The apple can be baked in a microwave oven, a conventional oven, or even potentially on a grill on gentle heat. Apple bakers should be made of vitrified stoneware, especially if you want to use them in the microwave.

Throwing Off the HumpI throw my apple bakers off the hump. This means I put a large chunk of clay on the wheel and make several apple bakers from it. There’s less wedging, and less time and motion wasted putting a fresh bat on the wheel for each apple baker. The only challenge involved in throwing off the hump is removing the wet pot cleanly from the hump—and since I always trim the foot, it doesn’t matter if some of them get cut off a little crooked.

To get started, wedge five or six pounds of clay and get it rough-ly centered on the wheel—it just needs to be centered enough to

not totally throw you off as you work off the top of the hump. Now wrap your hands around a door-knob-sized portion of clay at the top of your cone and get just that amount perfectly cen-tered. The first thing beginners worry about when they throw off the hump is, “how do I keep from making my opening too deep?” I like to make a groove at the base of the centered door-knob and set my pinky fingers into this groove. When I push my thumbs into the door knob to open it up, the anatomy of my hands makes it impossible to push my thumbs down too far. Tip: If you’re new to throwing off the hump, try this little exercise to reassure yourself: hold your hands out in front of you, thumbs up. Curve the fingers of both hands in, as if you are wrapping your hands around a lump of clay. Now bend your thumbs down in front

Making Apple Bakersby Sumi von Dassow

Apple bakers with apples from my tree—from last year’s crop, when the blossoms didn’t freeze!

Use two index fingers to flute the rim. Place finger tips slightly offset, one inside the rim and one outside, then gently push toward each other.

With pinky fingers resting in the groove, open up with your thumbs but keep the thumbs an inch apart to allow a “finger” of clay to protrude from the center of the pot.

PotteryMaking Illustrated | March/April 2013 17

The ceramic art-ist Greg Payce once said to me, “If you can’t draw it, you can’t make it.” If I had heard this as a student, I would have scoffed and kept on working as I had been, which was to simply imagine the work I wanted to make in my head and struggle through trial and

error to execute my mental image. Now, however, as someone who

builds pots primarily by pinching clay, I’ve come to see how im-

portant and true this statement actually is.

In many ways, making pots is drawing three dimensionally;

creating a handle, a spout, or a profile of a pot, is like creating

a line in space. Drawing on paper trains your eye to see more

thoughtfully and be more critical of your work. I found that

after sketching things like spouts and handles repeatedly, I saw

a significant differ-ence in the ease with which I could create them. The simple gesture of putting pencil on paper

several times to get a form right made an immense impact, solidify-

ing how my hands needed to move to

create that element in my work when it

was time to actually build it in clay. The other reason

I now see the importance of sketching is that my hands and

fingertips need to be in tune with the physical and/or men-

tal image I’m creating. I use very few tools to shape my work

(figure 1). My fingers and my lap are my biggest tools and I

sometimes even use the slack of my apron in my lap to help

shape larger slabs that I’m pinching into a form. So, I always

start with a drawing of the form, and I always have that image

present when I’m making objects.

by Emily Schroeder Willis

PinchedPITCHERS

PotteryMaking Illustrated | July/August 2013

12

by Kathleen Standen

Additions to

CLAY BODIES

Additions of hard, non-combustible materials to a clay body

open up the body and reduce shrinkage, allowing artists to work

on large-scale, thick-walled work with less danger of warping and

cracking. Saggars and work for raku firing should also be made

with clay that has a high-sand or high-grog content, to enable the

clay to cope with sudden changes in temperature (thermal shock)

and repeat firings.

Hard additions can also be used to enhance the surface of

forms, such as when clay is scraped with a metal rib, intentionally

exposing rough, hard-grog particles on the surface.

Suitable materials for adding to clay bodies are sold commer-

cially, made with studio materials, and found in the environment

and include home-made colored grog, colored glass, organic

materials including nuts, nut shells, sea shells, and plants, crude

flakes of rust scraped from found metal objects, grogs made from

shards of pottery or crushed brick, sand, volcanic rock,

limestone chips, gravel, silt, iron oxide, mud,

recycled clay, pâte de verre (glass paste),

vitreous concrete (glass and con-

crete), and cement.

