The 2014 Ceramics Monthly Media Kit - Ceramic Arts Daily

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KiT

WELCOME

Expanding the Culture of Clay

Sherman HallEditor

Charlie SpahrPublisher

CONTENTS

Our Readers 1

Reader Activities 2

Opinion Leaders 3

Purchasing Activities 4

Subscriber Activities 5

Editorial Mission 6

2014 Editorial Calendar 7

2014 Advertising Rates 8

Production Specifications 9

Ceramic Arts 2015 10

Arts Guides 11

Ceramic Arts Daily 12

Contact Information 14

Celebrate the ceramic arts with Ceramics Monthly’s dedicated community of artists, enthusiasts, collectors, students, and instructors.

You are central to our mission to provide a venue where everyone in studio ceramics can connect to share ideas, discoveries, and information.

We deliver readers with a passion for bringing their artistic vision to reality. When you join this community, you help them make their creative endeavors possible.

Together we extend your organization’s reach by providing valued resources in helping the ceramic art world grow and thrive.

Get ready, get involved and get results.

Cover Image Artist: Mineo Mizuno

12014 Ceramics Monthly Media Kit

Our rEadErs

How subscribers gainedtheir skills in the ceramic arts*

Workshops 52%

College/University 60%

Art/Community Center 49%

Self-taught 39%

Commercial/Private Studio 31%

7% Taught by Friend/Relative

* Individuals can be in more than one category

Artist: Matthew ChambersSource: The Ceramics Monthly subscriber survey July 2013.

To improve their skills, 84% of Ceramics Monthly readers expect to take classes or attend workshops in the next two years.

How Ceramics Monthly subscribers are involved with ceramic arts*

* Individuals can be in more than one category

Professional (derive income) 63%

Educator/teacher 44%

Enthusiast 38%

Skill level in making ceramic art

REaCH CeramiC artists

4% Beginner (learning fundamentals)

43% Intermediate (mastered some

aspects)

53% Advanced (mastered

most aspects)


rEadEr aCTIVITIEs

Ceramics Monthly reaches more than 132,000 readers

From the Publisher’s Statement for the October 2013 issue. Pass-along information from the Ceramics Monthly subscriber survey July 2013.

1. Total Paid/Requested Circulation 21,470

2. Average Pass-Along Recipients/Copy 5.17

3. Total Pass-Along Recipients/Issue 111,000

TOTAL MARKET REACH 132,470

In addition to the paid monthly circulation

and retail distribution, Ceramics Monthly

also offers bonus distribution at high-

profile events, such as the NCECA

conference and SOFA expositions.

Ceramics Monthly subscribers look forward to every issue

1% Read half the issues

10% Read most issues

89% Read All issues

Source: The Ceramics Monthly subscriber survey July 2013 .

Ceramics Monthly subscribers go through most or all of every issue

76.0% Front to back

20.8% Look at most pages

2.1% Look at half the pages

1.0% Less than half/few or none

EngagE your tarGet market

Artists: Simon Levin and Amy Smith


OpInIOn LEadErs

SubSCRibERS influenCe peers

How Ceramics Monthly subscribers are or have been involved in teaching/training other artists*

*Individuals can be in more than one category

Delivering presentations at less formal meetings 35%

Delivering presentations at exhibitions 28%

Teaching courses 42%

Teaching workshops, seminars 39%

Training others at craft shops, art centers 33%

Training others one-on-one (friend, relative, etc.) 51%

Mentoring others 35%

Ceramics Monthly subscribers are sought out for advice on ceramic art PRODUCTS, EQUIPMENT, SUPPLIERS

21% Very

Frequently

9% Rarely or Never 41%

Sometimes

29% Frequently

Ceramics Monthly subscribers are sought out for advice on ceramic art DESIGN, TECHNIQUES, APPROACHES

22% Rarely or

Never37% Sometimes

30% Frequently

11% Very

Frequently

Artist: Jason Bige Burnett


Source: The Ceramics Monthly subscriber survey July 2013.

YOuR proDuCts and serViCesCount

Ownership of ceramic arts materials, products, and equipment

Prepared clay 92%

Raw material 72%

Prepared glazes 70%

Hand tools 97%

Molds 46%

Clay mixers/pug mills 23%

Kilns 78%

Wheels 77%

Slab Roller 42%

Extruder 39%

Studio furniture 69%(racks, shelves, tables, etc.)

