The 2015 Dinosaur Gift Guide

The winter solstice rapidly approaches, and the advertising world's constant hum has risen to an insistent howl. If you've got an enthusiast of prehistory in your life and are looking for something special to give them, Love in the Time of Chasmosaurs has you covered. Last year, I posted a three-part guide to independent paleoartists (parts one, two, and three) who all deserve attention and patronage, and whose work would delight fans of paleontology. Since most of those listings are still active, go check them out.

This year, I'm featuring a fresh assortment of individual products, some from paleoart veterans, some from new names. As usual when I do list-y sort of stuff, I'm not pretending to enshrine a definitive List To Rule All Lists. These are cool dinosaur gift ideas that caught my fancy, and I think they have a fair chance of catching other fancies, so let's let the fancy-catching begin.

Ricardo Delgado's "Age of Reptiles: Ancient Egyptians"

Ricardo Delgado has returned with a new batch of Mesozoic comics, this time focusing his eye on Cretaceous Egypt. The collected Age of Reptiles: Ancient Egyptians is now available for preorder, with a release date of January 19.

Fred Wierum's "The Amazing Age of Dinosaurs" coloring book

Fred Wierum has been on an impressive paleoart streak this year, with a bunch of great work for #drawdinovember, his tyrannosaur resting in golden light, and a recent stunning tribute to Pixar's The Good Dinosaur. So pick up a copy of his coloring book!

Levi Hastings' "Claws, Spikes, and Dinosaur Stripes" coloring book

Since one totally excellent dinosaur coloring book is never enough, purchase a copy of illustrator Levi Hastings' tribute to mesozoic fauna, Claws, Spikes, and Dinosaur Stripes. More abstracted in style than Wierum's work, it's full of dynamic compositions begging for pigmentation.

John Davies' "Cucumbertops and Other Animals of the Veggiesaur Kingdom"

Even more fanciful than Hastings' work is the charming book by Jon Davies, Cucumbertops and Other Animals of the Veggiesaur Kingdom. Perfect for that vegetarian paleofanatic in your life.

Juan Carlos Alonso and Greg Paul's "Ancient Earth Journal: Early Cretaceous"

None other than Gregory S. Paul has returned to the bookshelves with his illustrations for Juan Carlos Alonso's Ancient Earth Journal: The Early Cretaceous. And if that's not quite enough GSP under the tree, grab one of his "Your Inner Dinosaur" calendars.

R.A. Faller's "Genderfluid Jobaria" illustration, from the "Pride Dinosaurs" series

This year, illustrator and character designer R.A. Faller created a series called "Pride Dinosaurs", celebrating the diversity of human sexuality. They are available on a wide variety of formats at Redbubble, but to just pick one, how about Polyamorous Prosaurolophus on a laptop skin?

Matt Martyniuk's "Ascent of Birds" illustration

Matt Martyniuk runs a Redbubble shop for his PanAves publishing imprint. I especially love the Proto-Birds and "Ascent of Birds" posters.

Brynn Metheny's "Saur" calendar

If your dinosaur-smitten loved one also nurses a serious astronomical obsession, Brynn Metheney's "Saur" calendar will do the trick, featuring a year's worth of astronaut dinosaurs.

Angela Connor's Kaprosuchus with boars illustration, from her "Copy Croc" collection

Angela Connor (ICYMI, read my April 2015 interview with her) has made an adorable set of prehistoric croc mugs, featuring Pakasuchus, Laganosuchus, and Kaprosuchus. They're fun plays on the animals' nicknames: cat-croc, pancake-croc, and boar-croc.

Gareth Monger's "Yi qi Express"

Gareth Monger has a bunch of cool stuff at his Redbubble shop, and my favorite is definitely this toon Yi qi. Hilarious, perfect, would be pretty great on a mug. A WWII bomber art-inspired depiction of a notorious weirdo of a flying dinosaur? What a time to be alive.

The cover of "Mammoth is Mopey," by Jennie and me

Finally, the children's book I published this year with my wife, Jennie, is raising money for the Jurassic Foundation, so half of your Mammoth is Mopey purchase goes to funding the researchers who make all of the delightful depictions of prehistoric life you've seen in this post possible. Every limited edition hardcover order comes with an expanded ebook. You can order them here.

