The Birds | Sample Paper Book by Lindsey Drennan

THE BIRDS the sample book

SAMPLE BOOK of fully designed pages on our 10 different paper samples in 3 weights.

The B I RDS

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So what is the paper texture? Each paper has a finish that gives a nice texture to the touch. Boc offers two types of textures: Eggshell and Smooth.

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EGGSHELL This surface is a “toothy” texture that works perfectly with any print application, so it is a universally loved type.

80T (118 g/m²) 80T is short for 80lb text weight. It is the most common paper weight for trade books. T refers to “text weight” which works best with text heavy pages.

SMOOTH This surface is a velvet-like surface that offers a consistent performance in many different projects.

Symbols Below you will find the common symbols and their significance that you will find on various paper samples throughout the book.

Made with a minimum 30% post consumer materials.

paper style no. 1

Classic Natural White Weight: 80T Classic Crest Eggshell p. 9–12

The Golden Bird

certain king had a beautiful garden, and in the garden stood a tree which bore golden apples. These apples were always counted, and about the time when they began to grow ripe it was found that every night one of them was gone. The king became very angry at this, and ordered the gardener to keep watch all night under the tree. The gardener set his eldest son to watch; but about twelve o’clock he fell asleep, and in the morning another of the apples was missing. Then the second son was ordered to watch; and at midnight he too fell asleep, and in the morning another apple was gone. Then the third son offered to keep watch; but the gardener at first would not let him, for fear some harm should come to him: however, at last he consented, and the young man laid himself under the tree to watch. As the clock struck twelve he heard a rustling noise in the air, and a bird came flying that was of pure gold; and as it was snapping at one of the apples with its beak, the gardener’s son jumped up and shot an arrow at it. But the arrow did the bird no harm; only it dropped a golden feather from its tail, and then flew away. The golden feather was brought to the king in the morning, and all the council was called together. Everyone agreed that it was worth more than all the wealth of the kingdom: but the king said, ‘One feather is of no use to me, I must have the whole bird.’ Then the gardener’s eldest son set out and thought to find the golden bird very easily; and when he had gone but a little way, he came to a wood, and by the side of the wood he saw a fox sitting; so he took his bow and made ready to shoot at it. Then the fox said, ‘Do not shoot me, for I will give you good counsel; I know what your business is, and that you want to find the golden bird. You will reach a village in the evening; and when you get there, you will see two inns opposite to each other, one of which is very pleasant and beautiful to look at: go not in there, but rest for the night in the other, though it may appear to you to be very poor and mean.’ But the son thought to himself, ‘What can such a beast as this know about the matter?’ So he shot his arrow at the fox; but he missed it, and it set up its tail above its

back and ran into the wood. Then he went his way, and in the evening came to the village where the two inns were; and in one of these were people singing, and dancing, and feasting; but the other looked very dirty, and poor. ‘I should be very silly,’ said he, ‘if I went to that shabby house, and left this charming place’; so he went into the smart house, and ate and drank at his ease, and forgot the bird, and his country too. Time passed on; and as the eldest son did not come back, and no tidings were heard of him, the second son set out, and the same thing happened to him. He met the fox, who gave him the good advice: but when he came to the two inns, his eldest brother was standing at the window where the merrymaking was, and called to him to come in; and he could not withstand the temptation, but went in, and forgot the golden bird and his country in the same manner. Time passed on again, and the youngest son too wished to set out into the wide world to seek for the golden bird; but his father would not listen to it for a long while, for he was very fond of his son, and was afraid that some ill luck might happen to him also, and prevent his coming back. However, at last it was agreed he should go, for he would not rest at home; and as he came to the wood, he met the fox, and heard the same good counsel. But he was thankful to the fox, and did not attempt his life as his brothers had done; so the fox said, ‘Sit upon my tail, and you will travel faster.’ So he sat down, and the fox began to run, and away they went over stock and stone so quick that their hair whistled in the wind. When they came to the village, the son followed the fox’s counsel, and without looking about him went to the shabby inn and rested there all night at his ease. In the morning came the fox again and met him as he was beginning his journey, and said, ‘Go straight forward, till you come to a castle, before which lie a whole troop of soldiers fast asleep and snoring: take no notice of them, but go into the castle and pass on and on till you come to a room, where the golden bird sits in a wooden cage; but do not try to take the bird out of the shabby cage and put it into the handsome one, otherwise you will repent it.’ Then the fox stretched out his tail again, and the young man sat himself down, and away they went over stock and stone till their hair whistled in the wind. Before the castle gate all was as the fox had said: so the son went in and found the chamber where the golden bird hung in a wooden cage, and below stood the golden cage, and the three golden apples that had been lost were lying close by it. Then thought he to himself, ‘It will be a very droll thing to bring away such a fine bird in this shabby cage’; so he opened the door and took hold of it and put it into the golden cage. But the bird set up such a loud scream that all the soldiers awoke, and they took him prisoner and carried him before the king. The next morning the court sat to judge him; and when all was heard, it sentenced him to die, unless he should bring the king the golden horse which could run as swiftly as the wind; and if he did this, he was to have the golden bird given him for his own. So he set out once more on his journey, sighing, and in great despair, when on a sudden his friend the fox met him, and said, ‘You see now what has happened on account of your not listening to my counsel. I will still, however, tell you how to find the golden horse. You must go straight on till you come to the castle where the horse stands in his stall: by his side will