Actions subscribers have taken based on advertisements in Ceramics Monthly

Discussed any advertised products with other ceramic artists 60%

Passed information in an ad onto other ceramic artists 45%

Phoned or emailed an advertiser or visited their website 81%

Saved an advertisement for future reference 57%

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

Prepared clay 88% 23% 42%

Raw materials 81% 25% 47%

Prepared glazes 83% 19% 36%

Hand tools 89% 12% 39%

Molds 72% 10% 27%

Clay mixers/pug mill 43% 0% 57%

Kilns 56% 8% 43%

Wheels 69% 1% 36%

Slab rollers 51% 3% 48%

Extruders 53% 0% 47%

Studio furniture 67% 6% 40%

purChasIng aCTIVITIEs

Artist: Jim Gottuso


suBsCrIBEr aCTIVITIEs

HandS-On REadERS GlaZe anD fire

Trend in expenditures(next two years)

Increase 28%

Decrease 17%

No change 55%

Glaze firing ranges usedHigh-fire (cone 8-12) 51%

Low-fire (cone 08-04) 40%

Raku 35%

Mid-fire (cone 4-7) 76%

China paints/lusters (cone 022-018) 10%

Pit/Barrel Firing 17%

Types of kilns owned or usedElectric 96%

Raku 29%

Pit-fired 13%

Gas 35%

Wood-fired 10%

Other 3%

Artist: Sanam Emami

84% of Ceramics Monthly’s readers take action based on ads they’ve seen in Ceramics Monthly.

Mixing/purchasing glazes

26% Mix own

46% Buy

premixed

27% Mix own & buy

premixed

1% No involvement with glazes


24 may 2013 www.ceramicsmonthly.org www.ceramicsmonthly.org may 2013 25

clay culture

very, very old clayFragments of a large ceramic bowl were recently uncovered in a Xianren-dong cave, in Jiangxi Province, southern China, which US archaeologists believe can be dated back 20,000 years. The discovery, published in the journal Science, (#29, June 2012, authors: Xiaohong Wu, Chi Zhang, Paul Goldberg, David Cohen, Yan Pan, Trina Arpin, Ofer Bar-Yosef ) pushes back the invention of pottery by 10,000 years. Researchers estimate that the bowl was 7–8 inches in height and 6–8 inches in diameter and was a cauldron to cook food, or possibly to brew alcohol.

According to Professor Gideon Shelach, of Hebrew University, archeolo-gists have long thought that pottery succeeded agriculture, being invented once people began to settle in one place for long periods. “Part of the rea-soning was that pottery items are large and breakable, and so not a useful technology for hunter-gatherer societies that moved from place to place in search of food. But in the past ten years, researchers have found instances of pottery pre-dating agriculture, including the discovery in southern China,” states Professor Shelach. It should be noted that the discovery was of more than a single shard and included numerous fragments spread over a larger

area—leading researchers to believe that the pottery was not only necessary but also popular.

According to Pro-fessor Ofer Bar-Yosef of Harvard University, “One possible reason for

the invention of pottery is that 20,000 years ago the earth was the coldest it had been for a million years. Pottery cauldrons would have enabled people to extract more nutrition from their food by cooking it. Hunter-gatherers were under pressure to get enough food and if the invention is a good one, it spreads pretty fast.”

So what were these ancient people cooking 20,000 years ago in their ceramic pots? “We think it was used for cooking with water, so it is more like a cauldron,” states Professor Shelach. He speculates further that the invention of pottery may have been a social activity, “People were gathering together in larger groups and needed social activities to

ceramics is very old with a very long tradition. In fact, recent discoveries indicate that it is much older than we originally thought and used for a much wider variety of purposes.

mitigate against increased tensions. Maybe those potteries were used to brew alcohol.”

The previous thinking was that pottery emerged thousands of years later and was associated with agriculture and a far more sedentary lifestyle. Researchers now find themselves puzzled by this much older find.

Prehistoric Crafts Community

Evidence of a community of prehistoric craftspeople who “invented” ceramics during the Last Ice Age—about 12,000 years ago, and thousands of years before pottery became commonplace—has been found in present-day Croatia, according to researchers in the department of archaeology at the University of Cambridge, UK.

