editorial experts and contents - Ceramic Arts Daily

editorial experts and contents
1 2013 Ceramics Monthly Media Kit
Media kit 2013

WelcoMe
ExplorE,
DiscovEr &
ExpanD
Culture of Clay
Charlie Spahr
Publisher
Sherman Hall
Editor
2 2013 Ceramics Monthly Media Kit
Celebrate the ceramic arts with Ceramics
Monthly’s dedicated community of artists,
enthusiasts, collectors, and instructors.
Explore how you can become central to our
mission to provide a venue where everyone
in studio ceramics can connect to share ideas,
discoveries, and information.
Discover the hunger for innovation our
readers have in order to bring their artistic
vision to reality. When you join this community,
you help readers make their visions a reality.
Expand your organization’s reach by
becoming a valued resource in helping the
ceramic art world grow and thrive.
Get ready, get involved and get results.
Cover Image Artist: Xeve Aebi Photographer: Gunter Binsack
Copyright: Kahla Thüringen Porcelain LLC
CONTENTS
Our Readers 3
Reader Activities 4
Opinion Leaders 5
Purchasing Activities 6
Subscriber Activities 7
Editorial Mission 8
2013 Editorial Calendar 9
2013 Advertising Rates 10
Production Specifications 11
Ceramic Arts Yearbook and
Buyers Guide 2013 12
Arts guides 13
Ceramic Arts Daily 14
Contact Information 16

our readers
To improve their
skills, 78% 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*
Professional (derive income) 60%
Educator/teacher 35%
Enthusiast 37%
* Individuals can be in more than one category
How subscribers gained
their skills in the ceramic arts*
Workshops 49%
College/University 62%
Art/Community Center 40%
Self-taught 38%
3 2013 Ceramics Monthly Media Kit
23% Commercial/Private Studio
10% Taught by Friend/Relative
* Individuals can be in more than one category
Source: The Ceramics Monthly subscriber survey July 2012.
rEacH
CeramiC artists
Skill level in making ceramic art
44% Intermediate
(mastered some
aspects)
51% Advanced
(mastered
most aspects)
5% Beginner
(learning fundamentals)
Artist: Kristen Kieffer

eader actiVities
rEacH YoUr
tarGet
MarKET
Ceramics Monthly subscribers
look forward to every issue
4 2013 Ceramics Monthly Media Kit
88%
Read All issues
Ceramics Monthly subscribers
go through most or all of every issue
74.6% Front to back
2.2% Look at half the pages
0.5% Less than half/few or none
Source: The Ceramics Monthly subscriber survey July 2012 .
22.7% Look at most pages
1.3%
Read half
the issues
10%
Read most
issues
In addition to the paid monthly circulation
and retail distribution, Ceramics Monthly
also offers bonus distribution at highprofile
events, such as the NCECA
conference and SOFA expositions.
Ceramics Monthly reaches
more than 125,000
subscribers and pass-along
readers
1. Total Paid/Requested Circulation 21,619
2. Average Pass-Along Recipients/Copy 4.81
3. Total Pass-Along Recipients/Issue 103,987
TOTAL MARKET REACH 125,606
From the Publisher’s Statement for the October
2012 issue. Pass-along information from the
Ceramics Monthly subscriber survey July 2012.
Artist: Justin Teilhet

opinion leaders
sUbscribErs
influenCe peers
How Ceramics Monthly subscribers are or have been
involved in teaching/training other artists*
Teaching courses 41%
Teaching workshops, seminars 36%
Delivering presentations at exhibitions 29%
Delivering presentations at less formal meetings 31%
Training others at craft shops, art centers 33%
Training others one-on-one (friend, relative, etc.) 50%
Mentoring others 31%
*Individuals can be in more than one category
Ceramics Monthly subscribers are sought
out for advice on ceramic art
PRODUCTS, EQUIPMENT, SUPPLIERS
14%
Rarely or
Never
32%
Frequently
12%
Very Frequently
5 2013 Ceramics Monthly Media Kit
42%
Sometimes
Ceramics Monthly subscribers are sought
out for advice on ceramic art
DESIGN, TECHNIQUES, APPROACHES
33%
Frequently
Artist: George Lowe
12%
Rarely or
Never
12%
Very Frequently
43%
Sometimes

purchasing actiVities
YoUr proDuCts
anD serViCes
Count
Ownership of ceramic arts materials,
products, and equipment
Prepared clay 93%
Raw material 75%
Prepared glazes 65%
Hand tools 98%
Molds 47%
Clay mixers/pug mills 21%
Kilns 79%
Wheels 80%
Slab Roller 42%
Extruder 39%
Studio furniture 61%
(racks, shelves, tables, etc.)
