2019 persp ctivee MEDIA KIT...healthcare, hospitality, education, and retail spaces—and...
Transcript of 2019 persp ctivee MEDIA KIT...healthcare, hospitality, education, and retail spaces—and...
2019 Media Kit perspective 1
2019
KITMEDIA
p e r s p c t i v ee
2019 Media Kit perspective 2
DEAR PERSPECTIVE ADVERTISER:
Perspective is the thought leadershipjournal of IIDA, the commercial interior design association with global reach. Collectively written and edited by design journalists in collaboration with IIDA, Perspective offers fresh points of view, bleeding-edge case studies of interior design today—including workplace, healthcare, hospitality, education, and retail spaces—and thought-provoking deep dives into the issues shaping the industry. Targeted to a dedicated readership of design principals, design directors, and professionals practicing at every level in the industry in firms around the world, the magazine offers readers a unique “perspective” that designers appreciate, share, and archive for future reference and inspiration.
As an Association, IIDA promotes the industry of commercial interior design and supports designers who play an active role in determining how the complexities of the built environment affect society at large. As an extension of IIDA, Perspective reaches beyond your local community of interior designers, engaging an audience of more than 15,000 members across 58 countries—many of whom are practicing at the highest levels in the industry—with a distinctive voice and clear purpose.
Show your support of the industry while reaching influential design professionals with your messaging and products. Based on our surveys of Perspective readership: • 63% saved their Perspective for future reference.• 29% filed an ad for future reference. • 25% discussed an ad with a colleague. • 81% say they learned from the ads.
We have special advertising opportunities for IIDA Industry Members, including complimentary half-page ads for new members.
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my W
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Cheryl S. Durst, Hon. FIIDA, LEED APEXECUTIVE VICE PRESIDENT AND CEO
FROM IIDA
Perspective reaches beyond your local community of
interior designers, engaging an audience of more than
COUNTRIES.58
15,000MEMBERS
ACROSS
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“
2019 Media Kit perspective 3
MISSION Published three times a
year by IIDA, Perspective is
unique from other design
publications. The thought
leadership magazine focuses
primarily on the professional
practice of interior designers,
the business of design firms,
and the development and
education of the design
community. Perspective
features a range of voices
from individual practitioners
to the world’s largest design
institutions, from clients to
educators, manufacturers to
social influencers. The goal
of each issue is to expose
readers to a diverse set of
methods and approaches to
the practice of design, and
show how design deliverables
and outcomes can be
affected by these ideas.
ABOUT IIDAIIDA is the commercial interior design
association with global reach that
supports design professionals, industry
affiliates, educators, students, firms, and
their clients through a network of 15,000+
members across 58 countries. IIDA
advocates for advancements in education,
design excellence, legislation, leadership,
accreditation, and community outreach
to increase the value and understanding
of interior design as a profession that
enhances business value and positively
impacts the health and well-being of
people’s lives every day.
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EXPER
IEN CEREDESIGNING GENDER
THE REAL DEAL
SUPERMARKET SHIFT
SAFE SPACES
READY FOR TAKEOFF
p e r s p c t i v ee
DESIGN IS LIFE. IIDA IS DESIGN.IIDA.org | Spring 2018
IIDA March 2018 COVER.indd 1 2/26/18 10:36 AM
AWARDSPerspective consistently receives coveted honors from an array of respected
associations year after year. Perspective’s distinguished awards include:
ASAEGOLD
CIRCLE AWARDS
Winner, Print Magazine,
2016
OZZIE AWARDS
Silver Award, Best Overall Design, Association/
Non-Profit, Spring 2008
Winner, Redesign, Association/
Non-Profit, Fall/Winter 2016
Gold Award, Magazine Redesign,
Fall/Winter 2016
Silver Award, Excellence,
2011
Silver Award, Design
Excellence, 2011
Gold Award, Design
Excellence, 2010
Gold Award, Single Topic
Issue, Summer 2007
EXCEL AWARDS CONTENT MARKETING ASSOCIATION AWARDS
Best Print Publication – Design, 2017
Best Print Publication – Design, 2018
Best Association Publication – Honorable
Mention, 2018
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TYPICAL CLIENTS OF OUR READERS are 88% commercial and 12% residential.
READERSHIP
Our readers TAKE ACTION when
they see a product or service ad in
Perspective that interests them.