The finds appear to be shards of modelled animals, and come from a site known as Vela Spila on the Adriatic coast. Archaeologists believe that they were the products of an artistic culture inhabiting the region. Their ceramic art flourished for about 2500 years, but then disappeared. Most research cites ceramic technology beginning with the more settled cultures

of the Neolithic era (beginning about 10,000 years ago). The study, part of an investigation by researchers at the Univer-sity of Cambridge since 2010 and published in the journal PLoS ONE (a peer-reviewed, open-access journal) in 2012, adds to a rapidly-changing view about when humans first began to make ceramics. The Cambridge researchers are now

discovering that the rich history of ceramics is much more complex—over thousands of years, the technology and use of ceramics were invented, lost, reinvented, and lost again. The earliest makers did not fashion crockery, but seem to have had more artistic inclinations.

The report suggests that although earlier ceramic shards have been found elsewhere, it appears that the Vela Spila artifacts are purely inde-

pendent of all others and originally discovered by the people who lived there. “It is extremely unusual to find ceramic art this early in prehistory,” Dr. Preston Miracle, from the University of Cambridge, said. “The finds at Vela Spila seem to represent the first evidence of Paleolithic ceramic art at the end of the Last Ice Age. They appear to have been developed independently of anything that had come before. We are starting to see that several distinct Paleolithic societies made art from ceramic materials long before the Neolithic era, when ceramics became more common and were usually used for more functional purposes.”

The first artistic ceramic shards were found in 2001 and were almost overlooked because it is so unusual to find ceramic in the Upper Pa-leolithic record. As more ceramic emerged, however, examples were set aside for careful analysis. Researchers meticulously checked the collection for evidence of modelling on the artifacts and confirmed 36 individual pieces containing markings made by the human hand and appearing to be fragments of modelled animals. The fragments were crafted by a material culture known as Epigravettian, which spanned 12,000 years, but radiocarbon dating pins the Vela Spila ceramic collection to a much narrower period, between 17,500 and 15,000 years ago.

The researchers note that the ceramics were carefully crafted by people who knew what they were doing. One of the better-preserved items, which seems to be the torso and foreleg of a horse or deer, shows that the creator deliberately minimized the number of joins in the model, perhaps to give it structural strength. The research also states that the animal fragments were marked with incisions, grooves, and punctured holes, using various tools, probably made from bone or stone. Finger marks can still be seen where the objects were handled while the ceramic material was still wet.

The fragments were most commonly found near hearths, which were possibly kilns.

Ancient Dairy Farmers of the Green Sahara

Prehistoric Saharan African people were dairy farming as early as 7000 years ago, according to a new study in the journal Nature (volume 486, issue 7403, pp. 390–394, June 2012). Researchers performed isotope analysis on the excavated pottery, and were able to identify organic residues that originated from dairy fat.

Drawings and carvings on rock found throughout the region hint that dairy may have been an important part of the people’s diet. “There are scenes of people and cattle, and the fact that they bothered to draw the udders—that’s why it was thought so,” explains Julie Dunne, an archaeologist at the University of Bristol in England and the study’s first author. The pottery, discovered at a site in Libya known as the Takarkori rock shelter, “retained an abundance of carbon isotopes related to fats from ruminant (even-toed, cud-chewing) animals, like dairy and adipose fats,” said Dunne. Isotope analysis technology was developed only within the last decade, “but nobody had thought to look at the pottery and check the organic residue,” Dunne said.

The analysis also indicates that the prehistoric dairy farmers were processing their milk. “We know that they were heating it, to make but-ters and so on,” Dunne said. “We can’t tell whether it was butter, cheese, or yogurt, but we can tell they were processing it in the ceramic pots.” “This makes sense,” she clarifies, “because people at the time were prob-ably lactose-intolerant, and processing would have helped them digest the dairy more easily.”

17,988 BCE 15,480 BCE

Xianrendong Cave, Jiangxi Province, southern China

cooking and/or brewing shards

Vela Spila site, Croatia

ceramic fragments of modelled animals

02013 Green Sahara

pottery shards found with traces of dairy fat

4988 BCE

Paleolithic/Stone Age(c. 2,500,000–c. 10,000 BCE)

Modern Ages(c. 1500 CE–

Present)

Bronze Age(c. 4500–c. 1200 BCE)

Iron Age(c. 1200 BCE–c. 500 CE)

Middle Ages(c. 500–

c. 1500 CE)

Rock carvings and tracing from Teshuinat II rock shelter, southwest Libya, showing pastoralists with their pots and cattle. Courtesy of S. di Lernia and D. Zampetti.

by Holly Goring

Fragment of a zoomorphic figurine with torso and forelimbs preserved, approximately 3 cm in length. Photo courtesy of Rebecca Farbstein, originally published in PLoS ONE, 2012.

