Collage can be a useful art form and a means of self-expression. This title covers gathering materials, generating ideas, painting with paper, working in layers, using text, and keeping a visual journal. It presents a series of workshop assignments, each designed to relate the technique and format of a collage to its subject.

Over the past forty years, American film has entered into a formal interaction with the comic book. Such comic book adaptations as Sin City, 300, and Scott Pilgrim vs. the World have adopted components of their source materials' visual style. The screen has been fractured into panels, the photographic has given way to the graphic, and the steady rhythm of cinematic time has evolved into a far more malleable element. In other words, films have begun to look like comics. Yet, this interplay also occurs in the other direction. In order to retain cultural relevancy, comic books have begun to look like films. Frank Miller's original Sin City comics are indebted to film noir while Stephen King's The Dark Tower series could be a Sergio Leone spaghetti western translated onto paper. Film and comic books continuously lean on one another to reimagine their formal attributes and stylistic possibilities. In Panel to the Screen, Drew Morton examines this dialogue in its intersecting and rapidly changing cultural, technological, and industrial contexts. Early on, many questioned the prospect of a "low" art form suited for children translating into “high” art material capable of drawing colossal box office takes. Now the naysayers are as quiet as the queued crowds at Comic-Cons are massive. Morton provides a nuanced account of this phenomenon by using formal analysis of the texts in a real-world context of studio budgets, grosses, and audience reception.

Timed for the 60th anniversary, the iconic and influential first issue of the Fantastic Four by Stan Lee and Jack Kirby, deconstructed by award-winning designer Chip Kidd; with text by novelist Walter Mosley, Marvel editor Tom Brevoort, and historian Mark Evanier; and photographs by Geoff Spear The first issue of Fantastic Four by legendary creators Stan Lee and Jack Kirby introduced fans to a now-iconic team of Super Heroes--Mister Fantastic, the Invisible Girl, the Human Torch, and the Thing--ushering in the modern Marvel Age of comics. Kirby's artistic contributions in this comic book revolutionized visual storytelling and brought a new reality to the way comics stories could be told, the ripple effects of which continue to influence comic book art to this day. Sixty years after its publication in November 1961, this stunning reimagining by award-winning graphic designer Chip Kidd uses an original copy of the comic book (which initially sold for ten cents and now sells for astronomical prices in good condition) to present the classic story in a whole new way that is sure to engage both lifelong fans and the latest generation of Marvel enthusiasts. The book also includes text by bestselling novelist Walter Mosley, Marvel editor Tom Brevoort, and historian Mark Evanier (Kirby: King of Comics). Stunningly photographed by award-winning photographer Geoff Spear, Fantastic Four no. 1 is showcased as you've never seen it before--oversized and remastered--a panel-by-panel exploration of the entire issue that captures every single detail and nuance of Lee's story and Kirby's groundbreaking artwork, making it a must-have for every comic book collection.

The 2010 Astronomy and Astrophysics Decadal Survey report, New Worlds, New Horizons in Astronomy and Astrophysics (NWNH), outlines a scientifically exciting and programmatically integrated plan for both ground- and space-based astronomy and astrophysics in the 2012-2021 decade. However, late in the survey process, the budgetary outlook shifted downward considerably from the guidance that NASA had provided to the decadal survey. And since August 2010-when NWNH was released-the projections of funds available for new NASA Astrophysics initiatives has decreased even further because of the recently reported delay in the launch of the James Webb Space Telescope (JWST) to no earlier than the fourth quarter of 2015 and the associated additional costs of at least $1.4 billion. These developments jeopardize the implementation of the carefully designed program of activities proposed in NWNH. In response to these circumstances, NASA has proposed that the United States consider a commitment to the European Space Agency (ESA) Euclid mission at a level of approximately 20 percent. This participation would be undertaken in addition to initiating the planning for the survey's highest-ranked, space-based, large-scale mission, the Wide-Field Infrared Survey Telescope (WFIRST). The Office of Science and Technology Policy (OSTP) requested that the National Research Council (NRC) convene a panel to consider whether NASA's Euclid proposal is consistent with achieving the priorities, goals, and recommendations, and with pursuing the science strategy, articulated in NWNH. The panel also investigated what impact such participation might have on the prospects for the timely realization of the WFIRST mission and other activities recommended by NWNH in view of the projected budgetary situation. The panel convened a workshop on November 7, 2010. The workshop presentations identified several tradeoffs among options: funding goals less likely versus more likely to be achieved in a time of restricted budgets; narrower versus broader scientific goals; and U.S.-only versus U.S.-ESA collaboration. The panel captured these tradeoffs in considering four primary options: Option A: Launch of WFIRST in the Decade 2012-2021; Option B: A Joint WFIRST/Euclid Mission; Option C: Commitment by NASA of 20 percent Investment in Euclid prior to the M-class decision; or Option D: No U.S. Financing of an Infrared Survey Mission This Decade.