Vintage Dinosaur Art: Dinosaur Skeletons

Regular readers will know that I can't get enough of dinosaur pop-up books, having reviewed several over the years, and 1991's Dinosaur Skeletons is a worthy addition to the canon. Intriguingly, the book's concept is remarkably similar to that of 1984's Dinosaurs - a Lost World in Three Dimensions, only with considerably more up-to-date artwork - the titular skeletons are the pop-ups, while fleshed-out dinos are confined to the 2D illustrations. Not to worry - even a skeleton can threaten to take your eye out, especially when there's a mouth full of pointy teeth thrust in one's general direction.

The cover features a quite Sibbickian Torosaurus alongside a slightly iffy rendition of its skull (orbit's too big), which still works to get our attention. Note the fetching borders and decoration, which will be put to good use inside. All of the illustrations are by Bob Cremins.

The first animal to feature is Apatosaurus, and while hardly looking all thrusting and Paulian, it's nevertheless notable for holding its tail straight out behind it (except where curled to fit the page) - and that's without mentioning that glorious colour scheme. It's refreshing to see a sauropod of any era, never mind the early '90s, decked out in such a striking striped-and-spotted livery. While the animal is depicted simply standing around eating (rather than engaged in Brontosmash or whatever is fashionable among the kids these days), the single partially raised foot adds a subtle sense of motion that was always lacking in older kids' book palaeoart. (Mostly 'cos sauropods' legs were normally hidden by a good ten feet of water, but still.)

Unlike its fleshy counterpart, the skeletal Apatosaurus is still dragging its tail along - although it was probably based on an old skeletal mount. For the most part the pop-up skeletons in this book, while being necessarily simplified, are really rather good - just check out Apatosaurus' wacky-looking cervical vertebrae, there. (The 'creation and design' credit goes to Keith Moseley.) The background, with its evocative stony texture and lovely borders (which help emphasise the skeleton without distracting from it), features a number of pleasing touches. Chief among these is the remarkably creepy human skeleton, which looks as if it was walled into the backdrop and recently exhumed. If you're going to have a scale bar, make it a good 'un.

Of course, you can't have Apatosaurus in your book without introducing its erstwhile nemesis, Allosaurus. Or in this case, ALLOSAURUS!!! Having been quite classily understated so far, bringing in a giant theropod allows the book to introduce lightning, blood, leering shiny-toothed grins and jaws that go all the way, baby (you want more teeth? Well, I'm sure we could afford to lose some muscles, no biggy). It's only missing a sound recording of maniacal laughter. 

Captain Evilsaurus is accompanied by a well-observed pop-up torso of, er, T. rex. It's especially baffling precisely because it is so well made - any dinosaur fan will instantly recognise that skull, sagittal crest and all. Still, neat mechanism (the whole thing appears to lunge forward and the jaws open as the pages are opened).

Parasaurolophus is next and, thankfully, the skeleton matches the illustration. The pop-up here is similar to that in Dinosaurs - a Lost World in Three Dimensions, only rather more detailed, and was likely based on the Parasaurolophus walkeri type specimen. It's a nice piece (and there's that human skeleton again).

The illustration's quite pretty too, and appears to show animals of different growth stages (or else sexual dimorphism, although that isn't mentioned in the text). We're certainly a long way from the retrosaurs depicted in Lost World in 3D. Interestingly, the foreground animal appears to be a better match for the skeleton, while the one in the background has a touch of the John McLoughlin 'leggy hadrosaur' look about it (although only a touch). Again, the colour schemes are very attractive (mmm, stripy) and the background birds are a welcome addition.

The backs of some of the flaps are occupied by animals that, sadly, don't get their own pop-up (I'd love to see an attempt at a Stegosaurus skeleton!). Cremins' Stego is something of a victim of a perspective fudge, although it is at least interestingly coloured and 'modern' in overall aspect. Great border, too (look! Amber! Before Jurassic Park!). Meanwhile, some sort of feathered maniraptor (presumably Archaeopteryx) scampers along the bottom. It's yet another victim of an artist taking 'clawed fingers' rather the wrong way (and it's always amusing given how hugely long the animal's fingers really were), although at least having the upper toothrow extend below the eye is keeping things consistent.

Remember Torosaurus? It's back, and this time, it wants to stick its horns in your face! And the orbit's shrunk.