15,987 BCE

Pottery fragment from Xianrendong. Photo from Science/AAAS.

Prior to the Xianrendong cave finds, the most ancient pottery, dated to about

18,000 years ago, was also found in China and Japan.

Neolithic Age(c. 10,000–c. 4500 BCE)

14 february 2013 www.ceramicsmonthly.org www.ceramicsmonthly.org february 2013 15

Ceramists today are spoiled. It wasnÕ t that long ago that getting the colors and surfaces you wanted took a lifetime of work to achieve. But today because of the developments in modern stain technology, we have practically every color in the rainbow at our finger tips.

teChno fIle

Properties and Characteristics Historically, potters made glaze from feldspar, ash, and whatever iron-rich clays were available locally. This usually meant brown pots, or occasionally another earth-tone color. Then they began using metal oxides—like copper, chrome, manganese, iron oxides—and blending them with opacifiers to create colors. There is historic evidence that colored frits were used at least as early as 2600 BCE. Egyptian blue was a combination of silica, limestone, sodium, and copper oxides. This required a great deal of knowledge about glaze chemistry and firing to achieve the desired colors. And this knowledge was something that was in short supply, so potters basically accepted the glazes they stumbled upon and liked enough to build a body of work around.

Stains are a mixture of ceramic oxides and coloring metal oxides that are melted in kilns, quenched, ground to specific mesh size (some are acid washed), and colored with organic dyes to simulate the fired color. Essentially they are fritted colorants. They are made and manufactured for several reasons: to provide a consistent and stable form of colorant that doesn’t dissolve in the glaze melt as easily as coloring metal oxides; to make colorants safer to use than raw metal oxides (commercial stains are less soluble in water); to allow repeatable and consistent results with minimal effort; and to allow you to fine tune your color selection to get the color you want at a reasonable cost. They can appear expensive, but time is money. Consider the countless hours of glaze testing that would be necessary without the consistency of a dependable commercial stain, then the prices are more reasonable.

ceramic stains by John Britt

Defining the TermsFrits: Ceramic materials that have been mixed, fused/melted/sintered together in a kiln, quenched, and ground to a specific size. They can be used as part of a glaze recipe (e.g. Ferro frit 3134) or added to coloring oxides, or stains to assist in melting.

Spinel: Mineral with alkaline oxide and amphoteric oxide. RO/R2O3. Gemstones are an example of natural spinels while in ceramics, these spinels are used to produce commercial colorants because they are chemically stable in molten glass. A purple can be created by combining cobalt and alumina oxide, CoAl203, into a cobalt aluminate stain.

Stains: 1) Coloring oxides suspended in water (a.k.a. an oxide wash). May also contain frit and/or kaolin (usually EPK). 2) Commercial ceramic colored powders that are used in glazes, clay bodies, and slips/engobes. Prepared coloring oxides that are fritted, reground, and colored with organic dyes to simulate fired color.

As Tony Hansen writes on Digital Fire (www.digitalfire.com), “Encapsulated stains are not, as the name suggests and some misunderstand, a zircon capsule around an otherwise unstable compound. Rather they are manufactured by sintering to form a crystalline matrix (in a process called encapsulation).” Inclusion stains have specific firing temperatures and duration of firing protocols as well as warnings about not ball milling the stains (which will allow release of cadmium and/or selenium). If the fired glaze surface is damaged it can release the crystals.

Finkelnburg also states that cadmium stains can produce food-safe colors; however, under certain circumstances, it can be leached from the fired glaze. He adds that a sample of any cadmium-stain-tinted glaze used on potential food surfaces should be tested for leaching by a qualified laboratory.

Washes

Washes made with commercial stains can be used both over and under many glazes. Mason Color Works recommends mixing 85% stain and 15% Ferro frit 3124 as a starting point, but many potters us a 50% stain and 50% frit ratio with good success. When used under a glaze, cover with a transparent or semi-transparent glaze. When used over a glaze, be sure to have sufficient flux in the mix because if the stain or wash is too thick, it can turn into a crusty surface after the firing.