The Golden Bird

lie the groom fast asleep and snoring: take away the horse quietly, but be sure to put the old leathern saddle upon him, and not the golden one that is close by it.’ Then the son sat down on the fox’s tail, and away they went over stock and stone till their hair whistled in the wind. All went right, and the groom lay snoring with his hand upon the golden saddle. But when the son looked at the horse, he thought it a great pity to put the leathern saddle upon it. ‘I will give him the good one,’ said he; ‘I am sure he deserves it.’ As he took up the golden saddle the groom awoke and cried out so loud, that all the guards ran in and took him prisoner, and in the morning he was again brought before the court to be judged, and was sentenced to die. But it was agreed, that, if he could bring thither the beautiful princess, he should live, and have the bird and the horse given him for his own. Then he went his way very sorrowful; but the old fox came and said, ‘Why did not you listen to me? If you had, you would have carried away both the bird and the horse; yet will I once more give you counsel. Go straight on, and in the evening you will arrive at a castle. At twelve o’clock at night the princess goes to the bathing-house: go up to her and give her a kiss, and she will let you lead her away; but take care you do not suffer her to go and take leave of her father and mother.’ Then the fox stretched out his tail, and so away they went over stock and stone till their hair whistled again. As they came to the castle, all was as the fox had said, and at twelve o’clock the young man met the princess going to the bath and gave her the kiss, and she agreed to run away with him, but begged with many tears that he would let her take leave of her father. At first he refused, but she wept still more and more, and fell at his feet, till at last he consented; but the moment she came to her father’s house the guards awoke and he was taken prisoner again. Then he was brought before the king, and the king said, ‘You shall never have my daughter unless in eight days you dig away the hill that stops the view from my window.’ Now this hill was so big that the whole world could not take it away: and when he had worked for seven days, and had done very little, the fox came and said. ‘Lie down and go to sleep; I will work for you.’ And in the morning he awoke and the hill was gone; so he went merrily to the king, and told him that now that it was removed he must give him the princess. Then the king was obliged to keep his word, and away went the young man and the princess; and the fox came and said to him, ‘We will have all three, the princess, the horse, and the bird.’ ‘Ah!’ said the young man, ‘that would be a great thing, but how can you contrive it?’ ‘If you will only listen,’ said the fox, ‘it can be done. When you come to the king, and he asks for the beautiful princess, you must say, “Here she is!” Then he will be very joyful; and you will mount the golden horse that they are to give you, and put out your hand to take leave of them; but shake hands with the princess last. Then lift her quickly on to the horse behind you; clap your spurs to his side, and gallop away as fast as you can.’ All went right: then the fox said, ‘When you come to the castle where the bird is, I will stay with the princess at the door, and you will ride in and speak to the king; and when he sees that it is the right horse, he will bring out the bird; but you must sit still, and say that you want to look at it, to see whether it is the true golden bird; and when you get it into your hand, ride away.’