63% saved Perspective for
future reference.
38% clipped or copied an article.
29% filed an ad for future reference.
25% discussed an ad with a colleague.
21% passed an ad on to others.
Our members’
AREAS OF PRACTICE include:
34% Corporate
17% Residential
14% Healthcare
14% Hospitality/Retail
6% Facility Planning & Design
6% Government/Institutional
Our members specify the
following types of PRODUCTS AND SERVICES: 76% Paints/interior finishes
75% Carpet
75% Floor covering
74% Fabric
68% Tile/granite/stone
67% Laminates
62% Wall coverings
62% Contract/commercial
60% Lighting/commercial
59% Hardware/fixtures/accessories
59% Contract systems furniture/panels
35% Kitchen/bath
33% Decorative accessories
26% Arts/craft
25% Lighting/residential
25% Outdoor/casual furnishings
21% Residential furniture
T The IIDA professional audience is the
most coveted in the design industry.
Ninety percent of our professional
members working in the commercial
design industry are employed by the top
200 architecture and design firms.
Perspective readers are commercial interior
design leaders working on the cutting edge
of design. And they turn to Perspective to
keep them informed on what’s new and
next: 82% learn about new products from
our members, and 4 out of 5 members learn
about new products from magazine ads.
Interior designers specify more than
in products and services each year. $46 billion
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A completely reimagined feature well
and mix of departments explore the
topics that matter most to commercial
designers:
• design trends and innovation
• humanity + culture
• business + leadership intelligence
• industry developments
• global advocacy
18 perspective iida.org/perspective spring 2018 perspective 19
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GENDERREDESIGNING
As the cultural conversation shifts beyond binary ideas of gender, designers are starting to reconsider what makes a space inclusive.By Kate Rockwood
EDITORIAL
SUPERMARKET
SHIFTBy Novid Parsi
Evolving expectations among shoppers and ever-expanding tech offerings are shaking up the grocery store. Retailers must redesign and reimagine—or be prepared to check out.
EXPERIENCE A NEW PERSPECTIVE
Perspective feature stories showcase fresh voices,
bold POVs, and thought-provoking deep dives into
the issues transforming today’s interior design
in every sector:
• The ROI of pop-up experiences in the retail,
restaurant, and hospitality industries
• Designing inclusive spaces for individuals with
sensory disorders
• How a paradigm shift in higher education is
transforming campus design
• Rethinking office spaces in light of
technology advancements
READERS WALK AWAY SMARTER—READY TO CHANGE THE WORLD.
DESIGN IS LIFE. IIDA IS DESIGN.
SAFESPACES
As the fear of violent
incidents around the
world increases, designers face
the challenge of protecting the
public from threats while still
bringing beauty to interior spaces. By Steve Hendershot
24 perspective iida.org/perspective spring 2018 perspective 25
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Designers are
turning to data and
employee input to
hone the programming
process. Armed with
information, they’re
creating custom spaces
that fit the true needs of
a business.
By Shaila Wunderlich
THE For the Vitra-SwissCoTec offices, located in the Design District of Dubai, United Arab Emirates, Pallavi Dean Interiors worked to create a space that embodies the Vitra mission to improve the quality of homes, offices, and public spaces through the power of design.
Pallavi Dean, founder, Pallavi Dean Interiors,
Dubai, United Arab Emirates
spring 2018 perspective 15
Stats + Design + Analysis | DATA VIZ
14 perspective iida.org/perspective
TALK, TALK | 2 Designers On 1 Topic
A By | Emily Brooks
TWO INDUSTRY LEADERS deconstruct tech
advancements that are creating new opportunities in
lighting design.
Advancements in lighting design technology are helping the field carve out a bigger place in the interior design world. “Among architects and interior designers, there is now a better understanding than I’ve ever seen before of the impact of the application of light,” says Paul Nulty, founder of lighting design company Nulty, which has offices in London, England; Dubai, United Arab Emirates; and Beirut, Lebanon.
Nulty has worked on projects such as hotel and members’ club The Ned in London and the Bloomingdale’s in Kuwait City, Kuwait. He recently spoke about what the future might hold for the industry with Suzan Tillotson, IALD, MIES, president of Tillotson Design Associates, New York, New York, USA. Tillotson’s portfolio includes the New European Headquarters for Bloomberg and the Diane von Furstenberg Studio in New York.