A very popular use of washes is on majolica-glazed work. Potters using majolica often mix 50% stain with 50% frit or Gerstley borate to brush designs on top of the white majolica-base glaze. If the stains are refractory, as listed by the manufacturer, increase the flux—use 1 part stain and 4 parts frit or Gerstley borate.

Commercial stain companies provide a detailed list of what oxides are present in each stain. The exact recipe is proprietary, but knowing what oxides are used in a given stain can give you great clues as to how a color is achieved or how to encourage or prevent particular effects. For example, there are several different black stains. One is Best Black while another choice is Cobalt-Free Black. If you are using a white glaze with a black-stained glaze next to it, you may notice that a blue line develops at the overlap. If you don’t want that line, you can look in the stain chart and choose the black stain without cobalt—the cause of the blue line. This chart also tells the base glaze structure that is necessary for each stain to work. Before deciding on a color, it is advisable to look at the reference notes associated with that stain. Sometimes called the Base Glaze Guide, this information indicates the specific requirements to achieve each color. For example, the name is listed, followed by the oxides it contains, and finally a list of numbers such as 3, 5, and 9; each indicating information important to the mixing, firing, etc.,

to that stain: #3: Maximum firing limit 2300° F (1260°C), #5: Do not use zinc in glaze, and #9: Glaze must contain 6.7–8.4% CaO (12–15% CaCO3). Each manufacturer will have a full list of reference notes for their stains.

Each color is not guaranteed in all bases, and being aware of these reference notes will help you achieve greater success. Stains are not meant for all firing conditions and are generally designed for neutral or oxidation firing atmospheres (although some may work in reduction atmospheres). Because stains contain coloring metal

Encapsulated (Inclusion) StainsSpecialty stains, called encapsulated stains, allow potters to get colors that were once not possible with traditional stains. These stain types, also known as inclusion stains or inclusion pigments, are zirconium silicate with cadmium sulfoselenide crystals (Ca/Se). Dave Finkelnburg explained in his article, “Four Ways to Red” on pages 14–15 in the April 2011 issue of CM, “The discovery of the encapsulation process (the melting of the colorants into a zirconium silicate glass at high temperatures) has now made the many hues of yellow through red reliable at temperatures through cone 10 in both oxidation and reduction atmospheres.” The addition of 3% zirconium silicate will

produce an even brighter color. These stains are refractory at higher temperatures, they do not melt much, if at all.

oxides along with other ceramics materials like opacifiers, silica, and alumina, adding them to certain glaze bases can cause a glossy glaze surface to turn matte.

Stains are generally added at 5–8% in a glaze and 15–25% in slips and clay bodies. At 8% most of the glazes are opaque and flat but if you add smaller amounts of stain (1–3%) it is possible to get transparent colors, including some very nice transparent celadon-colored glazes, when fired in an electric kiln or similar neutral atmosphere.

Degussa Yellow 239496 stain 4% in 5 × 20 Base Glaze on porcelain, fired to cone 6 in an electric kiln.

Degussa Yellow 239496 stain 8% in 5 × 20 Base Glaze on porcelain, fired to cone 6 in an electric kiln.

Praseodymium Yellow 6433 stain 4% in 5 × 20 Base Glaze on porcelain, fired to cone 6 in an electric kiln.

Praseodymium Yellow 6433 stain 8% in 5 × 20 Base Glaze on porcelain, fired to cone 6 in an electric kiln.

Degussa Intensive Red 279496 stain, 8% in 5 × 20 Base Glaze on porcelain, fired to cone 6 in an electric kiln.

Degussa Intensive Red 279496 stain, 4% in 5 × 20 Base Glaze on porcelain, fired to cone 6 in an electric kiln.

Progression blend of Degussa Orange 239616 stain in 5 × 20 Base Glaze on porcelain, fired to cone 6 in an electric kiln, showing a transparent glaze with only 2% stain and an opaque glaze with 14% stain.

2% 4% 6% 8% 10% 12% 14%

EdITOrIaL MIssIOn

Ceramics Monthly Every issue meets the readers’ needs

ARTICLES ON TECHNIQUESTechniques are always popular—and we deliver them in every issue —but we also teach readers how and why the techniques work so they can explore on their own.

