2013 Pottery Making Illustrated Media Kit - Ceramic Arts Daily

editorial eXPerts and contents
1 2013 Pottery Making Illustrated Media Kit
media Kit 2013

Welcome
Time To
Celebrate
Charlie Spahr
Publisher
Bill Jones
Editor
2 2013 Pottery Making Illustrated Media Kit
In 2013, Pottery Making Illustrated celebrates
its 15th anniversary. Since the first issue
was published in 1998, the magazine has
filled a much needed spot in the world of
ceramic art by offering studio potters timely
information on materials, techniques,
supplies and equipment.
Beginning as a quarterly with 3,500
subscribers, we’ve increased the frequency
to six times a year, and more than tripled
the circulation. Being able to provide more
information to more potters more often has
been one of our proudest achievements.
Since we began, many things have changed
in the world. The once fledgling internet is
now a major influence in our lives, and the
handheld device revolution will be a major
factor for everyone in the next 15 years.
But clay? It maintains its place in our fastpaced
digital world as a haven for people,
young and old alike, to take refuge in
a tactile real world that engages all the
senses as no other craft can.
In 2013, PMI readers will spend at least as
much, if not more, time and resources on
ceramics. Our commitment is to see that
Pottery Making Illustrated continues to meet
their needs so that their time in the studio
continues to be enjoyable.
Artist: Lisa Pedolsky
CONTENTS
Our Readers 3
Your Audience 4
Reader Activities 5
Purchasing Activities 6
Editorial Mission 8
2013 Editorial Calendar 9
2013 Advertising Rates 10
Production Specs 11
Ceramic Arts 2014 12
Ceramic Arts Guides 13
Ceramic Arts Daily 14
Contact Information 16

our readers
Pmi is a Great
tool for learninG
Types of readers*
Enthusiasts 55%
Professionals (derive income) 49%
Educators/teachers 31%
* Individuals can be in more than one category
An overwhelming majority of readers feel PMI
is effective for learning about ceramic artsrelated
tools and supplies.
12.6%
Somewhat
Effective
40%
Effective
Source: Pottery Making Illustrator subscriber survey July 2012.
3 2013 Pottery Making Illustrated Media Kit
47%
Very Effective
0.3% Not Very Effective
9%
Beginner
(learning
fundamentals)
31%
Advanced
(mastered
most aspects)
Artist: Nick Ramey
Skill level in making ceramic art
60%
Intermediate
(mastered some
aspects)

Your audience
Pmi reaches More
SubSCriberS
Pottery Making Illustrated
subscribers save issues for future reference
10%
Save most
issues
Pottery Making Illustrated subscribers
go through most or all of every issue
Front to back 80%
Look at most pages 18%
3%
Save half
the issues
Look at half the pages 1.2%
Look at less than half the pages 0.7%
Source: Pottery Making Illustrated subscriber survey July 2012.
4 2013 Pottery Making Illustrated Media Kit
84%
Save all issues
3%
Save less
than half
the issues
Pottery Making Illustrated reaches
more than 58,000 subscribers and
pass-along readers. In addition to the
paid monthly circulation and retail
distribution, Pottery Making Illustrated
also offers bonus distribution at
high-profile art conferences including,
NCECA, community centers, workshops
and events.
Pottery Making Illustrated
primary subscribers +
pass-along recipients
Total paid/requested circulation 14,771
Average pass-along recipients/copy 2.97
Total pass-along recipients/issue 43,867
TOTAL MARKET REACH 58,638
From the Publisher’s Statement for the
September/October 2012 issue. Pass-along
information from the Pottery Making Illustrated
subscriber survey July 2012.
Artist: Sam Scott

eader activities
PMI subscribers teach and train others*
Teaching courses 42%
Teaching workshops, seminars 36%
Delivering presentations at exhibitions 31%
*Individuals can be in more than one category
PMI subscribers enjoy spending
time in the studio each month
37%
11–20 day/mo.
25%
21–31 day/mo.
38%
1–10 day/mo.
Lisa Orr discovered L&L
in the 1980’s with a used
kiln built in the 1960’s.
Toll Free: 877.468.5456
5 2013 Pottery Making Illustrated Media Kit
“I discovered L&L when I
bought a beautiful used L&L
kiln in the 1980’s that had been
built in the 1960’s. I used it for
years. These kilns keep looking
new for decades because of
the element holders. Now with
the zone control, they fire
absolutely evenly from top to
bottom. All of this excellent
engineering, along with their
reasonable prices, make L&L
the best electric kiln on the
market.”