GrogThe most common clay body addition is found in many com-

mercial clays, which contain tiny particles of hard, non-com-

bustible materials in the form of grog or corderite (crushed kiln

shelves). Grog is generally a buff color, making it a good choice

for adding to buff-firing clays. Alternatively, white molochite,

made from calcined kaolin clay, can be added to white-firing

clays. Both of these can be purchased in a range of grades from

fine mesh (200) to coarse mesh (16–30). Clay bodies used in

large-scale work can contain as much as 40% grog.

Making Colored Grog

You can make your own grog from colored clays (figure 1).

In my search for a range of blue-grays, I tested several black

clay recipes. The black was blended with white, in equal pro-

portions, and this was repeated several times. After firing, one

black recipe provided me with a range of colors from black to

metallic gray, dark blue, and pale blue.

Using these same proportions, it’s possible to make a series

of grogs of different sizes. The colored clay is rolled into slabs

of different thicknesses and allowed to dry. I then crush the clay

Dockpool, 15¾ in. (40 cm) in diameter, colored porcelain

with organic additions, 2012. Photo: Roland Paschhoff.

The ceramic art-ist Greg Payce once said to me, “If you can’t draw it, you can’t make it.” If I had heard this as a student, I would have scoffed and kept on working as I had been, which was to simply imagine the work I wanted to make in my head and struggle through trial and

error to execute my mental image. Now, however, as someone who

builds pots primarily by pinching clay, I’ve come to see how im-

portant and true this statement actually is.

In many ways, making pots is drawing three dimensionally;

creating a handle, a spout, or a profile of a pot, is like creating

a line in space. Drawing on paper trains your eye to see more

thoughtfully and be more critical of your work. I found that


was time to actually build it in clay. The other reason

I now see the importance of sketching is that my hands and

fingertips need to be in tune with the physical and/or men

tal image I’m creating. I use very few tools to shape my work

(figure 1(figure 1(). My fingers and my lap are my biggest tools and I

sometimes even use the slack of my apron in my lap to help

shape larger slabs that I’m pinching into a form. So, I always

start with a drawing of the form, and I always have that image

present when I’m making objects.


for adding to buff-firing clays. Alternatively, white molochite,

made from calcined kaolin clay, can be added to white-firing

clays. Both of these can be purchased in a range of grades from

fine mesh (200) to coarse mesh (16–30). Clay bodies used in

large-scale work can contain as much as 40% grog.

Making Colored Grog

You can make your own grog from colored clays (figure 1).

In my search for a range of blue-grays, I tested several black

clay recipes. The black was blended with white, in equal pro-

portions, and this was repeated several times. After firing, one

black recipe provided me with a range of colors from black to

metallic gray, dark blue, and pale blue.

Using these same proportions, it’s possible to make a series

of grogs of different sizes. The colored clay is rolled into slabs

of different thicknesses and allowed to dry. I then crush the clay



Dockpool

with organic additions, 2012. Photo: Roland Paschhoff.

PotteryMaking Illustrated | July/August 2013 29

PLASTER MOLD TIPSEach plaster mold is specifically fabricated without keys on the vertical seams for two reasons—one being form/development and the other slip/surface. First, to get the shape I want, the plaster mold is cut on a band saw, altered, and reassembled after the form is originally cast. The altered mold needs to be registered and held together, so I cast two pieces of plaster, one that sits on top, and the other that forms a base for the mold, below the foot, and create keys in both of these sections (figure A).

When applying slip, it’s beneficial that the sides are flat and smooth. Any protrusions like keys in the plaster become speed bumps when cleaning the mold. Since the mold is cleaned regularly throughout this process, it’s best to make it as smooth as possible.

Plaster molds are tools, and in this process, an X-Acto knife frequently cuts through casting slip and into the mold itself, scoring the surface and leaving it in rough condition. After eight castings, the mold needs a facelift. To remove the lines cut into the surface, soak it in water until it’s saturated. Using 320-grit wet sandpaper, rub the surface in all direc-tions to remove the top layer of plaster. The process is complete when all divots and scratches are gone. Allow the mold to dry completely.