TECHNO FILEBecause studio ceramics is often a highly technical exercise, we include in-depth practical explanations and examples of the most important technical topics for any studio ceramic artist.

CLAY CULTUREWhether a reader is a studio potter or sculptor, teacher or professor, student or collector, we take them inside the studio and out into the world to show them what’s really going on in ceramics today.

EXHIBITION ANNOUNCEMENTS AND REVIEWSReaders find out what’s going on in the most important and interesting ceramics exhibitions around the world. Our reviewers place these exhibitions into the cultural and historical context of contemporary ceramic practice.

36 march 2013 www.ceramicsmonthly.org www.ceramicsmonthly.org march 2013 37

Gesture in Drawing anD Form by Mel Griffin

Whether sculptural or functional, all of my work emerges from drawing. When I make pots, the form is affected by the image that is intended for its surface. In other words, the drawing comes first, and the pot comes second (1). I build vertical forms (like vases or pitchers) to reflect the shape of a drawn image, and pinch and alter plates in order to accommodate the drawing’s gesture. I’m interested in developing a strong relationship between the imagery on the sur-face and the form itself, and think of my plates more as sculptural paintings than as pots with images that decorate their surfaces. I don’t want imagery and form to simply relate to one another; I want the two to feel absolutely integral to the finished object.

After throwing a relatively tight, simple plate, I use a rough template made from a drawing to slightly change the plate’s shape. I want the plate to remain functional, but also to be affected by the gesture of the animal I’m drawing. I place the stencil on the thrown form and pinch around it, out to the rim (2). In this example, I’m giving the bird something to stand on and some branches above his head (3). I’m also emphasizing the way his tail feathers stick out and his beak is pointy and open (4), which begins to develop a structural relationship between image and form.

Then, once the piece is trimmed and covered in white slip, I begin the process of bringing life to the surface. When the piece is bone dry, I remove areas of slip with a green scrubbie in order to re-emphasize the shaping I did in step one, and to begin to build a sense of depth (5).

I then use a variety of brushes to apply different types of materials, creating a series of layers that build a world

for the animal to occupy. The manner in which I altered the plate earlier gives me a general idea as to where the animal goes (6), which makes it easier to decide where to place color. I apply slip with thicker brushes that can hold more material, then scrub parts away again once the slip has dried. Here, I’m giving the bird something yellow to stand on and adding some blue flowers to the tree branch in the background (7). Because I am applying the slip to a bone dry piece, I have to be very careful to keep it thin so it doesn’t flake off later on.

Terra sigillata is more difficult to apply, and requires a brush that holds slightly less material. It needs to be applied more evenly and with more care. I use terra sig on most of the animals’ bodies as well as on any areas of trimmed, exposed clay (8). When glazing, I use wax resist to keep the terra sig exposed, thereby giving the animal a different texture from his world and bringing him to the front of the composition.

Brushes are by far my most important tool. I buy a variety of inexpensive brushes, and also make my own. This can mean

Platter, 13 in. (33 cm) in diameter, earthenware, fired to cone 04 in an electric kiln, 2012.

Pinching the rim to create a ground for the bird and to continue the line created by its beak.

Pressing into the surface to create branches above the bird’s head.

Emphasizing the bird’s head and tail with further pinched areas along the plate rim.

1 Choosing a drawing to work with.

This drawing will affect the shape of the pot’s form.

1

2 3 4

18 june/july/august 2013 www.ceramicsmonthly.org www.ceramicsmonthly.org june/july/august 2013 19

for complete calendar listings see www.ceramicsmonthly.org

exposure

1 Ben Owen III’s vase, 13 in. (33 cm) in height, porcelain, six coats of blue stardust micro-layer glaze, high fired in an electric kiln. 2 Alex Matisse’s lidded jar, 9½ in. (24 cm) in height, stoneware, local clay, slips, ash glazes, salt glazed and wood fired, 2013. “Containment IV: All Stars,” at Crimson Laurel Gallery (www.crimsonlaurelgallery.com) in Bakersville, North Carolina, through June 30. 3 Maneki Neko, 23 in. (58 cm) in height, porcelain, fired in a Kutani kiln, 20th century. Photo: Lynton Gardiner. “Maneki Neko: Japan’s Beckoning Cats—from Talisman to Pop Icon,” at Bellevue Arts Museum (www.bellevuearts.org) in Bellevue, Washington, through August 4.