The accompanying illustration is much better than the one on the cover, certainly in terms of getting the perspective right and keeping the eyes, horns etc. in their correct places. I also like the tunnel effect created by the trees in the background - there's a strong sense that the animal's rushing inexorably towards us. I'm sure it's also reminiscent of a Bakker piece, but I can't quit put my finger on it...

Much like Stegosaurus, Pachycephalosaurus appears as a 'supplementary dinosaur'. Disappointingly, this seems to be the one instance where Cremins just cribbed from the Normanpedia. Boo! We're also given the customary illustration of two pachycephalosaurs clashing heads, although in this case they look more like they're bowing. Polite pachycephalosaurs.

Thankfully, Sibbick's faintly terrifying probe-fingered, saggy-necked monstrosity of a Deinonychus from the Normanpedia does not put it an appearance here. Instead, we are treated to these none-more-'80s curly-armed fellows, mouths agog, no doubt ready to start tearing apart a doe-eyed ornithopod with a long tail. A little predictable, but that's OK, because the pop-up is awesome!

No, I don't know what's going on with that foot. Shut up. It all looks really cool when you have the page spread out in front of you, believe me.

What an excellent impression of a lean, fleet-footed predator. I'm especially fond of the way the neck and jaws protrude from the page - it's ready to snap your clammy fingers off. Great stuff.

TetZooCon 2015

There can't be many conventions that have spun off from a popular zoology-themed blog and equally popular podcast about new tapirs and charging for rambling answers to questions about bipedal combat in deer, so it was very heartening that the first TetZooCon was such a success. Successful enough, in fact, to spawn a successor event, once again host to an impressive array of speakers covering an eclectic range of topics. Only at TetZooCon will you be so well informed about legendary pygmy elephants, bizarre ichthyosaurs, condom-inflated pigeon carcasses and the right circumstances to ask to use your very wealthy friend's Rolls for promotional purposes. It was, once again, a resounding success. (All photos by Niroot unless otherwise stated.)

Darren Naish once again kicked things off, this time with a brief history of the cryptozoology of sea monsters and, in particular, how it evolved during the 20th century. While the 'prehistoric survivor' paradigm was popular earlier in the century, as time and science progressed, so such creatures were ditched in favour of more imaginative beasties, often with their own highly elaborate (and quite bonkers) phylogeny. The Belgian-French author Bernard Heuvelmans, prone to all sorts of flights of fancy regarding poorly documented sightings, is regarded as the 'father' of modern cryptozoology, and rightly occupied a sizeable section of Darren's talk. All very entertaining stuff.

Next up was author and waistcoat wearer Matt Salusbury and the tiny elephants which, it transpires, probably don't exist. One might detect something of a theme, but, quite unlike the likes of Cadborosaurus, the Yellow-Belly and Bighoot, it's quite plausible that a tribe of tiny elephants could exist, and the idea has captured the imagination of explorers, scientists and circus charlatans for centuries. In fact, there are many people who still maintain that there are dwarf heffalumps out there, and when one such individual contacted Matt it spurred him on to an envy-inducing journey to exotic locales and - ultimately - to write his latest book. Matt's was a fascinating tale of the endless, slightly puzzling quest to find miniature proboscideans (non-fossilised), of specimens submitted to museums, dubious sightings rebuffed comprehensively by experienced field guides and mahouts, and PT Barnum's filthy, filthy lies.

Jessica Lawrence Wujek's favourite animals certainly did exist, but definitely aren't alive today - the ichthyosaurs. This was a very entertaining talk, taking a look not only at the bizarre anatomy of the marine reptiles in question, but also the lengths that researchers go to in attempting to collect, study and even categorise them. (Marine reptile phylogeny is quite up in the air, it would seem.) Those of us who are more into dinosaurs and, at a push, if you insist, plesiosaurs, had our 'you know, those daft dolphin ones' perception completely dashed. Who ever knew just how utterly crazy ichthyosaurs' flippers were? (Well, apart from Jessica and the three other ichthyosaur researches in the world, of course.) A pavement of tiny bones, sure - but how about 10 digits, often forking into extra digits, or even digits splitting then being subsumed into other digits? Not to mention the giant eyes and sheer variety in shape, size and dentition, from serpentine early forms to later ones with shell-crushing flattened teeth. Brilliant.