Actions subscribers have taken based on
advertisements in Ceramics Monthly
Phoned or emailed an advertiser or visited their website 68%
Discussed any advertised products with other ceramic artists 55%
Saved an advertisement for future reference 50%
Passed information in an ad onto other ceramic artists 40%
Other 5%
Source: The Ceramics Monthly subscriber survey July 2012.
6 2013 Ceramics Monthly Media Kit
Currently Will
Purchased in the likely/possibly
within purchasing purchase
past 24 mos. process next 24 mos.
Prepared clay 87% 25% 41%
Raw materials 83% 18% 37%
Prepared glazes 81% 18% 43%
Hand tools 89% 14% 35%
Molds 76% 6% 31%
Clay mixers/pug mill 44% 3% 57%
Kilns 61% 7% 40%
Wheels 70% 3% 31%
Slab rollers 50% 6% 48%
Extruders 41% 12% 49%
Studio furniture 60% 7% 46%
Artist: Mark Knott

suBscriBer actiVities
rEaDErs
GlaZe anD
fire
Mixing/purchasing glazes
Trend in expenditures
(next two years)
Increase 36%
No change 46%
Decrease 17%
53%
Mix own & buy
premixed
26%
Buy
premixed
7 2013 Ceramics Monthly Media Kit
18%
Mix own
3%
No involvement
with glazes
97% of our readers have hands-on involvement with glazes
96% of our audience have hands-on involvement with kilns
Glaze firing ranges used
High-fire (cone 8-12) 50%
Mid-fire (cone 4-7) 72%
Low-fire (cone 08-04) 42%
China paints/lusters (cone 022-018) 9%
Raku 34%
Pit/Barrel Firing 18%
88% of Ceramics Monthly’s
readers take action based
on ads they’ve seen in
Ceramics Monthly.
Types of kilns owned or used
Electric 94%
Gas 40%
Raku 32%
Wood-fired 13%
Pit-fired 13%
Other 8%
Artist: Sunshine Cobb

editorial Mission
Ceramics Monthly
Every issue meets the readers’ needs
48 september 2011 www.ceramicsmonthly.org www.ceramicsmonthly.org september 2011 49
GLAZE ARTICLES
Recipes are always popular—and we deliver them in every issue —but we also teach readers how and why
the recipe works, so they can explore on their own and expand their palette.
all about iron by
TECHNO FILE
Celadons
at six
by John Britt
Celadon glazes are some of the most popular glazes in ceramics. In particular,
transparent blue celadons have a very delicate, beautiful color that
shows carving very nicely. But celadons aren’t just blue; they can range
from blue to blue-green to gray-blue to gray-green to green to amber, and
even to white. They often have distinctive crackle patterns that are sought
after but can also be craze-free.
Celadons originated in China thousands of years ago and were meant
to mimic jade. The Lung-chuan (Longquan) satin green celadons were
important Chinese exports for over 500 years. The term “Celadon” is a
European name thought to have derived from a character in a French play
who wore gray-green ribbons over his cloak. However, there are several
competing theories of its origin.
Technically, celadons are feldspathic transparent high-fire glazes that
are colored with iron and fired in reduction. This differentiates them from
transparent copper greens known as Oribe, but both glaze names denote
a type of ware as well as a color of glaze. Celadons were thought to have
been made from the local clay body and ash, but as the glaze traveled to
Korea and Japan, potters began using porcelain stone (a naturally occurring
decomposed feldspathic rock) in the glaze.
Purists would say that a cone 6 celadon is impossible, since, by definition,
it is high fired, but if we take a more practical approach and widen our
definition of celadon to a transparent blue-green glaze colored with iron or
other oxides, then we can include cone 6 celadons in reduction or oxidation.