4 Bowl, northeastern Iran, 11 in. (28 cm) in diameter, earthenware, clear glaze, 10th century. 5 Bottle, central Iran, 10 in. (25 cm) in height, fritware, glaze, 13th century. 6 Bottle, Kashan, Iran, 8½ in. (22 cm) in height, fritware, opaque white glaze, luster, 12–13th century. “A Kind of Alchemy: Medieval Persian Ceramics,” at The Frick Art and Historical Center (www.thefrickpittsburgh.org) in Pittsburgh, Pennsylvania, through June 16.

1

3

2

4

65


2014 EdITOrIaL CaLEndar

Issue TopicReservation Deadline Materials Deadline Description/Bonus Distribution

January Building a Career in Clay

We focus on what is often the first step after formal education for those pursuing studio ceramics as a profession: the residency as a stepping stone.

November 13, 2013 November 20, 2013 • Theroleofresidencieshasevolvedovertimeforthose building a career in studio ceramics.

• Ourexclusiveannualcomprehensivelistingof ceramics residencies and fellowships engages those at the beginning of their careers. Make sure you do too!

February Clay and Design

Studio ceramics and design have inter-sected in some interesting ways in recent years, providing more options for more people to be involved with clay.

December 11, 2013 December 18, 2013 • Designbringsindustryandartiststogether.Thisrelationship has grown stronger, and we’ll show how artists can expand their horizons by embracing design.

• Getyourproductsandservicesinfrontofthosebuild-ing their studios and planning their production flow.

March Ceramic Legacies

We’ll highlight a few of the icons of studio ceramics, and outline how their work and influence affects the field today.

January 15, 2014 January 22, 2014 • Joinusinacknowledgingourrootsandgivingcreditto those who blazed the trails we still explore today.

• DistributionattheNCECA(NationalCouncilonEducation for the Ceramic Arts) Conference. March 19–22, 2013.

apriL A New Life in Clay

Many people come to clay as a second career—some on purpose, some quite by accident, but all with a lot of passion.

February 12, 2014 February 19, 2014 • Somealwaysdreamofalifeinclay,andothersdiscover it out of the blue.

• OurSummerWorkshopslistingshelpfolkstrainbeyond traditional education. Make sure your message is front and center.

May Emerging Artists 2014

The next generation of ceramic artists is always present, but not always obvious. We’ll search them out and show their work.

March 19, 2014 March 26, 2014 • Weshinealightonworksandartiststhatdeserverecognition for their early career accomplishments.

• EmergingArtistGallerySection

June/JuLy/august Working Potters

The definition of a working potter seems to continually change. We keep up with the current practices and observations of those carrying on traditions and breaking new ground.

April 16, 2014 April 23, 2014 • Frommakingalivingtomakingalife,thisissuehighlights all that is good, bad, and complex about working in clay as a way to survive.

• Ourextendedsummerissueisalwaysafeastfortheeyes, and gets a lot of play over several months.

septeMber Back to Work/Back to School

After the summer selling season, it’s back to the studio and back to the classroom. Gear up with information and inspiration.

July 16, 2014 July 23, 2014 • OurannualUndergraduateShowcasehighlightswork made by post-secondary students, and we check out many more college students with a review of the NCECA “National Student Juried Exhibition.”

OctOber 2014 Gallery Guide

The only comprehensive ceramic gallery and museum listing in the field.

August 13, 2014 August 20, 2014 • Whetheryou’relookingtobuyorsell,thisisthe resource you need to know where to go.

• BonusdistributiontoSOFAChicago,November2014.

nOveMber Regeneration

How has the rapid rate of commerce affected studio pottery—or has it?

September 17, 2014 September 24, 2014 • Forsome,thepaceatwhichtoday’stechnologyandretail methodology moves is paralyzing; to others it is exciting and engaging—even inspiring.

• Speakingofcommerce,doyouhaveyouradplannedfor this issue?

DeceMber Functional Discussions

To function or not to function, that is the question. And it has many answers, as we’ll discover through talking to potters making work for the counter, table, and shelf.

October 15, 2014 October 22, 2014 • Connectingthelinkbetweentheconceptandper-formance of pots, we’ll explore various approaches to functional design, all based on the maker’s intent.

• Yourintentshouldbetojointheconversationbyincluding your message in this issue.