L&L Kiln’s
patented
hard
ceramic
element
holders
protect your kiln.
Lisa Orr has been a
professional potter and student
of ceramics for over 25 years.
She completed an MFA at the
NYSCC at Alfred University in
1992 and later received grants
including a Fulbright and a
MAAA/NEA. Her work is in
numerous public and private
collections including the Fine
Arts Museum of San Francisco
and the San Angelo Museum
of Fine Arts. Currently she
teaches, lectures and shows
nationally.
➊ Save Money
UPGRADE YOUR KILN
L&L Kilns last years longer because the hard element holders
protect the brick. Also we protect the electronic controls by
keeping them away from the heat. Everything about the
kiln is built with EXTRA materials and care. We don’t
cost less but you get a lot more for your money.
➋ Eminently Repairable
Anyone can fix an L&L Kiln with a screwdriver and a
wrench. Our unique hard ceramic element holders make
changing elements something
even a novice can do.
Servicing an L&L control
panel is a dream - it pulls
down and stays perpendicular
to the kiln - for easy viewing
and working.
➌ Shop!
1) Google “L&L Kilns”!
2) Call toll free 877.468.5456
and ask for a recommended
Distributor.
3) See hotkilns.com/distributors
for a listing of Authorized L&L
Distributors.
Pottery Making Illustrated subscribers
read all or most of the issues
Toll Free: 877.468.5456
Swedesboro, NJ 08085
L&L Kiln’s
patented hard
ceramic element
holders protect
your kiln.
May/June 2012
90%
Read all issues
9%
Read
most
issues
.5%
Read less
than half
the issues
Layer Layer by by
Layer Layer
SUMMER
SPECIAL
Also Also in in
This This Issue Issue . . .
Buy an L&L Kiln
with a Furniture
Kit and get a FREE
Vent-Sure Downdraft
vent
Coiling Coiling with with Slabs Slabs
Fast-Firing Fast-Firing Saggars Saggars
Throwing Throwing Bowls Bowls
To Improve their skills, 84% of
Pottery Making Illustrated readers
expect to attend workshops in
the next two years.
Nesting Nesting Bowls Bowls
Jan/Feb 2012
Also Also in in This This Issue Issue . . . . . .
Sculpting Sculpting the the Figure Figure
Go Go with with the the Flow Flow
Split Split Personality
Personality
Pouring on
the glaze
Also in
This Issue . . .
Making Flameware
Building Abstractions
Perfect Desserts
.5%
Read half the issues
July/Aug 2012

Purchasing activities
how advertiSinG
workS For YoU
Readers rely on
Pottery Making Illustrated
95%
Feel that PMI is a unique
medium to learn about
techniques & tools
Pottery Making Illustrated readers take action based
on ads in the magazine
Saved an advertisement for future reference 56%
Discussed a product with others involved in ceramic arts 58%
Source: The Pottery Making Illustrated subscriber survey July 2012
6 2013 Pottery Making Illustrated Media Kit
Pottery Making Illustrated
subscribers expect to maintain
or increase their level of
spending for products and
services over the next two years.
Trend in expenditures for next two years
Increase 32%
No Change 48%
Decrease 20%
Phoned or emailed an advertiser or visited their website 74%
Passed information in an ad onto other potters 46%
Other 1.8%
Artist: Lyla Goldstein
Artist: Courtney Murphy

Purchasing activities
aUdience
buyinG Power
Ownership of ceramic materials, tools,
equipment and supplies
Prepared clay 95%
Raw materials 63%
Prepared glazes 75%
Hand tools 98%
Molds 49%
Clay mixers/pug mills 16%
Kilns 79%
Wheels 81%
Slab Rollers 47%
Extruders 39%
Studio furniture (racks, shelves, tables, etc.) 55%
Artist: Jen Mecca
7 2013 Pottery Making Illustrated Media Kit
Artist: Jen Mecca
Purchasing activities of PMI subscribers
Currently Will
Purchased in the likely/possibly
within purchasing purchase within
past 24 Mos. process next 24 Mos.