PERSPECTIVE: What are the major changes
that you see coming for the lighting industry in
the next five to 10 years?
SUZAN TILLOTSON: I don’t think the way we design lighting will change, but I do hope that the way we deliver lighting will change, and that means we’ll need new products. Although the products have changed enormously in the last five to 10 years, there’s not enough creative reimagining by manufacturers of what lighting could be: We’re still limited to linear sources and point sources. In theory, now that LED point sources are so small, the sky is the limit, so I’m hoping for great changes.PAUL NULTY: To me, it’s a much bigger picture than just the hardware and more about the software—the way products are used. It’s about the application of light to improve quality of space. We are really starting to think about how people use space; however, I utterly hate the term “human-centric lighting.” People have been lighting space with other people in mind for a very long time. We must not let manufacturers take
Source: 2017 American Express Restaurant Trade Survey, American Express; Restaurant 2025, Oracle, 2017
The latest restaurant obsession isn’t a hot new pop-up spot or shakshuka. It’s technology. And designers need to be ready to integrate it into future projects without falling for the latest shiny tech toy.
SERVING UP TECH
Would find voice ordering via smartwatches or wearables INVASIVE
66% Guests paying by wearables
54% Gathering guest feedback by voice
46% Using facial recognition and 3D imaging for security
44% 3D printing cutlery/plates
Say being able to adjust lighting/music in a
restaurant by voice would IMPROVE their experience
Say facial-recognition software would IMPROVE
their experience
Would find being served by a robot INVASIVE
Restaurant owners and managers are looking at going digital to enhance customer experience.
And that’s only the appetizer. Restaurant operators expect more cutting-edge tech advances to go mainstream by 2025.
But how much tech are diners willing to stomach?
Restaurant operators also predict tech will have a significant role in planning and design by 2025:
7% Use automated customer service technology such as digital kiosks or tableside ordering
26% Plan to or are considering adopting it in the future
Predict mass adoption of location planning using artificial intelligence
60%Predict mass adoption of site design/flow optimization through virtual reality
53%
38% 49% 41% 50%
over, offering products that are “human-centric compatible.” What does that mean? It’s garbage.
PERSPECTIVE: How is LED technology
going to develop?
TILLOTSON: We have incredible controllability with LED and color chips. It’s opened up this amazing world, where brands can have their own specific color of light: Gucci and Michael Kors, for example, can have their own color of white. It’s really great in terms of branding, but I’m not sure anyone but a few of these high-end luxury retailers know that this is now available. It goes back to that issue of color and light and its effect on people.NULTY: In a recent project for Estée Lauder, we built a whole new LED chip specifically for lighting skin tone, tinkering with phosphate mixes to improve color rendering. In retail, these clever tricks to aid sales are becoming more important.TILLOTSON: We have incredible controllability with LED and the color chips, but there are some risks. Some manufacturers are promoting these products as good for your health. For example, they’ll say that changing the light to a warmer shade during the day improves your well-being. But I think that puts designers in a dangerous place because these marketing tactics are really directed toward laypeople. As lighting designers, we must educate clients about the pitfalls of blindly accepting what is told to them about these products.
PERSPECTIVE: Is it hard keeping up with
the latest scientific research that might
have an impact on the way you work in
the future?
NULTY: It’s hard to keep up with the latest research, but it’s important that we do keep up with it. Lighting designers can be inward looking, and I
don’t think there’s enough looking outward to other industries. The scientific research we do see tends to come from product manufacturers, who have greater R&D budgets.
—Suzan Tillotson, IALD, MIES
“
I don’t think the way we use lighting will change,
but I do hope that the way
we deliver lighting will
change, and that
needs new products.