A Short Story

This, too, happened as the fox said; they carried off the bird, the princess mounted again, and they rode on to a great wood. Then the fox came, and said, ‘Pray kill me, and cut off my head and my feet. But the young man refused to do it: so the fox said, ‘I will at any rate give you good counsel: beware of two things; ransom no one from the gallows, and sit down by the side of no river. Then away he went. ‘Well,’ thought the young man, ‘it is no hard matter to keep that advice. He rode on with the princess, till at last he came to the village where he had left his two brothers. And there he heard a great noise and uproar; and when he asked what was the matter, the people said, ‘Two men are going to be hanged.’ As he came nearer, he saw that the two men were his brothers, who had turned robbers; so he said, ‘Cannot they in any way be saved?’ But the people said ‘No,’ unless he would bestow all his money upon the rascals and buy their liberty. Then he did not stay to think about the matter, but paid what was asked, and his brothers were given up, and went on with him towards their home. And as they came to the wood where the fox first met them, it was so cool and pleasant that the two brothers said, ‘Let us sit down by the side of the river, and rest a while, to eat and drink.’ So he said, ‘Yes,’ and forgot the fox’s counsel, and sat down on the side of the river; and while he suspected nothing, they came behind, and threw him down the bank, and took the princess, the horse, and the bird, and went home to the king their master, and said. ‘All this have we won by our labour.’ Then there was great rejoicing made; but the horse would not eat, the bird would not sing, and the princess wept. The youngest son fell to the bottom of the river’s bed: luckily it was nearly dry, but his bones were almost broken, and the bank was so steep that he could find no way to get out. Then the old fox came once more, and scolded him for not following his advice; otherwise no evil would have befallen him: ‘Yet,’ said he, ‘I cannot leave you here, so lay hold of my tail and hold fast.’ Then he pulled him out of the river, and said to him, as he got upon the bank, ‘Your brothers have set watch to kill you, if they find you in the kingdom.’ So he dressed himself as a poor man, and came secretly to the king’s court, and was scarcely within the doors when the horse began to eat, and the bird to sing, and princess left off weeping. Then he went to the king, and told him all his brothers’ roguery; and they were seized and punished, and he had the princess given to him again; and after the king’s death he was heir to his kingdom. A long while after, he went to walk one day in the wood, and the old fox met him, and besought him with tears in his eyes to kill him, and cut off his head and feet. And at last he did so, and in a moment the fox was changed into a man, and turned out to be the brother of the princess, who had been lost a great many many years.

The Golden Bird

paper style no. 2

Recycled Bright White Weights: 80T Classic Crest Smooth p. 13â&#x20AC;&#x201C;16

How birds make

COLORFUL FEATHERS AS ONE MIGHT EXPECT from the amazing diversity of colors and patterns exhibited by more than 9,000 bird species found in the world, birds can see color. The colors in the feathers of a bird are formed in two different ways, from either pigments or from light refraction caused by the structure of the feather. In some cases feather colors are the result of a combination of pigment and structural colors. The greens of some parrots are the result of yellow pigments overlying the blue-reflecting characteristic of the feathers.

The range of wavengths that a typical bird can see comared with the range for humans.

Pigmentation Pigments are colored substances that can be found in both plants and animals. The coloration created by pigments is independent of the structure of the feather. Pigment colorization in birds comes from three different groups: carotenoids, melanins, and porphyrines. CAROTENOIDS The red of the Northern Cardinal comes from a class of pigments called carotenoids. Carotenoids are produced by plants, and are acquired by eating plants or by eating something that has eaten a plant. Carotenoids are responsible for the bright yellows seen in goldfinches and Yellow Warblers as well as the brilliant orangish yellow of the male Blackburnian Warbler. Carotenoids can interact with melanins to produce colors like the olive-green of the female Scarlet Tanager. MELANINS Melanins occur as tiny granules of color in both the skin and feathers of birds. Depending on their concentration and location, melanins can produce colors ranging from the darkest black to reddish browns and pale yellows. Melanin provides more than just coloration. Feathers that contain melanin are stronger and more resistant to wear than feathers without melanin. Feathers without any pigmentation are the weakest of all. Many otherwise all white birds have black feathers on their wings or black wingtips. These flight feathers are the ones most subject to wear and tear. The melanin causing the tips to appear black also provides extra strength. PORPHYRINS Porphyrins, the third pigment group, are produced by modifying amino acids. Although the exact chemical structure of each porphyrin differs, they all share a common trait. They fluorescee a bright red when exposed to ultraviolet light, much the way certain rocks and minerals are known to do. Porphyrins produce a range of colors, including pink, browns, reds, and greens. Porphyrins are found in some owls, pigeons and gallinaceous species. They can also produce the brilliant greens and reds of turacos.