Last year, Darren discussed speculative zoology, and just had to mention the 2002 TV series The Future is Wild, a program chock full of hypothetical futuro-beasts. This year, series writer Victoria Coules was on hand to inform us in entertaining detail just how the program was made. Unsurprisingly, this involved dealing with a fair number of irritating TV network middle-management types, and attempting to make a fun family show for the Americans and a more, you know, serious programme for Europeans at the same time (as the networks demanded). An especially amusing anecdote concerned Animal Planet's demand to know exactly where all the humans had gone, something the programme makers thought didn't really matter. (In the end, Animal Planet decided quite of their own accord that they had all left for planets new on some sort of Space Ark.) The show's CGI hasn't aged especially well, but the scientific thinking behind some of the future creatures was certainly intriguing. If you haven't seen the show, in 100 million years mammals will be reduced to being farmed by spiders, and in 200 million years they'll be entirely extinct, while gigantic squid roam the forests. Of course. I hope PZ Myers hasn't seen it.

David Lindo was up next - birder, broadcaster, writer, naturalist and all-around Superb Bloke. David was full of memorable stories, from his childhood love of birding, his alarming flirting with the twitcher side, his rather poor flirting with women (who didn't much agree to being taken to bleak, windswept islands), and much more besides. Best of all, David was behind the campaign to vote for a national British bird, and had plenty of very funny tales to tell about the campaign - promoting it and people's reactions to it. And to him. Because there are a fair number of racist morons in Britain (thus also explaining the Daily Mail's sales figures). Not that that mattered - with the backing of cor-blimey celeb chef Jamie Oliver and well-meaning friends in PR with a penchant for semi-naked women in masquerade masks, not to mention the birdy NGOs, the campaign was a huge success. David's aim was to increase awareness of the wonderful birds that surround us even in what would appear to be our otherwise quite mundane, grey surroundings in urban and suburban Britain, and he succeeded with aplomb. But which bird won the contest?

This is why democracy is a bad idea.

Palaeontologist David Unwin was due to speak next, but unfortunately had fallen ill. Thus, we moved straight to the palaeoart workshop. This time, the audience were split into 4 teams, guided by Johnway, Mark Witton, Bob Nicholls and Darren. The task was to restore Pterodactylus (represented by John's quite terrible fossil casts), but each table had to do it with a particular preconception in mind; namely, that it was a mammal, lizard-like reptile, or bird. The final table could just draw whatever the hell they wanted.

Photo by Darren Naish.

Niroot and I were on the 'bird' table, which mainly produced a variety of alarming gannets and cormorants with mutant wing-supporting fourth digits (as per Niroot's artsy drawing below). Elsewhere, the mammal table largely produced bat-like creatures, while the lizard table produced sprawling, scaly monstrosities. From the freestyle table, one of the submissions appeared to simply satirise mid-20th century views of pterosaurs; in fact, as I only discovered later in the pub, it was Katrina van Grouw's quite honest attempt at guessing what the animal must have been like. You could write an article on the implications of that, I'm sure...

Speaking of Katrina, she was the final speaker, discussing her magnum opus The Unfeathered Bird, as very favourably reviewed on this blog by someone who is, I'm sure, a delight to meet in real life (and will definitely buy you a drink). I'd heard many of Katrina's tales pertaining to the making of the book before but, honestly, they'll never get old. It's a story of triumph over adversity, how the best meetings happen in pubs (true that), and why it's worth marrying Dutch people...who are good at assembling skeletons. With infectious enthusiasm, Katrina flicked effortlessly from boiling bird carcasses and inflating pigeon crops with a condom to discussing the preposterous anatomy of some of the birds covered in the book. Consider the trumpet manucode; among the birds of paradise, it may appear rather drab, with is business suit of iridescent black-blue plumage. But it can't half make a racket. How so? Why, it has an absurdly long trachea that is coiled up in its chest. Or how about the (multiple) birds with ultra-long tongues that wrap around their heads? You'd never tell from looking at them in the wild, and that's just one of a very many reasons why The Unfeathered Bird is so superb. As I was saying to people on the day, you need this book.

Photo by Darren Naish

Then we went to the pub. The same one as last year, where they have Fuller's ESB on cask. Consequently, I am now broke. Please send tins of beans and the latest dinosaur toys of respectable quality.