Suzan Tillotson, IALD, MIES
Paul Nulty
“
56 perspective iida.org/perspective
Merch Martp. 57
WHYTHISDESIGNWORKS | Breaking Down a Design
TThis Austrian museum celebrates the history of the humblest of foods: bread. Paneum is the brainchild of Peter Augendopler, owner of bread company backaldrin, who commissioned architecture firm Coop Himmelb(l)au to design the building and its interiors. The curvy structure houses an exhibition of 1,200 objects, including Egyptian grain mummies and the second-oldest bakers book in the world, which belonged to the Brotherhood of Bakers of Padua. The exhibition was designed by Gruppe Gut, Bolzano, Italy. “The exhibition area is based on the idea of a contemporary Wunderkammer—a cabinet of curiosities,” says Wolf D. Prix, founder of Coop Himmelb(l)au. “The design helps to create an element of wonder.” Exhibits line the curved walls and hang in the void of a spiral staircase. “It gives the room a dynamic pull,” says Prix, who adds that “the curved lines allow the visitor—in the truest sense of the word—to circle all areas of the exhibition.” —Emily Brooks
RISING CURIOSITIES
PROJECT DETAILS:Paneum —Wunderkammer des Brotes (“House of Bread”)Asten, Austria
DESIGNER: Coop Himmelb(l)au
OPENED: October 2017 Ph
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Inspired by artist Maurizio Cattelan’s installation at the Solomon R.
Guggenheim Museum, the more unusual exhibits are suspended in the staircase.
The inner wall of the staircase is used as a
gallery for paintings.
The atrium is enclosed by a freestanding
spiral staircase
so visitors can view the
exhibits.
Timber on the floors and walls provides
a sense of warmth that is a counterpoint to the staircase.
Curved walls gently guide visitors up and around the
two-story museum.
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INSIDER INTEL | What’s Next
“ “Gift shops have started
being more like retail stores.
—George Anthony Gottl, CEO, UXUS, Amsterdam,
Netherlands
INDUSTRY QUICK TAKE: George Anthony Gottl, CEO, UXUS, Amsterdam, Netherlands
PERSPECTIVE: How are museums renewing focus on gift shop design?
GEORGE ANTHONY GOTTL: As government funding starts to dry up—in Britain, for example, 45 per-cent of national museums reported a decrease in public funding between 2015 and 2016, according to the Museums Association—museums are beginning to understand how important commerce is in terms of being able to support the museum’s activities. Gift shops have started being more like retail stores. They offer a broader spectrum of products. Museums themselves are becoming manufacturers and retailers.
PERSPECTIVE: How is this changing design?
GOTTL: You have to really pay attention to how products are being presented. That’s a big difference between the old gift shop and the new retail experience. The products are really showcased to their best potential; it’s about enticement and seduction.
Flexibility is also a critical part of it. One of the focuses of our design for the Tate Modern gift store in London, England was to make sure they could accommodate all of the different [products featured in the space]—not only the product ranges that mirror the museum shows, but also their own unique products and the extensive book collection.
We developed bespoke gondola display units that can be adapted to showcase everything from pillows, stationery, and notebooks to clothing, jewelry, and posters. They are like mini boutiques that frame the product within the cavernous space.
PERSPECTIVE: What are the challenges of creating a store within a wider museum space?
GOTTL: The Herzog & de Meuron space at the Tate Modern was challenging to work with, as it was so vast. We had to figure out how to display things like earrings in such a cavernous and architecturally stunning interior. It’s an awe-inspiring, cathedrallike space, but that’s not good for shopping, so we had to bring everything down to human scale.
Lighting is critical when it comes to display, so we dropped a lighting grid down from the ceiling in order to light products properly, and some of the display units carried their own lights.
We used black steel to blend with the industrial flavor of the space but also introduced different types of wood. The store won’t age because it’s tied to the architecture of the building.
Taking Stock of the MUSEUM SHOP
October 23 - 27, 2018Cologne, Germany
www.orgatec.com
EXHIBITORS: • 670+ • 40 countries
VISITORS:• 56,000
• 118 countries
ORGATEC - New visions of workAttend the one and only fair for o�ce interiors!
85% of trade visitors have purchasing authority 95% of trade visitors would recommend visiting ORGATEC to a close business associate
Contact our Koelnmesse Chicago o�ce for exhibit and visitor info: 773-326-9920
The Tate Modern gift shop, designed
by UXUS.
IIDA-March2018-G-Back.indd 52 2/26/18 12:02 PM
EDITORIALON WORKPLACE, HEALTHCARE, HOSPITALITY, EDUCATION, RETAIL SPACES—AND MORE.