Prepared clay 64% 68% 44%
Raw materials 63% 56% 40%
Prepared glazes 62% 52% 48%
Hand tools 71% 49% 42%
Molds 67% 23% 36%
Clay mixers/pug mill 30% 9% 60%
Kilns 63% 10% 36%
Wheels 72% 12% 22%
Slab rollers 56% 8% 41%
Extruders 52% 3% 46%
Studio furniture 56% 20% 50%

editorial mission
Pottery Making Illustrated is unique because it is
100% dedicated to tips, tools and techniques.
The Process
4 5
Drape a ½-inch thick clay slab over a bisque hump mold.
Trim the edge and immediately attach a foot ring.
6 7
After the base layer of stencils is secure, apply a layer of
slip over the surface.
After allowing the clay to set up overnight, attach a coil
rim to the platter.
Mask all areas that you want to remain bare with latex and Tack the first stencil down with water once you’re satis-
let set for 24 hours under plastic.
fied with the placement.
8 9
Sgraffito areas of drawing into the surface. Note the crop
duster stencil still under the slip.
24 PotteryMaking Illustrated | May/June 2012 PotteryMaking Illustrated | May/June 2012 25
STEP-BY-STEP FORMAT
Professional potters sharing their knowledge, techniques and projects in PMI’s unique well-illustrated
step-by-step format.
instructors file
Ty Johnson’s Bird Feeders
by Annie Chrietzberg
T
y Johnson is a sculptor and a resident artist at the
Eye of the Dog Art Center in San Marcos, Texas.
His interest in functional sculpture has led him to
make bird feeders with chambers that hold, and then dispense
bird seed as it’s consumed from a platform that’s
usually the open mouth of a quirky clay creature.
Building the Snout
Ty starts his clay pieces by making several 3 ⁄8-inch-thick
slabs using a slab roller. He uses a coarse, open whitestoneware
clay body with medium grog. After transferring
the slab to a ware board, he uses a metal rib held at
a 45° angle to the slab and smooths the surface in crisscrossing
strokes to both remove the canvas texture and to
compress the surface. His intention is to add strength to
the slabs and to thin them slightly. The final slabs used to
construct the feeders are at least a 1 into the back end that will dispense the seed into the back
of mouth of the feeder (figure 3).
Next, he adds side slabs, looking something like dog
jowls (figure 4), molding them into animated shapes.
Now for the dental work, Ty pinches clay into fangs, cuts
the ‘root’ of the teeth into penetrating angles, and plunges
them into the jaw line to firmly set them (figure 5).
The base is the neck of the dog, and he makes this piece
by cutting an 8-inch-diameter circle out of a slab, then
⁄4-inch thick. Once the
slabs are prepared, he cuts the shapes freehand.
To begin making a dog-shaped bird feeder, Ty cuts
out an elongated, blunt triangle (figure 1), and domes it
into the shape of a dog’s snout. This is going to the be
the chamber that holds the bird seed, so he gives it a lot
of volume. He sets the domed snout on another slab,
traces and cuts around it, scores the two pieces, sprays
the scored areas, and attaches the pieces (figure 2). Once
those are together, he sets the larger semi-circular end
Wild Thing Bird Feeders/ Spot Dog, 14 inches (36 cm) in
(the back of the dog’s snout, toward the eyes) on another
length, medium grog stoneware, Spectrum high-fire white
slab, and repeats the joining procedure to complete the glaze with added yellow iron oxide, Spectrum high-fire
seed chamber. He leaves an opening only at the nose, black glaze, Mayco Stroke & Coat red and green color
which is the filling point. Ty then cuts a half-circle hole spots, fired to cone 9 electric.
1
Cut out a blunt triangle from a prepared slab that is about
1 /4 inch thick.
Dome the blunt triangle, and attach it to another slab to
make the dog’s snout, which will hold the bird seed.
PotteryMaking Illustrated | March/April 2012 41
INSTRUCTORS FILE
Practical information and lesson plans educators can
implement in their curriculum.
8 2013 Pottery Making Illustrated Media Kit
2
10 11 12
Mask out any areas of corn that fall
within the dust stencil using latex.
13 14
When the surface returns to leather hard, peel the protective
latex coating off of the corn imagery.
15 16
Sgraffito in the corn tassels and any other details you
would like to add.
FEATURE ARTICLES
With the dust stencil set, brush under- Apply the canary stencils and more unglaze
into the unprotected space. derglaze, then remove the bird stencils.