All in all, it was another excellent day and a credit to everyone involved. I'm very happy that not only is this evolving into a regular event, but that Darren and John have grand plans afoot to turn the whole thing into a multi-day festival of the TetZooniverse. Now that would be totally awesomebruh.

Mesozoic Miscellany 80

In the News

A new big hadrosaur is on the loose, showing off a wee crest hypothesized to be transitional between the non-crested and crested members of the family. Read the description of Probrachylophosaurus bergei and gawk at John Conway's gorgeous portrait.

There's a new feathered Ornithomimus specimen from Canada, and Brian Switek and Everything Dinosaur both covered the discovery. And, yes: gawk at Julius Csotonyi's gorgeous illustration.

Liz Martin-Silverstone wrote about her recently published research into the relationship between skeletal mass and total body mass in birds and how useful it may be in estimating body mass in critters outside of Neornithes. John Tennant also covered the paper at PLOS Paleo.

How wide could theropods open their mouths? New research explores the question.

Around the Dinoblogosphere

Hat-tip to reader David Landis for letting us know about The New Yorker's recent look at Virginia Lee Burton's Life Story, which we covered for a Vintage Dinosaur Art post five years back.

Lisa Buckley's got a new blog, so head over and say "howdy."

Asher recently had another fantastic paleontology article published, about the journey of a Clidastes specimen in Alabama.

At the Smithsonian National Museum of Natural History blog, Antoine Bercovici writes about the end-Cretaceous (or close to it, at least) dinosaurs of France.

Jason Brougham covered the challenges of reconstructing the mysterious Benettites.

Everything Dinosaur shows off the new CollectA Spinosaurus.

Speaking of spinos, Duane Nash wrote more about Spinosaurus lifestyle and about the and the recent Sigilmassasaurus paper.

The Dinosaur Toy Blog showed off the winners of this year's Dinosaur Toy Forum Diorama Contest. I always love checking out the entries.

Adventures in fossil prep: Daspletosaurus ilium edition! Brought to you by Anthony Maltese.

Andy Farke interviews Justin Adams about a new project to archive fossil mammals at Ditsong National Museum of Natural History in South Africa. Check out part one and two.

Fernanda Castano wrote about a new species of pollen grain from Argentina, including Darwin's puzziling over the appearance of dicots in the fossil record.

Chris DiPiazza made a sequel of his fun illustration from last year: check out his new line up of monstrously-named taxa for Halloween.

A bit more about SVP: Francois Gould wrote about how the conference remains his home even as he shifts from the paleontological research he pursued as a student. Palaeocast's Caitlyn Colleary filed a three-part report focusing on outreach, new research, and the history of the conference.

Paleoart Pick

The Cartoon Guide to Vertebrate Evolution by Albertonykus is freakin' sweet and now you can buy it at his new Redbubble shop!

The Cartoon Guide to Vertebrate Evolution by Albertonykus, shared with the artist's permission.

Mighty Bones: Museum f�r Naturkunde Berlin

Berlin's a fascinating city and all, drawing people for its rich, tumultuous history as much as its present-day reputation for 'cool' (whatever that is. Like I'd know). But in the end, dinosaur enthusiasts will only have one destination in mind upon arriving in the city - the Museum f�r Naturkunde, home of the certified Tallest Mounted Dinosaur Skeleton in the World�. I visited on my second day in the city, and let me assure you, man-sized humeri were just dancing in front of my eyes before that. No amount of refreshingly inexpensive beer was going to distract me on my pilgrimage to the holy hall of bones on the Invalidenstra�e. It doesn't disappoint.

Two skeletal dinosaurs compete for the status of the museum's 'icon' in the public imagination - and it's amusing to think how they are near opposites of each other. On the one hand, there's the towering mounted Giraffatitan - in reality a composite, not that most people will ever know. It feels almost industrial in its massive sturdiness, like it was designed by Isambard Kingdom Brunel with the purpose of allowing express trains to traverse a canyon while simultaneously flaunting the engineering prowess of the Saurian Empire. In short, it's every bit as breathtaking as you might expect.

Of course, the glorious setting helps enormously in showing the beast(s) off. The dinosaur hall is uncommonly bright and airy, and spacious enough to allow views of its centrepiece attractions from virtually every angle. It's one thing to finally be able to size up the museum's Giraffatitan mount in person, but quite another to be able to wander around it and take in the sheer size of its columnar forelimbs, the breadth of its ribcage, and just how high its (comparatively) tiny head cranes over the puny primates below. Yes, it's awesome. Poor old Dippy nearby can't help but be overshadowed.