QUICK TAKES
NEXT What’s new and of
note, wrapped up in
chunky bits, photos,
stats, and quotes
TALK, TALK Two designers dissect
a current topic
(and maybe even
debate a bit)
SCRATCH PAD
Books, movies,
and art to
cultivate creativity
INSIDER INTELThe inside scoop on a
featured sector
PRE/POST The ever popular
before-and-after, but
this one’s done with
style and smarts
WHY THIS DESIGN WORKS
Designers break down
the highlights
IIDA NEWS + UPDATES
The latest programming,
publications, and
events
2019 EDITORIAL CALENDAR
2019 Media Kit perspective 6
March 2019 Issue Features
Modernity Meets History
The Future of Materials Manufacturing
The Psychology of Sharing
Flexibility: The Next Frontier
June (NeoCon) 2019 Issue Features
Special IIDA 25th Anniversary Content
Reimagining the Mall
What Hotel Execs Want
That Creative Spark
Standing Up on Sitting
✹ BONUS DISTRIBUTION AT NEOCON
November 2019 Issue Features
Decreasing Trauma Through Design
Design’s Next 25 Years
Fashion + Interior Design
Prepared for the Worst
2019 Media Kit perspective 7
ADVERTISING
AD SIZE FULL SPREAD
AD SIZE COVER/FULL PAGE
AD SIZE 1/2 PAGE HORIZONTAL
AD SIZE 1/2 PAGE VERTICAL
MARCH ISSUEAd Close January 24Materials Due January 31
JUNE ISSUEAd Close April 15Materials Due April 24
NOVEMBER ISSUEAd Close September 25Materials Due October 4
MEMBER RATEFULL SPREAD FOUR-COLOR B&W1x $10,700 $7,8002x $9,800 $7,3003x $9,270 $7,000
NON-MEMBER RATEFULL SPREADFOUR-COLOR B&W1x $11,400 $8,2002x $11,000 $7,8003x $10,300 $7,400
MEMBER RATECOVERFOUR-COLOR 1x $9,0002x $7,7003x $7,200
NON-MEMBER RATECOVERFOUR-COLOR1x $10,6002x $10,0003x $9,600
MEMBER RATEHALF PAGEFOUR-COLOR B&W1x $3,600 $2,7002x $3,100 $2,4003x $2,900 $2,300
NON-MEMBER RATEHALF PAGEFOUR-COLOR B&W1x $4,000 $3,1002x $3,600 $3,000
3x $3,400 $2,800
MEMBER RATEFULL PAGEFOUR-COLOR B&W1x $5,400 $3,9002x $5,000 $3,6003x $4,600 $3,400
NON-MEMBER RATEFULL PAGEFOUR-COLOR B&W1x $6,000 $4,1202x $5,600 $3,9003x $5,300 $3,700
2018 GROSS RATES
SPECS W x HTrim 8.375” x 5.37”Bleed 8.625” x 5.7083”Safe Area 7.7917” x 4.7917”
SPECS W x HTrim 16.75” x 10.875”Bleed 17.00” x 11.125”Safe Area 15.75” x 9.875”
SPECS W x HTrim 8.375” x 10.875”Bleed 8.625” x 11.125”Safe Area 7.7917” x 10.2917”
DEADLINES Members say they learn about new products from magazine ads.
4/5
SPECS W x HTrim 3.625” x 10.875”Bleed 4.125” x 11.125”Safe Area 3.375” x 9.875”
2019 Media Kit perspective 8
Digital Submission Instructions For Print AdvertisingAd materials are to be supplied as digital files in the preferred PDF/X-1a:2001 format. To match the color expectations of our advertisers, Emerald Expositions requires the PDF/X-1a:2001 file format and a SWOP proof for each ad submitted. Advertiser/agency accepts full responsibility for reproduction variations between the digital file and the printed image for ads submitted in non-preferred formats. Non-adherence to the preferred format may necessitate production fees. Emerald Expositions is not responsible for making corrections to supplied files.
Customer-supplied digital files and SWOP proofs will be retained for up to three months following publication date and then destroyedunless otherwise requested in writing.
PDF/X-1a:2001 File PreparationAdherence to the following guidelines in application file preparation will aid in successful file conversion:• Create ad layouts in a professional
desktop publishing program such as Adobe InDesign® or QuarkXPress™.
• Create one PDF/X-1a file per ad or ad page; spread ads must be submitted as two single page files.
• Orientation: Set native application files in portrait mode at 100% with no rotations. Color: Define all colors as CMYK process. Unintended spot color and or Pantone colors must be converted to CMYK process. RGB, LAB and ICC based colors are not allowed. Black & white images should be saved as single channel black only before placing them into the page. Nested grayscale or nested single channel black may become 4/C when printed. Delete any unused colors.