Next remove all layers of stencils and clean up any areas
where the slip bled under using a sgraffito tool.
If single firing, apply glaze prior to removing latex from
the rim and foot.
tips from the pros
Clay Molds and Wildflowers
by David Scott Smith
s artists, we are constantly
reflecting on the Amotivations
behind our
ceramics. Where does our work
come from, and what makes
our work (and us!) so unique
and individual?
I have a love for flowers,
especially wildflowers, that I
can trace back to when I was
a young boy. My step-grandfather,
Charles Parsons, has
always been a great inspiration
for me—for 18 years he owned
Coldwell Florist in Spokane,
Washington, and after ‘retirement’
he worked for 15 years
as Instructor of Horticulture at
Spokane Community College.
Floral design, plant propagation,
landscaping—these are
all areas of Charlie’s expertise.
But he also has a great love for
plants that flower naturally in
the wild, and some of my fond-
est memories were chasing wildflowers
with my grandfather.
Wildflowers are usually as
delicate as they are beautiful. Sometimes only a few
inches tall, their cycles might last a brief couple of days
to a week, and each warm spring day welcomes new
growth, and new flowers. If you live in the mountains,
you can follow blooms with the elevation as the snow
recedes; but even the first few weeks of spring on the
flatlands are a riot of flowers that will disappear with the
heat of summer.
Capturing Delicate Textures
When I first started exploring mold-making in the early
’90s, I only worked with plaster. Try making a mold of
a wildflower with plaster sometime—it’s a catastrophe.
So for years I made molds of easily castable objects and
shied away from plants and flowers. However, some
years back I started using clay to make molds, which
12 PotteryMaking Illustrated | May/June 2012
Charlie Parsons, the author’s grandfather, collecting
and admiring wildflowers.
opened up a whole new arena
of possibilities.
We are all familiar with
sprig molds, or simple stamps
and rollers made with clay.
However, there’s no reason
why a bisque clay mold can’t
be as large as you want (or as
large as you can fire in your
kiln). I’ve found that clay
molds give you the opportunity
to easily cast textures that
are nearly impossible with
plaster. I have clay molds of alligator
skin, insects, tree bark,
carpet, lace, braids of hair—
and of course wildflowers!
The best part is, once you’ve
made the mold, you can use it
for just about anything. I’ll use
the same mold for slab-built
pots, lamps, fountains, tile, etc.
And if you keep your molds
clean (and never use a ‘release’
agent) they will last almost
indefinitely. I remember when
I first started using large clay
molds I foolishly thought I had
developed the technique, and a professor showed me the
work of Bernard Palissy (French ceramist, 1510–1590),
not to mention the ceramic work of a dozen ancient cultures.
People have been using clay molds for thousands
of years, and if you buried your bisque molds below the
frost line someone could dig them up in a thousand years
and use them. In many respects, clay molds are superior
to plaster, and certainly easier to make.
Making the Mold
I prefer a smooth high-fire clay body for making bisque
molds. For small or delicate flowers and leaves I use a
slab about ¼-inch thick, but you can use a thicker slab
for plants with more relief. First, carefully wipe the slab
smooth of any texture; I use a lightly dampened sponge,
but you can also use a rubber rib.
TIPS FROM THE PROS
Focuses on tested techniques from professional potters
who share their secrets.
Easy-to-follow and well-illustrated techniques allow readers to quickly learn new skills. With practical information
on tools and supplies, they’re able to make sound decisions about what they need for even greater success.
I
SPLIT SPLIT SPLIT
Personality
by Judith Berk King
Making Making a a Platter Platter
My My two-dimensional two-dimensional drawings drawings tend tend
to be very very precise, precise, and and I prefer prefer white white
earthenware earthenware to make make the the platters platters so the the
drawings drawings remain remain bright bright and and crisp. crisp. I’ve I’ve
also also found found that that a smoother smoother surface surface is easier easier
to draw draw on using using underglaze underglaze pencils, pencils, so using using
a fine fine grogged grogged clay clay and and smoothing smoothing out out the the areas areas
where where you you plan plan to draw draw your your images images prior prior to drying drying
and and bisque bisque firing firing works works best. best.