Since I have worked extensively with cone 10 blue celadons, and know
the principles necessary to produce that glaze, I assumed that those same
principles could be used to make a cone 6 celadon. The idea is to select
a glaze with high potassium (better chances for blue), high silica, small
amounts of iron, and low titanium (to prevent opacifying the glaze and
to prevent the iron from going green to brown). Also, a small amount of
tin oxide and barium carbonate improve the blue color. Apply it thickly
(two to three coats; 1⁄8–3⁄16 inches or 3–5mm) on a clay body also low in
titanium. This means that you should use Grolleg kaolin in both the clay
body and the glaze recipe. Fire in an early reduction cycle, using heavy
reduction (0.75–0.80 oxygen probe reading) beginning at cone 012–010
(1582–1657°F; 861–903°C), then hold moderate reduction (0.70–0.75
Iron is everywhere in many different forms, but that doesn’t mean it has to be boring—or even brown.
De ning the Terms
Iron—The fourth most common element in the earth’s crust and the
most common element (in terms of mass) on the planet, comprising
35% of the earth’s core.
Melting Point: 2795°F (1535°C )
Toxicity: Non-toxic
Forms of Iron
Iron oxide is the most common colorant in ceramics. It is so ubiquitous
that it is very diffi cult to fi nd a material without some iron—it’s found
in almost everything from feldspars to kaolin to ball clays, earthenware
clays, and many colorants. In fact, many materials require expensive
processing to reduce the amount of iron to acceptable levels.
Iron is a very active metal that combines easily with oxygen. That
means it is very sensitive to oxidation and reduction atmospheres,
producing a wide range of glaze colors and effects from off white,
light blue, blue, blue-green, green, olive, amber, yellow, brown,
russet, tea-dust, black, iron saturate, iron spangles, iron crystalline
(goldstone/tiger’s eye), oil spot, hare’s fur, kaki (orange), leopard
spotted kaki, tan, black seto, pigskin tenmoku, shino, gray (Hidashi),
iridescent, silver, gold, etc. Iron also plays a major role in clay bodies,
slips, terra sigillata, and fl ashing slips.
There are three major forms of iron used in ceramics: red iron oxide
(Fe203), black iron oxide (FeO or Fe3O4), and yellow iron oxide (FeO
(OH)). There are different mesh sizes and grades, and each contains
varying degrees of impurities that can make a signifi cant difference
in the results you get.
The most interesting thing about iron is that it can act both as a
refractory and a fl ux. As red iron oxide, Fe2O3, it is an amphoteric
(refractory/stabilizer) similar in structure to alumina (Al2O3). But if it is
reduced to black iron oxide (FeO) it acts as a fl ux similar in structure
to calcium oxide (CaO). What this means is that a tenmoku glaze
with 10% red iron oxide will be a stiff black glaze if fi red in oxidation
because the iron oxide acts as a refractory. But, if the same glaze is
fi red in reduction that 10% Fe2O3 will be reduced to FeO, changing it
to a fl ux, which will make it a glossy brown/black glaze that may run.
Another interesting property of iron oxide is that if it is fi red in
oxidation it will remain Fe2O3 until it reaches approximately 2250°F
(approximately cone 8) where it will then reduce thermally to Fe3O4
on its way to becoming FeO. The complex iron oxide molecule simply
cannot maintain its state at those temperatures. This results in the
release of an oxygen atom that will bubble to the surface of the hot
glaze and pull a bit of iron with it. When it reaches the surface the
oxygen releases the iron as it leaves the glaze, creating spots with
greater concentrations of iron oxide. This is what creates an oil spot
glaze. This reaction can easily be seen through the spy hole of a kiln
or with draw tiles. There is an obvious and unmistakable bubbling.
If heated further, these spots begin to melt and run down the pot,
creating a distinctive “hare’s fur” effect.
Have a technical topic you want explored further in Techno File?
Send us your ideas at editorial@ceramicsmonthly.org.
14 march 2011 www.ceramicsmonthly.org
8 2013 Ceramics Monthly Media Kit
John Britt
Iron Glazes
It would be impossible to show all iron glazes in this article but
highlighting a few will give you a glimpse of the wide variety.