As my artistic goals matured and evolved, so did my processes. I never planned to be a slip-caster, but there came a time when my ideas for surface composition grew beyond the scope of what I could do with bisque ware, painter’s tape, glaze, and wax resist. Through a great deal of experimentation in the studio, I found that only casting porce-lain using plaster molds offered the precision I was after. So I developed a hybrid throwing and slip casting process that worked in the way I needed it to. What had been initially a step in an awkward direction—full of plas-ter disasters and ugly forms—eventually be-came a comfortable process that completely transformed my work.

I aspire to make crisp porcelain forms with lines and panels of bright color, im-peccably executed, and free from glaze flaws. The process I’ve developed achieves those aspirations.

BETWEENTHE

by Peter Pincus

Peter Pincus creates the patterns on his work with colored slips, a plaster mold, and a master plan.

Pottery Making Illustrated is unique because of its total dedication to tips, tools and techniques.


2014 eDIToRIal calenDaR

Issue Topic Reservation Deadline Materials Deadline Description/Bonus Distribution

January/February Wisconsin Potters Features ceramic artists and potters from Wisconsin as we prepare for NCECA 2014 in Milwaukee.

November 20, 2013 November 27, 2013 •Beginthenewyearshowcasingyourbestproductsandservices.Thisissuefeaturesa varietyoftechniquesfromWisconsinpotters.

•Bonusdistribution:NCECA2014,Milwaukee,WI

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

January 22, 2014 January 29, 2014 •Thisissuefocusesonhandbuildingtechniquesforbothsculpturalandfunctionalprojects.Lookforavarietyofinnovativetechniquesfromthepros.

May/June Throwing Usingthewheelputsacreativespinonmakingall kinds of work from functional to sculptural.

March 26, 2014 April 2, 2014 •Assummerapproacheswe’llfocusonthewheelandthrowing.Proswillofferadviceandprovideinsightsonvarioustechniques.

July/August Glazes & Glazing Alookatavarietyofglazes,materials,recipesandtechniqueswithemphasisonCone 5 and 6.

May 21, 2014 May 28, 2014 •ReadersofPMIoverwhelminglyfireinthecone5-6rangeinanelectrickiln.We’lltakealookatthelatestinwhatcontemporarystudiopottersaredoingwiththeirglazesandtheglazingtechniquestheyuseinthisrange.

September/October Surface Decoration Thesurfaceoffersasmanyopportunitiesasforming—oneofourhottesttopics!

July 23, 2014 July 30, 2014 •We’llexploredifferentaspectsofdecoratingandsomeoftheunusualtechniquesperfectedbytalented ceramic artists.

November/December Functional Step-by-steptechniquesformakingandfinishingprojectsintimefortheholidays.

September 24, 2014 October 1, 2014 •Makingfunctionalworkrequirestherightforms,therightclaysandtherightglazes.We’lllookatwaystoimprovetheoddsofsuccessforthestudioartistintentonmakinggifts.


2014 aDveRTISIng RaTeS

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Display Advertising, contact Mona Thiel at (614) 794-5834 or email at [email protected].

Classified & Business Services Advertising, contact Jan Moloney at (614) 794-5843 or email at [email protected].

issuE rEsErvE bY MaTErials DuE Mail

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Important dates

Information

EFFEcTivE DaTEJanuary/February 2014 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 1.5% monthly is assessed.

wEbsiTE aDvErTisiNgSee pages 12 and 13 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: Tracy P. Gamble


PRoDucTIon SPecS

Ad sizes Specifications

FILES: A press-quality PDF is preferred (with all fonts embedded). Other file 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 profiles 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 proofing 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 file transfer instructions, contact Jan Moloney at [email protected].