• Images: Must be high resolution SWOP-compliant with a resolution of 300dpi for CMYK and 1200dpi for black & white images. OPI selections should be turned off. Do not nest EPS files within other EPS files. Save images in TIFF or EPS format, with no embedded color management profiles.
• Total area ink density for color images should not exceed SWOP standard of 300%.
• All ads must be created to trim specification with crops (printer marks) set at trim dimensions placed 12 pts outside the bleed area. Bleed must extend 1/8″ beyond trim. Keep live matter a minimum of 3/8″ from trim edge.
• Type: Fonts must be embedded. Use Postscript Type 1, Open Type or TrueType fonts only. Text containing thin lines, serifs or small lettering should be restricted to one color.
• Layers within any Adobe application file must be flattened. Opacity — all objects, artwork or effects in the document should be set at a maximum of 99 percent before flattening layers.
• Generation of acceptable PDF/X-1a:2001 files is done by the output of a Postscript file (.ps) which is then distilled through Adobe Acrobat Distiller using the PDF/X-1a setting to avoid font, transparency and layering issues. It is recommended that the PDF file be certified PDF/X-1a:2001 using a PDF preflight utility like Adobe Acrobat Professional (version 6 or higher) or Enfocus PitStop.
• For expanded, program specific instructions, please visit:http://www.lsccom.com/prepress/prepare/for-magazine-printing/.
Proofing RequirementsA SWOP certified proof is required for all color ads. Proofs must be representative of the supplied file at actual size and display aprinter’s color control bar. Alternative proofing formats will be used for content only. Visit www.swop.org for a complete list of current certified proofing options. When calling for spot color (Pantone) usage on press, clearly indicate such on the suppliedproof.
NEW PORTAL! New Portal! Please register and submit your PDFX1/a ad file via SendMyAd: emeraldexpoadservices.sendmyad.com/
E-mailed ad submissions are NOT acceptable.
PRINT SUBMISSIONS
FOR MORE INFORMATIONContact Grace Casey at 646-668-3706 or [email protected] for more information regarding these specifications or shipping address.
2019 Media Kit perspective 9
CONTACTSSALESDONNA PAGLIA, SALES DIRECTOREmerald Expositions
T: 216.373.1210
PUBLISHING KAREN DONAGHY, PUBLISHER
Emerald Expositions
T: 646.668.3761
PRODUCTIONGRACE CASEY, PRODUCTION MANAGER
Emerald Expositions
T: 646.668.3706
MATERIALS SUBMISSIONRefer to page 8 for submission guidelines,
requirements, and contact information.
Ad portal: emeraldexpoadservices.sendmyad.com/
Perspective offers advertisers an
opportunity to engage readers while
they maintain their professional
credentials with a three- to five-page
sponsored CEU. The sponsor’s content
will be laid out as an advertorial with
logos clearly spotlighted. In addition,
a CEU questionnaire is added to
the section by the IIDA Education
Department to direct traffic to the
sponsored CEU contribution. Upon
publication in Perspective, the
sponsored CEU is also added to the IIDA
website on the online CEU options page.
Sponsors also receive a full-page, 4/C ad
that will appear in a different section of
the issue at no additional charge.
Specifications for Your Supplied CEU Content• Submit 750 to 1,200 words
(600 words at a minimum).
• Copy should be written in
an editorial tone.
• Please substantiate factual
statements with references.
• Forward images you wish to have
considered for inclusion in your
article as jpeg or tiff format in digital
high resolution, 300 dpi or more.
• Save on a CD or DVD.
• Limited to three images per advertorial.
IIDA retains sole right of editorial
approval over your final submission
to ensure all submissions conform to
Perspective’s grammar and editorial
tone standards. You will receive a
copy of the final, IIDA-edited article
prior to publication.
As we are concerned about the integrity
of graphics and preserving the design
standards of the publication, we cannot
guarantee photos, slides, or diagrams
will be incorporated. The entire editorial
staff at Perspective will do its best to
produce your article in the manner
submitted. However, we do retain the
right to final editorial approval over all
written and graphic materials.
Sponsorship Fees$8,000 for a 4-page sponsored CEU
Speak with your advertising sales
representative for corresponding issue
deadlines.
INDUSTRY IN-DEPTH CEU SPONSORSHIP