Just because you'd otherwise require a decent pair of binoculars to view it, there's a cast of the skull mounted at ground level. It's a nice idea, particularly because one can forget the broadness of the muzzles on these animals when one's only viewing two dimensional skeletals. It probably didn't have a terribly pretty face, but then at least it wasn't Camarasaurus.

Of course, Giraffatitan is famously joined by other stars of the Tendaguru formation. To its right sits Dicraeosaurus, it of the curiously short neck and tall neural spines. I'm very fond of this mount of this compact sauropod - I think it's because it seems to be bending down to greet us, and smiling with it.  (You'll note that all of the Berlin sauropods sport just the single thumb claw on their hands. It makes me happy.)

To the left and slightly behind the Giraffatitan sits Kentrosaurus, which while looking notably more dynamic than before its overhaul (that super-spiny tail is almost being brandished at passers by), it still sports curiously sprawling forelimbs. Huh. There's also the matter of that much-disputed pair of spikes, which sit on the shoulders...for now.

Oh, and there's also Dippy. Why the American Diplodocus carnegii among all these African animals? As was explained to me by a certain highly talkative German scientist (let's call him 'Dr M'), diplodocid material is known from the Tendaguru, but not enough to mount anything near a complete skeleton; therefore, Diplodocus is used as a stand-in. Also, the museum were given that cast back in the day, and it's just too cool not to use.



Ahead and to the left of Dippy, Elaphrosaurus is mounted as if pursuing Dysalotosaurus. For those more used to seeing Morrison formation animals, the latter is quite obviously a Dryosaurus-alike, and has indeed been sunk into that genus in the past. However, Elaphrosaurus is an altogether stranger proposition. This mount, posed as if running, emphasises the theropod's unusual legginess; it was probably quite fleet of foot for its size. However, what's truly bizarre is the combination of long legs with a very long, shallow torso. The arms and head on this mount are necessarily speculative and distinctly predatory in appearance. One can't help but wonder if, had these parts been sculpted following the publication of beak-mouthed Limusaurus, some rather different decisions would have been made. Still, it remains impossible to say exactly what this animal's dietary habits were.

A view from behind really helps emphasise how long and lean Elaphrosaurus was.

Adjacent to Elaphrosaurus is another Morrison stand-in - Allosaurus fragilis, which looks like a real bruiser next to the lankier African animal. Apparently, this mount was deliberately made as 'generic as possible' and is not intended to represent a single specimen, simply because it is really just a substitute for fragmentary Tendaguru allosaurs (and you thought his shoes were made of leather). A real Tendaguru allosaur femur is displayed in a case nearby. In spite of this, it can't help but draw attention to itself because of the stunningly detailed fleshed-out model head that somebody saw fit to affix to the front. Some have argued that it doesn't really work, but I'd argue that it does, if only because of the dividing glass partition (the head juts out into the admission kiosk/cloakroom area). It's also really gorgeous, and I'd like a copy for my living room, please. I'll update this post with a link to the Kickstarter campaign shortly.

I haven't yet mentioned that other iconic dinosaur; you know, the one that's the polar opposite of a gallumphing great sauropod to gaze upon, ye mighty, and despair. It's Archaeopteryx, of course; a delicate little fellow sequestered away in its own special alcove, an impossibly dainty and beautiful specimen treated quite justifiably like a masterful work of art. Cue heavenly chorus*.

The Urvogel isn't the only Solnhofen specimen on show of course; consider this beautiful Rhamphorynchus, just one among a huge number of stunningly preserved examples of the Solnhofen fauna. There is an emphasis on the contemporaneous (or near-as-damn-it) nature of the Solnhofen and Tendaguru ecosystems - helping to build a wider view of the Jurassic world, rather than one limited to one locality.

There's a lot more to the museum than this one hall, of course, including some sublime award-winning taxidermy featuring Archaeopteryx's extant relatives. And I may well get to all that in a future post. For now, however, let us close on a photograph of what Brian Switek tastefully referred to as 'dinobutt' over on our Facebook page. Enjoy.

*Credit to Peng.