To build build the the platter, platter, roll roll a slab slab of clay, clay, place place it on a hump hump
mold mold and and trim trim it to a desired desired shape. shape. Refine Refine the the seams seams and and
edges, edges, preserving preserving some some irregularities irregularities in the the form form and and surface surface
that that add add to the the character character of the the finished finished piece. piece. Add Add three three
feet feet with with holes holes in them them so that that the the platter platter can can be either either disdis- ’ve always been fascinated by early interpretations of playedplayed flat flat or hung hung on the the wall. wall. Having Having three three feet feet instead instead
the natural world. Explorers and scientists depicted of four four ensures ensures that that it won’t won’t wobble, wobble, and and when when hung hung up the the
insects, reptiles, and other creepy crawlies in their third third foot foot keeps keeps the the platter platter parallel parallel to the the wall. wall. Use Use a level level
natural habitats, hunting and devouring their prey. on each each pair pair of feet feet while while the the platter platter is still still upside upside down down on
While drawing these creatures, I began to put myself in the the mold mold to make make sure sure the the platter platter will will sit flat flat when when turned turned
their shoes: What would I long to snack on if it were me? right-side-up. right-side-up. Bisque Bisque fire fire the the platter platter to cone cone 04. 04.
How wonderful it would be to come upon a doughnut as Prepare Prepare the the bisqued bisqued platter platter by brushing brushing on a coat coat of a
large as a chair, or to have it rain gumdrops!
diluted diluted underglaze underglaze (figure (figure 1) (a light light golden golden underglaze underglaze is
A split personality is sometimes hard to deal with: What used used here) here) and and then then wiping wiping off off as much much as possible possible with with
to do when half of you wants to draw and paint, and a damp damp sponge. sponge. This This accentuates accentuates any any texture texture you’ve you’ve left left
the other half wants the immense satisfaction of making on the the platter, platter, giving giving the the final final image image more more depth. depth. Once Once
things in clay? At some point I had a eureka moment, thoroughly thoroughly dry, dry, the the surface surface is ready ready for for an image. image.
and realized that I could have it all by creating images
on a clay ‘canvas’. Through this daydream, a collision of
worlds has developed where Candy Land meets David At- Drawing Drawing a a detailed detailed image image on on paper paper serves serves both both as as a a pattern pattern
tenborough’s nature documentaries; where the repellent for for transfer transfer to the the bisqueware bisqueware and and as a reference reference for for the the
encounter the delectable. Now the utilitarian ceramic ob- actual actual painting painting (figure (figure 2). I create create a drawing drawing in pencil, pencil, scan scan
ject becomes a canvas for a unique personal fantasy world it into into the the computer, computer, and and then then use use Photoshop Photoshop to finish finish the the
of scientific investigation and sumptuous tidbits, where work work and and scale scale it to the the desired desired size. size. This This step step isn’t isn’t crucial crucial
everyone gets their just desserts.
but but it’s convenient. convenient. The The design design and and color color scheme scheme can can be re-
Candy Rain reflects the artist’s daydreams about candy
raining down from the sky and her studio dreams of
combining her love of drawing and of clay.
Creating Creating and and Preparing Preparing an an Image Image
A
PotteryMaking PotteryMaking Illustrated Illustrated | July/August July/August 2012 2012 17 17
MM
by by Richard Richard Phethean Phethean
aking aking bowls bowls requires requires different different skills skills to to makmak- hollowed hollowed down down to to about about 12 12 mm mm (½ (½ in.) in.) and and opened opened out out
inging cylindrical cylindrical pots, pots, with with perhaps perhaps the the most most with with a a curved curved base. base.
significant significant difference difference being being the the switch switch of of emem- With With the the wheel wheel turning turning at at medium medium speed, speed, lubricate lubricate the the
phasisphasis from from the the exterior exterior outline outline of of the the form form to to wall wall inside inside and and out out and and place place your your fingertips fingertips at at the the base base of of
the the interior interior surface surface and and shape. shape. Broadly Broadly speaking, speaking, all all forms forms the the inside inside and and outside outside of of the the opened opened ball ball (figure ( 1).
develop develop from from a a narrower narrower diameter diameter than than they they have have in in their their Lift Lift the the wall wall upwards upwards into into a a flowerpot flowerpot shape shape (figure ( 2).
final final form, form, so so where where a a cylinder cylinder grows grows from from a a cone cone shape, shape, I I find find the the fingertips fingertips to to be be adequate, adequate, and and more more sensitive sensitive to to
a a bowl bowl grows grows from from a a flowerpot flowerpot shape. shape.