RON ROY BLACK
Cone 6
Talc. . . . . . . . . . . . . . . . . . . . . . . . . . . 3 %
Whiting . . . . . . . . . . . . . . . . . . . . . . . 6
Ferro Frit 3134 . . . . . . . . . . . . . . . . . . 26
F-4 Feldspar . . . . . . . . . . . . . . . . . . . . 21
EPK Kaolin . . . . . . . . . . . . . . . . . . . . . 17
Silica . . . . . . . . . . . . . . . . . . . . . . . . . 27
100 %
Add: Cobalt Carbonate . . . . . . . . . . . . 1 %
Red Iron Oxide . . . . . . . . . . . . . . . 9 %
FAKE ASH
Cone 6 reduction
Bone Ash . . . . . . . . . . . . . . . . . . . . 5.0 %
Dolomite . . . . . . . . . . . . . . . . . . . . 24.5
Gerstley Borate . . . . . . . . . . . . . . . 10.0
Lithium Carbonate . . . . . . . . . . . . . 2.0
Strontium Carbonate . . . . . . . . . . . 9.5
Ball Clay . . . . . . . . . . . . . . . . . . . . . 21.0
Cedar Heights Red Art . . . . . . . . . . 28.0
100.0 %
CHINESE CRACKLE (KUAN)
Cone 10 reduction
Custer Feldspar . . . . . . . . . . . . . . . . . . 83 %
Whiting . . . . . . . . . . . . . . . . . . . . . . . 9
Silica . . . . . . . . . . . . . . . . . . . . . . . . . 8
100 %
Add: Zircopax (optional) . . . . . . . . . . . 10 %
Adding small amounts of red iron oxide to
this feldspathic base and fi ring in reduction
will result in the following:
Blue Celadon: 0.5%–1.0%
Blue–Green: 1–2%
Olive to Amber: 3–4%
Tenmoku: 5–9%
Iron Saturate: 10–20%
KETCHUP RED (JAYNE SHATZ)
Cone 6 oxidation
Gerstly Borate . . . . . . . . . . . . . . . . . . . 31 %
Talc. . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Custer Feldspar . . . . . . . . . . . . . . . . . . 20
EPK Kaolin . . . . . . . . . . . . . . . . . . . . . 5
Silica . . . . . . . . . . . . . . . . . . . . . . . . . 30
100 %
Add: Spanish Red Iron Oxide. . . . . . . . 15 %
Works best on dark colored stoneware. If used
on a buff clay body, the red is less intense.
010_017_March11.indd 14 2/2/11 11:37 AM
TECHNO FILE
Because 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.
oxygen probe reading) to the end of the firing. Theoretically, this
should be simple, but in order to melt a glaze at cone 6 (2232°F,
1222°C), you need to add different fluxes, all of which have different
color responses. Boron oxide is an active flux at cone 6,
as are sodium, lithium, and zinc oxide, but each have their own
characteristics that have to be taken to consideration. For example,
zinc oxide is an excellent flux in oxidation, but if fired in reduction
it will volatilize, leaving the glaze unmelted. Boron is an excellent
flux in oxidation and reduction but can make the glaze cloudy.
Because you have to add so much flux, sometimes up to 30% frit
or Gerstley borate, it is sometimes necessary to start reduction a
bit earlier when firing to cone 6 or the glaze might seal over and
the atmosphere will not be able to act on the iron.
So, with these considerations in mind, there are several ways
to make a cone 6 blue/green celadon: move a cone 10 reduction
celadon down to cone 6 reduction; test existing cone 6 bases with
varying amounts of iron; or use stains to make blue/green celadons
in an electric oxidation firing.
Adjusting A Cone 10 CelAdon to Cone 6
Blue celadon is the most difficult color to obtain with iron, so if
we start with one of those recipes, then getting a green celadon
should be easy. Taking Pinnell Celadon, which is a cone 10 glaze,
and substituting Nepheline Syenite for the Custer feldspar should
help bring the melting temperature closer to cone 6. (Nepheline
Syenite is a feldspathoid that melts at cone 6, while most feldspar
starts melting at about cone 9.) If a straight substitution doesn’t
cause the glaze to sufficiently melt at cone 6, which it does not in
this case, start adding additional cone 6 fluxes, like frits, Gerstley
borate, lithium carbonate, or zinc oxide (for oxidation only, which
we’ll cover later), running progressions from 1–10%. In this case,
10% Gerstley borate worked well. Alternatively, finding the proper
glaze melt can be aided by glaze software, in which you get the
unity molecular formula of the glaze into acceptable limits for cone
6. You will need to retotal the recipe to 100 if you add additional
fluxes. After you find the surface you like, run iron progressions
from 1–6% to get a celadon color you like (see tiles below).
1% 2% 3% 4% 5%
The change from green or blue toward brown or black can happen with a very small change in the amount of iron.