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Publication specifications➤ Publication trim size: 8 1/4” x 10 7/8” ➤ Bleed: 1/8” 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: Deanna Ranlett and Megan Daloz

2 Facing pages 16 1/2" x 10 7/8"Full page 8 1/4" x 10 7/8"Full page (with bleed) 8 1/2” x 11 1/8”2/3 page 4 5/8" x 10"1/2 page island 4 5/8" x 7 3/8"1/2 page (vertical) 3 3/8" x 10"1/2 page (horizontal) 7" x 4 7/8"1/3 page (vertical) 2 1/4" x 10"1/3 square 4 5/8" x 4 7/8"1/4 page 3 3/8" x 4 7/8"1/6 page 2 1/4" x 4 7/8"


ceRamIc aRTS 2015

➤ Highlights of the year. Whether it’s a conference, an exhibition, an auction, or an anniversary, artists will be able to catch up on news of the field 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 community and what better way to give a nod to those who contribute the most than singing their praises. Check out current residents and their work, and don’t miss the Transitions section to keep up with who went where.

➤ Up-to-date information. Ceramic Arts 2015 provides the latest on materials and products for the studio artist including raw materials, 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 Defining the State of Clay for 2015

a look aheaD

celebrating artists

Ceramic Arts 2015 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.

Events you won’t want to miss


2014 aRTS guIDeS

CLAY WORKSHOP HANDBOOK advertising ratesSIZES 1x 3x 6x 10x 13x 16x 19xFull Page $1,745 1,660 1,485 1,365 1,285 1,190 1,1002/3 Page $1,395 1,335 1,190 1,085 1,020 960 8801/2 Page Island $1,255 1,170 1,050 975 920 835 7851/2 Page $1,110 1,070 960 880 820 765 7101/3 Page $ 880 835 750 695 650 600 5701/4 Page $ 670 635 570 530 485 455 4301/6 Page $ 500 485 440 415 370 355 320

Add color: $355 for Full page, 2/3 page, 1/2 island; $245 for 1/2 page, 1/3 page; $190 for 1/4 page, 1/6 pageReserve By: April 10, 2014Materials Due: April 17, 2014 | Mail Date: May 17, 2014

NCECA GUIDE advertising ratesSIZES 1x 3x 6x 10x 13x 16x 19xFull Page $880 830 745 695 640 600 5652/3 Page $705 675 600 555 500 475 4401/2 Page Island $625 590 530 480 460 430 3901/2 Page $565 550 475 440 420 385 3551/3 Page $435 430 375 340 325 305 2901/4 Page $335 320 290 265 250 235 2201/6 Page $260 250 230 215 200 195 160

Add color: $355 for Full page, 2/3 page, 1/2 island; $245 for 1/2 page, 1/3 page; $190 for 1/4 page, 1/6 pageReserve By: February 5, 2014Materials Due: February 12, 2014 | Posting Date: February 24, 2014

CERAMIC ARTS 2015 advertising ratesSIZES 1x 3x 6x 10x 13x 16x 19xFull Page $2,750 2,620 2,345 2,140 2,010 1,870 1,7352/3 Page $2,195 2,090 1,865 1,705 1,605 1,480 1,3751/2 Page Island $1,960 1,840 1,650 1,510 1,430 1,325 1,2501/2 Page $1,760 1,685 1,480 1,375 1,300 1,215 1,1001/3 Page $1,375 1,325 1,180 1,075 1,020 945 8901/4 Page $1,050 995 890 825 765 720 6651/6 Page $ 795 765 695 635 585 560 490

Add color: $705 for Full page; $600 for 2/3 page, 1/2 island, 1/2 page; $420 for 1/3 page, 1/4 page , 1/6 pageReserve By: September 6, 2014Materials Due: September 11, 2014 | Mail Date: October 15, 2014

CERAMIC ARTS 2015 YEARBOOKThis comprehensive guide and studio reference is the first place readers of both Ceramics Monthly and Pottery Making Illustrated 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.

MILWAUKEE, WI | MARCH 19–22, 2014Reach 4000+ conference attendees as they plan their visits to workshops, technical sessions and your booth during this intensive 4-day event. Available electronically prior to the conference and notification posted on Ceramic Arts Daily.

Does your kilnhave potential ?

Call us or swing by our booth at NCECA to find out !

www.skutt.com/kilnlink 503-774-6000

HO

USTON

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EXAS

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013

2

Earth/Energy: 47th Annual Conference

Program & Exhibition Guide

National Council on Education for the Ceramic Arts

Published in partnership with:

M O N T H L Y


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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]

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Ceramic Arts Daily Video Program Manager Managing Editor - Ceramic Arts Daily

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