subtle subtle variations variations in in thickness, thickness, for for throwing throwing small small bowl bowl
We We can can of of course course make make bowls bowls with with flat flat bases, bases, but but when when shapes. shapes. Lightly Lightly compress compress the the rim rim with with your your fingertips. fingertips.
making making a a bowl bowl with with a a rounded rounded interior interior form, form, a a second, second, disdis- Slow Slow the the wheel wheel for for subsequent subsequent pulls. pulls. Gently Gently flare flare the the
tincttinct refining refining and and finishing finishing process process is is used used at at the the leatherleather- walls walls outwards outwards and and take take care care not not to to over-thin over-thin the the middle middle
hardhard stage. stage. The The process process is is known known as as trimming trimming or or turning, turning, (figure (figure 3). 3).
and and is is used used to to create create a a ‘foot-ring’ ‘foot-ring’ on on which which the the form form stands. stands. You You have have reached reached the the final final width width and and height: height: A A ‘V’ ‘V’ shape shape
Note Note that that the the shape shape of of your your centered centered clay clay needs needs to to vary vary rises rises from from a a curved curved interior interior base, base, sloping sloping outwards outwards gently gently
according according to to the the width width of of form form you you intend intend to to make. make. In In the the to to the the rim rim like like the the bell bell of of a a trumpet. trumpet. It It is is always always a a good good
diagram diagram on on p. p. 34, 34, the the centered centered dome dome shape shape is is superimsuperim- idea idea to to steady steady and and reinforce reinforce the the rim rim by by briefly briefly using using the the ‘H’ ‘H’
posedposed over over the the cross cross sections sections of of three three generic generic forms. forms. hold hold (finger (finger inside, inside, thumb thumb outside, outside, horizontal horizontal finger finger lightly lightly
compressing compressing the the rim) rim) (figure ( 4).
Sponge Sponge dry dry the the interior interior then then use use a a rounded rounded rib rib to to form form
When When you you are are making making wider, wider, open, open, or or shallow shallow forms, forms, the the the the shape shape and and finish finish the the inside inside surface surface of of the the bowl bowl (figure (
speed speed of of the the wheel wheel needs needs to to slow slow more, more, and and slow slow sooner, sooner, 5). 5). Press Press the the rib rib firmly firmly into into the the center center of of the the bowl, bowl, angled angled
as as the the form form grows, grows, or or the the centrifugal centrifugal force force can can cause cause the the slightly slightly in in the the direction direction of of the the wheel’s wheel’s spin, spin, and and slide slide up up
pot pot to to collapse. collapse. To To make make small small bowls bowls for for cereal, cereal, soup, soup, or or into into the the wall wall with with decreasing decreasing pressure pressure to to compress compress the the clay clay
dessert, dessert, or or for for making making tea tea cups cups and and saucers, saucers, use use around around and and to to unify unify the the curve curve of of the the base base with with the the wall wall to to cre- cre
350–650 350–650 350–650 grams grams grams of of of clay. clay. clay. Here Here Here I’m I’m I’m using using using 600 600 600 grams. grams. grams. The The The ate ate a a seamless, seamless, continuous continuous shape. shape. Support Support the the wall wall on on the the
clay clay clay has has has been been been centered centered centered into into into a a a slightly slightly slightly shallower shallower shallower dome, dome, dome, outside outside with with the the fingers fingers of of the the right right hand hand and and form form a a con- con
Throwing Throwing a a Small Small Bowl Bowl
A Question of
balance by
Throwing
Bowls Bowls Bowls
Works by Arthur Gonzalez in the 2009
Contemporary Monsters installation at Northern
Clay Center in Minneapolis, show his interest in
conveying enigmatic stories through both two
dimensional imagery and sculptural figures.
Photograph courtesy of the artist and the Northern
Clay Center. Edith Garcia’s new book Ceramics
and the Human Figure includes an interview with
Gonzalez, as well as a description of how he builds
his sculptures, which are excerpted here.