Pinnell Celadon
Cone 10 reduction
Whiting ..................... 20.0 %
Custer Feldspar ............... 25.0
Grolleg Kaolin ................ 20.0
Silica ....................... 35.0
100.0 %
Add: Tin Oxide ................ 1.0 %
Synthetic Red Iron Oxide .... 0.5 %
Barium Carbonate* (optional) . . 2.0 %
Note: Synthetic red iron oxide is 96–99%
pure red iron, made by calcining black iron
oxide in oxidation. It is then milled to 325
mesh, which makes it ideal for celadons,
because it will enter the melt more quickly
and thoroughly. For more, see “All About
Iron,” page 14, March 2011 CM.
Pinnell Celadon Revised
Cone 6 reduction
Gerstley Borate (or substitute) ... 9.09 %
Whiting .................... 18.18
Nepheline Syenite ............ 22.73
Grolleg Kaolin ............... 18.18
Silica ...................... 31.82
100.00 %
Add: Tin Oxide ............... 1.00 %
Synthetic Red Iron Oxide ... 0.50 %
Barium Carbonate*(optional) . . 2.00 %
Use the same firing cycle as for cone 10 gas
reduction, but simply stop it at cone 6/7.
Pinnell Celadon Revised with
* You can substitute 1.5% strontium carbonate 0.5% synthetic red iron oxide
for the barium carbonate if you prefer.
on Grolleg porcelain.
exposure
for complete calendar listings
see www.ceramicsmonthly.org
1
3
2
1 Mark Pharis’ teapots, 8 in. (20 cm) in height,
earthenware, 2010. Photo: Peter Lee. 2 Paul
Eshelman’s large casserole, 11½ in. (29 cm) in length,
2011. 3 Ole Jensen’s colander, manufacturered by Royal
Copenhagen, 9 in. (23 cm) in length, tin-glazed majolica,
1994. Photo: Jeppe Gudmundsen Holmgreen. 4 Tomoo
Hamada’s vase, 10 in. (25 cm) in height, kaki glaze with
akae decoration. 5 Rob Sutherland’s jar, 12 in. (30 cm)
in height, porcelain, fired to cone 10, 2009. 6 Takeshi
Yasuda’s five bottles, 20 in. (51 cm) in height, porcelain.
“TableSpace,” at Fosdick-Nelson Gallery, NYSCC at
Alfred University (http://fosdicknelson.alfred.edu) in
Alfred, New York, through December 1.
beer in your clay by
clay culture
26 december 2011 www.ceramicsmonthly.org
16 december 2011 www.ceramicsmonthly.org www.ceramicsmonthly.org december 2011 17
6
4
Sherman Hall
there is some old pottery wisdom that suggests putting beer in your clay to make it plastic more quickly.
We put beer in clay in a way we feel is far more enjoyable.
I’ve had many conversations (many over beers) about the
use of ceramic vessels and how they relate to the enjoyment
of beverages. These conversations take two general
directions: why and how clay might be better because of
its material properties, or how it might be better because
previous generations knew something that we have lost
sight of in our rush toward progress and “newer” materials
that are preferable for reasons that have more to do
with production than utility or enjoyment. After all, the
earliest alcoholic beverage dates to 7000 BCE, and was
discovered in the pores of a ceramic vessel.
Now, many of us already enamored of clay as a material
are likely to give clay a shot at just about anything
without thinking too much about it. Well, we thought
about it, and then, because I couldn’t come up with a
better reason than aesthetics for preferring glass over clay
(not that there needs to be a better reason), we tested the
most likely chance clay has of proving itself in this role:
insulation. If you’re anything like me, that first happy
hour beer disappears fast enough that no material would
make any appreciable difference in the
temperature, but there is something to
be said for avoiding warm beer, and so
we pursued this goal undaunted.
Our Methods
We made vessels out of stoneware (3%
absorption), earthenware (8% absorption),
and porcelain (1.5% absorption)
that were the same dimensions and
thickness as a glass pint. We then filled
each with exactly one 12-ounce bottle of
beer that had been chilled to 38°F for 24
hours. Temperature was measured with
submerged thermometers that were equal
in temperature reading both immediately
prior to sumberging and directly after reaching 38°F in the beer. We
did not drink these, but let them sit as we enjoyed the same beverages
out of similar vessels. The temperature of the beer in each vessel was
recorded at 10-minute intervals, rounded to the nearest whole degree.
Our Hypothesis
You probably have your own hypothesis by now, but ours was that
the material itself would not make that much difference in practice,
except perhaps for the earthenware, because of its porous structure. We
surmised that clay vessels are, and were, often made with thicker walls
Left to right: Ummm, glass; wheel-thrown earthenware (cone 04, 8% absorption),
wheel-thrown stoneware (cone 6, 3% absorption), slip-cast porcelain (cone 6, 1.5%
absorption). All clay vessels are glazed.