2014 adVErTIsIng raTEs

Advertising RatesSIZES 1x 3x 6x 10x 13x 16x 19xFull Page $2,605 2,465 2,205 2,030 1,900 1,770 1,6402/3 Page $2,085 1,980 1,770 1,620 1,510 1,400 1,3101/2 Page Island $1,840 1,745 1,565 1,430 1,355 1,260 1,1701/2 Page $1,665 1,600 1,400 1,310 1,235 1,135 1,0451/3 Page $1,310 1,260 1,115 1,015 975 895 8301/4 Page $ 995 945 835 775 730 690 6351/6 Page $ 755 730 655 605 560 530 470

Add color: $705 for full page $600 for 2/3 page, 1/2 island or 1/2 page $420 for 1/3 page, 1/4 page or 1/6 page

ForDisplayAdvertising,contactMonaThielat(614)[email protected]. For Classified & Business Services advertising, contact Jan Moloney at (614)[email protected].

iSSuE RESERvE bY MatERialS duE Mail

January Nov. 13, 2013 Nov. 20, 2013 Dec. 10, 2013February Dec. 11, 2013 Dec. 18, 2013 Jan. 14, 2013March Jan. 15, 2014 Jan. 22, 2014 Feb. 11, 2014April Feb. 12, 2014 Feb. 19, 2014 Mar. 11, 2014May Mar. 19, 2014 Mar. 26, 2014 Apr. 15, 2014June/July/August Apr. 16, 2014 Apr. 23, 2014 May 13, 2014September Jul. 16, 2014 Jul. 23, 2014 Aug. 12, 2014October Aug. 13, 2014 Aug. 20, 2014 Sep. 9, 2014November Sep. 17, 2014 Sep. 24, 2014 Oct. 14, 2014December Oct. 15, 2014 Oct. 22, 2014 Nov. 11, 2014

Important Dates

InformationEffECtivE datEJanuary 2014 issue

fREquEnCY

Monthly except the June/July/August issue.

COvER RatESCovers are sold on a non-cancelable four-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 four-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 may be assessed.

wEbSitE advERtiSingSee pages 12 and 13 for details.

inSERtS and tip-OnSSubjecttopublisherapproval.Stockandcopysamplemust be submitted to publisher by the first of the month, two months prior to the scheduled issue for publisherapproval(forexample,January1foraMarchissue). Contact publisher for specifications, quantities, shipping instructions and rates.

Artist: Tom Jaszczak


prOduCTIOn spECIFICaTIOns

FILES: A press-qualityPDFispreferred(withallfontsembedded).OtherfileformatsacceptedareJPEG,TIFF,EPSandmostmajorMacintoshpage-layoutprograms.

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: AllcolorimagesmustbesettoCMYKoutputwithnoICCorCIEcolorprofilesattached. 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].

Advertisement sizes

Mechanical Requirements

Publication Trim Size: 8 1/4” x 10 7/8” Bleed:1/8”allaround(Fullpageadsonly)liveMatter:Keep1/4”fromtrimedge(Fullpageadsonly)Halftone Screen Requirements: 150-Line ScreenType of Binding: Perfect

Artist: Chris Pickett

2 Facing pages 16 1/2" x 10 7/8" Full page 8 1/4" x 10 7/8"Fullpage(withbleed) 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"1/2page(vertical) 3 3/8" x 10"1/2page(horizontal) 7" x 4 7/8"1/3page(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

Events you won’t want to miss

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.

➤ 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 rundown 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 professionally.

➤ 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.


2014 arTs guIdEs

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 9, 2014Materials Due: April 11, 2014 | Mail Date: May 15, 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 5, 2014Materials Due: September 10, 2014 | Mail Date: October 16, 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 electroni-cally 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

T

EXAS

E

AR

T

H

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


CEraMIC arTs daILy

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your vision, great information and

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CEraMIC arTs daILy spOnsOrshIps

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Sponsor a topic Ceramic Arts Daily has 40 specific 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.

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Managing Editor

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Ceramic Arts Daily Video Program ManagerManaging Editor - Ceramic Arts Daily

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Potters Council Director

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Pottery Making Illustrated Editor

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Publisher

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COntaCt

The 2014 Ceramics Monthly Media Kit - Ceramic Arts Daily

Documents

Transcript of The 2014 Ceramics Monthly Media Kit - Ceramic Arts Daily