Edith Garcia
rthur Gonzalez is a phenomenally prolific artist material. Through observation, I learned to sling slabs
whose career has spanned more than 30 years. into unpredictable shapes and then fired them. I would
For the last five years Gonzalez has focused on then oil paint on them with imagery that would appear
retelling the tale of Pinocchio, creating works to be responding to the various shapes of the clay canvas.
that deal with the concept of truth and myth within so-
How would you describe your work?
ciety. Currently he is focusing on the writing of Frank
I realize that others classify me as a narrative artist but
Stella, and the notion that the common thread in all art is
I actually see myself as a student of the nature of story.
a displacement of atmosphere, which constitutes a figure/
When the figure is placed in a context of relationship with
ground relationship or the subject/object relationship.
other objects, formats, and space, the viewer is trained to
How did you get started in clay?
subconsciously go into various modes of thinking. As a
I was trained as a photorealist painter; however, this pro- consequence, a need to relate to the work in a narrative
cess was too controlling and predictable to me. I needed to manner is created. I explore this phenomenon. The work
explore a more experimental practice. I was searching for often has no true ‘story’; it is however primed for the
another surface to paint onto. I theorized that an amor- nature of narrative. Lately, I have come to the realization
phous shaped surface would force me to respond to the that I am in league with personal symbolism as well. I
edge in a different manner and, as a consequence, I would now can see the power of the mutant symbol (the com-
be making art that was less predictable. After watching bination of morphing two or more symbols, creating a
the ceramics instructors Robert Brady and Peter Vanden- hybrid symbol). As a consequence I believe I can create
berge at California State University in Sacramento, where a kind of ‘sentient’ symbol that will point the way to
I was studying, I realized that clay would be the perfect further meaning.
PotteryMaking Illustrated | July/August 2012 29
PotteryMaking PotteryMaking Illustrated Illustrated | May/June 2012 33

2013 editorial calendar
Issue Topic Reservation Deadline Materials Deadline Description/Bonus Distribution
January/February Texas Potters
Features ceramic artists and
potters from Texas and the
techniques they use.
March/April Handbuilding
The slab roller, extruder and
hand tools open up a world
of opportunities for projects
and ideas.
May/June Throwing
Using the wheel puts a
creative spin on making
all kinds of work from
functional to sculptural.
July/August Mid-Range
A look at a variety of
forming, finishing, and firing
techniques in the
mid-range.
September/October Surface Decoration
The surface offers as many
opportunities as forming—
one of our hottest topics!
November/December Functional
Step-by-step techniques
for making and finishing
projects in time for the
Holidays.
9 2013 Pottery Making Illustrated Media Kit
November 21, 2012 November 28, 2012 • Begin the new year showcasing your best
products and services. This issue features a
variety of techniques from active Texas potters.
• Bonus distribution: NCECA 2013, Houston, TX
January 23, 2013 January 30, 2013 • This issue focuses on handbuilding techniques for
both sculptural and functional projects. Look for a
variety of innovative techniques from the pros.
March 27, 2013 April 3, 2013 • As summer approaches we’ll focus on the wheel
and throwing. Pros will offer advice and provide
insights on various techniques.
May 22, 2013 May 29, 2013 • As ceramic artists look for more opportunities, we
present a series of techniques dealing with midrange
temperatures – clay, glaze, decorating and
more.
July 24, 2013 July 31, 2013 • We’ll explore different aspects of decorating and
some of the unusual techniques perfected by
talented ceramic artists.
September 25, 2013 October 2, 2013 • Making functional work requires the right forms,
the right clays and the right glazes. We’ll look
at ways to improve the odds of success for the
studio artist intent on making gifts.

2013 advertising rates
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
1/2 page Island $1,235 1,155 1,035 960 905 825 775
1/2 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: $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
Jan/Feb Nov. 21, 2012 Nov. 28, 2012 Dec. 18, 2012
Mar/Apr Jan. 23, 2013 Jan. 30, 2013 Feb. 19, 2013
May/Jun Mar. 27, 2013 Apr. 3, 2013 Apr. 23, 2013
Jul/Aug May 22, 2013 May 29, 2013 June 18, 2013
Sep/Oct July 24, 2013 July 31, 2013 Aug. 20, 2013
Nov/Dec Sept. 25, 2013 Oct. 2, 2013 Oct. 22, 2013
Information
eFFecTive daTe
January/February 2013 issue
FreqUencY
Bimonthly
cover raTes
Covers 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%.
10 2013 Pottery Making Illustrated Media Kit
PreFerred PosiTions
Preferred 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 & 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 11/2% monthly is assessed.
Artist: Kip O’Krongly
websiTe adverTising
See pages 14 and 15 for details.