Left to right: Ceramic Arts Daily Editor Jennifer
Harnetty with porcelain, Director of Operations Laura
Vermilya with stoneware, Associate Editor Holly
Goring with earthenware, the author with stoneware,
Associate Editor Jessica Knapp with porcelain.
than most glassware, and any advantage
in insulating properties would have come
from that. We also posited that we, as
makers of clay vessels, would likely enjoy
this activity more than the actual results of
our test. On this score, we were confident.
Our Results
See hypothesis. Actually, there were some
small surprises, like the fact that earthenware
jumped in temperature right away,
but then held temperature steady better
than the others. Glass, porcelain, and
stoneware were within 1 degree of one
another throughout the testing.
Material 10 min. 20 min. 30 min. 60 min.
Glass 40°F 41°F 43°F 46°F
Porcelain 41°F 42°F 44°F 46°F
Stoneware 39°F 41°F 43°F 45°F
Earthenware 43°F 43°F 44°F 46°F
Conclusion
Drink out of whatever makes you happy, at the rate that will make
your beverage the temperature you prefer.
024_029.indd 26 11/3/11 2:08 PM
CLAY CULTURE
Whether a readers 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 REVIEWS
Readers 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.
5

2013 editorial calendar
Issue Topic
JANuARy Working On-Site
We focus on the special issues and challenges
of making site-specific work and
installing work in atypical spaces.
FebRuARy Clay Comes Back
Several small US ceramic manufacturers
are seeing production jobs return to their
doors. We’ll explore why, and if it’s a
trend that’s likely to continue.
MARch Curating Clay
Putting together ceramic exhibitions comes
with its own set of challenges, and we’ll
talk to several experienced curators to get
their insight on best practices.
ApRiL More Than a Workshop
There are several workshop opportunities
that expand beyond instruction and
demonstration. Some fold in social action,
some explore environmental concerns.
MAy Emerging Artists 2013
The next generation of ceramic artists is
always present, but not always obvious.
We’ll search them out and show their work.
JuNe/JuLy/AuguSt Working Potters
With faster and more advanced communication
systems in our culture, we see many
in our field who can embrace that while
making “slow” handmade work.
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.
OctObeR 2014 Gallery Guide
Your only comprehensive ceramic gallery
and museum listing.
NOVeMbeR Outside the Studio
Ceramic art has an enormous capacity for
installation in public, outside the shop or
gallery—so why make it in the studio?
DeceMbeR Functional Discussions
Accomplished potters explain the intent
behind their signature pieces, from idea to
process to function.
9 2013 Ceramics Monthly Media Kit
Reservation
Deadline Materials Deadline Description/Bonus Distribution
November 7, 2012 November 14, 2012 • Our exclusive annual comprehensive listing of
ceramics residencies and fellowships.
• Tips and tricks for installing work, whether on the
wall, on the ceiling, or outside.
December 12, 2012 December 19, 2012 • Industryandartistsareoftenonoppositesidesofthe
socio-economic spectrum, but we’ll show how artists
can start a productive relationship with industry.
January 16, 2013 January 23, 2013 • Whetherit’stechnology,tools,concept,ortechnique,
creativity remains paramount in studio ceramics.
• DistributionattheNCECA(NationalCouncilon
Education for the Ceramic Arts) Conference.
March 19–23, 2013.
February 13, 2013 February 20, 2013 • Paired with our online SummerWorkshops listings,
we explore what makes a great workshop, and
what readers can do to get the most out of theirs.
March 20, 2013 March 27, 2013 • We shine a light on works and artists that deserve
recognition for their early career accomplishments.
• Emerging Artist Gallery Section
April 17, 2013 April 24, 2013 • From postcards to email to Etsy to blogs and social
media, marketing pottery has never been as complex
as it is today. Whether starting out or simply fine
tuning, there is always something new for artists to
add to their bag of marketing tricks.
July 17, 2013 July 24, 2013 • Undergraduate Showcase highlights the best work
being made by post-secondary students.
• Review of the NCECA National Student Juried Show
August 14, 2013 August 21, 2013 • Whether you’re looking to buy or sell, this is the
resource you need to know where to go.
• Bonus distribution to SOFA Chicago, November 2013.
September 18, 2013 September 25, 2013 • Installation or site-specific work is often most
successful when made on-site. Sometimes it cannot
reach completion unless the artist leaves room for
the place to influence the creation of the work.
October 16, 2013 October 23, 2013 • Making a teapot pour is one thing; making someone
want to pick it up and use it every day is quite
another. We’ll look at what makes ceramic design
really work beyond the basics of function.

2013 adVertising rates
Advertising Rates
SIZES 1x 3x 6x 10x 13x 16x 19x
Full Page $2,565 2,430 2,170 2,000 1,870 1,745 1,615
2/3 Page $2,055 1,950 1,745 1,595 1,490 1,380 1,290
1/2 Page Island $1,815 1,720 1,540 1,410 1,335 1,240 1,155
1/2 Page $1,640 1,575 1,380 1,290 1,215 1,120 1,030
1/3 Page $1,290 1,240 1,100 1,000 960 880 820
1/4 Page $ 980 930 825 765 720 680 625
1/6 Page $ 745 720 645 595 550 520 465
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
mthiel@ceramics.org. For Classified & Business Services advertising, contact Jan Moloney at
(614) 794-5843 or email at jmoloney@ceramics.org.
Important Dates
issUE rEsErvE bY MaTErials DUE Mail
January Nov. 7, 2012 Nov. 14, 2012 Dec. 11, 2012
February Dec. 12, 2012 Dec. 19, 2012 Jan. 15, 2013
March Jan. 16, 2013 Jan. 23, 2013 Feb. 12, 2013
April Feb. 13, 2013 Feb. 20, 2013 Mar. 12, 2013
May Mar. 20, 2013 Mar. 27, 2013 April 16, 2013
June/July/August Apr. 17, 2013 Apr. 24, 2013 May 14, 2013
September Jul. 17, 2013 Jul. 24, 2013 Aug. 13, 2013
October Aug. 14, 2013 Aug. 21, 2013 Sep. 10, 2013
November Sep. 18, 2013 Sep. 25, 2013 Oct. 15, 2013
December Oct. 16, 2013 Oct. 23, 2013 Nov. 12, 2013
Information
EffEcTivE DaTE
January 2013 issue
frEqUEncY
Monthly except the June/July/August issue.
covEr raTEs
Covers 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%.
10 2013 Ceramics Monthly Media Kit
prEfErrED posiTions
Preferred positions are sold on a non-cancelable fourcolor
basis for the contract year. The rate for special
positions is the earned color rate plus 10%.
agEncY coMMission & TErMs
15% 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 aDvErTising
See pages 14 and 15 for details.
Artist: Christopher Melia
insErTs anD Tip-ons
Subject 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
issue). Contact publisher for specifications, quantities,
shipping instructions and rates.

Production SPEciFicAtionS
Advertisement sizes
2 Facing pages 16 ½" x 10 7/8"
Full page 8 1/4" x 10 7/8"
Full page (with bleed) 8 ½” x 11 1/8”
2/3 page 4 5/8" x 10"
½ page island 4 5/8" x 7 3/8"
½ page (vertical) 3 3/8" x 10"
½ 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"
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: Perfect
Mechanical Requirements
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
jmoloney@ceramics.org.
11 2013 Ceramics Monthly Media Kit
Artist: Peter Biddulph

ceraMic arts 2014
a looK
aheaD
A Yearbook and Annual Buyers Guide
Defining the State of Clay for 2014
➤ 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
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 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 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.
12 2013 Ceramics Monthly Media Kit
Events you won’t want to miss
The most comprehensive distribution
available and guaranteed to put your
message into the hands of the most
avid potters.
celebrating artists
Ceramic Arts 2014 will be mailed to
Ceramics Monthly and Pottery Making
Illustrated subscribers with the
November and November/December
issues respectively.