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/April issue). Contact the publisher
for specifications, quantities, shipping instructions
and rates.

Production sPecs
Artists: Linda and Charlie Riggs
11 2013 Pottery Making Illustrated Media Kit
Ad sizes Specifi cations
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"
Publication specifi cations
➤ 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
Mechanical requirements
FILES: A press-quality PDF is preferred (with all fonts embedded). Other fi le formats
accepted are JPEG, TIFF, EPS and most major Macintosh page-layout programs.
FONTS: Type 1 fonts are required. TrueType fonts will be replaced with the closest
match available.
ART: All placed images, graphics, logos, and fonts must be included.
RESOLUTION: Line art, 1200 dpi; color art, 300 dpi. Low-resolution images will be
resampled to appropriate levels as needed.
COLOR: All color images must be set to CMyK output with no ICC or CIE color profi les
attached. A hard-copy proof is required in order for color to be considered critical.
The publisher cannot be held responsible for the reproduction quality if the proofi ng
requirements are not met or if materials are submitted past closing date.
HALFTONES: Black-and-white halftones should be set to gray scale.
Files may be submitted on CD-ROM or FTP.
Please label artwork with the Issue Date, Advertiser Name, File Name.
For proofs and fi le transfer instructions, contact Jan Moloney at
jmoloney@ceramics.org.

ceramic arts 2014
a looK
aHead
A Yearbook and Annual Buyers Guide
Defi ning 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 auctio n, or an anniversary, artists will be able to catch up on
news of the fi eld or just savor the memories of the past year.
➤ The latest products. A run-down of new tools and equipment, clay
and glaze lines, enhancements and innovations
➤ Artists acknowledged. Ceramic art relies on the greater 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 Pottery Making Illustrated 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
1/2 Page Island $615 580 520 475 450 425 385
1/2 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, ½ island; $240 for ½ page, 1⁄3 page;
$185 for ¼ page, 1⁄6 page
Reserve By: February 6, 2013
Materials Due: February 13, 2013 | Posting Date: February 25, 2013
CLAY 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
1/2 Page Island $1,235 1,155 1,035 960 905 825 775
1/2 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, ½ island; $240 for ½ page, 1⁄3 page;
$185 for ¼ page, 1⁄6 page
Reserve By: April 10, 2013
Materials Due: April 17, 2013 | Mail Date: May 17, 2013
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
1/2 Page Island $1,930 1,815 1,625 1,490 1,410 1,305 1,230
1/2 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, ½ island, ½ page;
$415 for 1⁄3 page, ¼ page , 1⁄6 page
Reserve By: September 6, 2013
Materials Due: September 11, 2013 | Mail Date: October 15, 2013
13 2013 Pottery Making Illustrated 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 notifi cation
posted on Ceramic Arts Daily.
clay workshop
HANDBOOK
Knowledge and Techniques for the Studio
Brought to you by the publishers of
M O N T H L Y
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 2014 YEARBOOK
This comprehensive guide and studio reference is the
fi rst place our 26,000+ unduplicated readers turn to
for researching equipment and supplies before placing
orders. They’ll also keep it on hand as a reference
throughout the year.
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 off ers tips, techniques, projects,
demonstrations, reports, and step-by-step instructions.
➤ Ceramic Arts Daily’s full-time staff constantly adds new materials
to build your audience.
➤ Ceramic Arts Daily delivers your message to a growing, actively
engaged, and connected market.
“thank you for your multiple emails.
Your vision, great information and
professional approach is nothing short
of WoW!” —diane h. art teacher
14 2013 Pottery Making Illustrated Media Kit

ceramic arts dailY sPonsorshiPs
CHooSe anY
combinaTion
To reach our Ceramic Arts Daily audience.
Sponsor a topic
Ceramic Arts Daily has 40 specifi c
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possibly several of these topics,
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You can either have exclusive
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➤ Own It
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15 2013 Pottery Making Illustrated Media Kit
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One of the most popular features
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Since 2007, Ceramic Arts
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Editor
BILL JONES
(614) 895-4219 | bjones@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
Artist: Richard Phethean
Editorial Director
SHERMAN HALL
(614) 895-4220 | shall@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
Publisher
CHARLIE SPAHR
(614) 794-5876 | cspahr@ceramics.org
www.CeramicArtsDaily.org 600 N. Cleveland Ave. | Suite 210 | Westerville, Ohio | 43082