2013 arts guides
NCECA GUIDE advertising rates
SIZES 1x 3x 6x 10x 13x 16x 19x
Full Page $865 820 735 685 630 590 555
2/3 Page $695 665 590 545 495 470 435
½ Page Island $615 580 520 475 450 425 385
½ Page $555 540 470 435 415 380 350
1/3 Page $430 425 370 335 320 300 285
1/4 Page $330 315 285 260 245 230 215
1/6 Page $255 245 225 210 195 190 160
Add color: $350 for Full page, 2/3 page, 1/2 island; $240 for 1/2 page, 1/3 page; $185
for 1/4 page, 1/6 page
Reserve By: February 6, 2013
Materials Due: February 13, 2013 | Posting Date: February 25, 2013
WORKSHOP Handbook advertising rates
SIZES 1x 3x 6x 10x 13x 16x 19x
Full Page $1,720 1,635 1,465 1,345 1,265 1,170 1,085
2/3 Page $1,375 1,315 1,170 1,070 1,005 945 865
½ Page Island $1,235 1,155 1,035 960 905 825 775
½ Page $1,095 1,055 945 865 810 755 700
1/3 Page $ 865 825 740 685 640 590 560
1/4 Page $ 660 625 560 520 480 450 425
1/6 Page $ 495 480 435 410 365 350 315
Add color: $350 for Full page, 2/3 page, 1/2 island; $240 for 1/2 page, 1/3 page;
$185 for 1/4 page, 1/6 page
Reserve By: April 10, 2013
Materials Due: April 17, 2013 | Mail Date: May 17, 2012
Ceramic Arts 2014 advertising rates
SIZES 1x 3x 6x 10x 13x 16x 19x
Full Page $2,710 2,580 2,310 2,110 1,980 1,840 1,710
2/3 Page $2,165 2,060 1,840 1,680 1,580 1,460 1,355
½ Page Island $1,930 1,815 1,625 1,490 1,410 1,305 1,230
½ Page $1,735 1,660 1,460 1,355 1,280 1,195 1,085
1/3 Page $1,355 1,305 1,165 1,060 1,005 930 875
1/4 Page $1,035 980 875 815 755 710 655
1/6 Page $ 785 755 685 625 575 550 485
Add color: $695 for Full page; $590 for 2/3 page, 1/2 island, 1/2 page;
$415 for 1/3 page, 1/4 page, 1/6 page
Reserve By: September 6, 2013
Materials Due: September 11, 2013 | Mail Date: October 15, 2013
13 2013 Ceramics Monthly Media Kit
HOUSTON, TX | MARCH 20–23, 2013
Reach 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 notification posted on
Ceramic Arts Daily.
clay workshop
HANDBOOK
Brought to you by the publishers of
Knowledge and Techniques for the Studio
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.
CERAMIC ARTS RTS 2014 YEARBOOK
This comprehensive guide and studio reference is the
first 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.
2012

ceraMic arts daily
rEacH
THE fasTEsT
GrowinG market
Ceramic Arts Daily puts you in direct contact.
➤ 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, stepby-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 offers 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
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14 2013 Ceramics Monthly Media Kit
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15 2013 Ceramics Monthly Media Kit
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conTacT
Editorial Director
SHERMAN HALL
(614) 895-4220 | shall@ceramics.org
Associate Editor
HOLLY GORING
(614) 895-4213 | hgoring@ceramics.org
Associate Editor
JESSICA KNAPP
(614) 794-5895 | jknapp@ceramics.org
Editorial Assistant
ERIN PFEIFER
(614) 794-5867 | epfeifer@ceramics.org
Production Editor & Graphic Design
MELISSA BURY
(614) 895-4215 | mbury@ceramics.org
Production Assistant
KEvIN DAvISON
(614) 794-5855 | kdavison@ceramics.org
Marketing Manager
STEvE HECKER
(614) 794-5809 | shecker@ceramics.org
National Sales Account Manager
MONA THIEL
(614) 794-5834 | mthiel@ceramics.org
Advertising Services Representative
JAN MOLONEY
(614) 794-5843 | jmoloney@ceramics.org
Ceramic Arts Daily video Program Manager
Managing Editor - Ceramic Arts Daily
JENNIFER POELLOT HARNETTY
(614) 895-4212 | jharnetty@ceramics.org
Audience Development Manager - Ceramic Arts Daily
SANDY MOENING
(614) 794-5862 | smoening@ceramics.org
Webmaster - Ceramic Arts Daily
SCOTT FRESHOUR
(614) 794-5871 | sfreshour@ceramics.org
Potters Council Senior Manager
CAROLYN DORR
(614) 794-5824 | cdorr@ceramics.org
Pottery Making Illustrated Editor
BILL JONES
(614) 895-4219 | bjones@ceramics.org
Publisher
CHARLIE SPAHR
(614) 794-5876 | cspahr@ceramics.org
www.CeramicArtsDaily.org 600 N. Cleveland Ave. | Suite 210 | Westerville, Ohio | 43082