Structural Colors Adding to the diversity of avian colors are colors produced by the structure of the feather. Instead of pigments, these colors are produced as light is refracted by the proteins in the feather. IRIDESCENT FEATHERS The best known example is the gorget (throat feathers) of many hummingbird species. The iridescent colors of the gorget are the result of the refraction of incident light caused by the microscopic structure of the feather barbules. The refraction works like a prism, splitting the light into rich, component colors. As the viewing angle changes, the refracted light becomes visible in a glowing, shimmering iridescent display. Many species of birds have feathers that exhibit iridescent colors, including the Purple Gallinule and Tricolored Heron. NON-IRIDESCENT FEATHERS Not all structural colors are iridescent. Tiny air pockets in the barbs of feathers can scatter incoming light, resulting in a specific, non-iridescent color. Blue colors in feathers are almost always produced in this manner. Examples include the blue feathers of bluebirds, Indigo Buntings, Blue Jay’s and Steller’s Jays. The blues seen in the feathers of Indigo Buntings, Mountain Bluebirds, and Stellar’s Jays are structural colors. If you find the feather of a Blue Jay or Steller’s Jay you can see how this works. First, observe the feather in normal lighting conditions and you will see the expected blue color. Next, try back-lighting the feather. When light is transmitted through the feather it will look brown. The blues are lost because the light is no longer being reflected back and the brown shows up because of the melanin in the feathers. ULTRAVIOLET FEATHERS The feather structures of many species also reflect light in the ultraviolet range. Because many birds can discriminate a greater variety of colors than humans, including ultraviolet wavelengths, they can appear quite different to each other than they do to us.

Feather color produced by the refraction of light by an organized structure of keratin proteins in the feather.

CO LO RS 16

paper style no. 3

Avalanche White Weight: 80T Classic Crest Eggshell p. 17â&#x20AC;&#x201C;20

FEATHERS Feathers are a feature characteristic of birds. They facilitate flight, provide insulation that aids in thermoregulation, and are used in display, camouflage, and signaling. There are several types of feathers, each serving its own set of purposes. The distribution pattern of these feather tracts is used in taxonomy and systematics. The arrangement and appearance of feathers on the body, called plumage, may vary within species by age, social status, and sex.

BEAKS The beak, bill, or rostrum is an external anatomical structure of birds which is used for eating and for grooming, manipulating objects, killing prey, fighting, probing for food, courtship and feeding young. Although beaks vary significantly in size, shape, color and texture, they share a similar underlying structure. Two bony projectionsâ&#x20AC;&#x201D;the upper and lower mandiblesâ&#x20AC;&#x201D;are covered with a thin keratinized layer of epidermis known as the rhamphotheca. In most species, two holes known as nares lead to the respiratory system.

WINGS The bird's forelimbs, the wings, are the key to bird flight. Each wing has a central vane to hit the wind, composed of three limb bones, the humerus, ulna and radius. The hand, or manus, which ancestrally was composed of five digits, is reduced to three digits, which serves as an anchor for the primaries, one of two groups of flight feathers responsible for the wing's airfoil shape. The other set of flight feathers, behind the carpal joint on the ulna, are called the secondaries. The remaining feathers on the wing are known as coverts, of which there are three sets.

FEET & LEGS Most birds are digitigrade animals, which means that they walk on their toes, not the entire feet. Some of their lower bones of the foot (distals and most of metatarsals) are fused to form tarsometatarsus â&#x20AC;&#x201C; a third segment of the leg, specific to birds. The upper bones of the foot (proximals) in turn are fused with the tibia to form tibiotarsus, as over time the centralia disappeared. The fibula is also reduced. The legs are attached to a very strong assembly consisting of the pelvic girdle extensively fused with the uniform spinal bone (also specific to birds) called the synsacrum, built from some of the fused bones. Bird leg and feet anatomy is very diverse. It reveals many accommodations to perform a wide variety of functions.

paper style no. 4

PC 100 Natural Weight: 80T

House Wrens Do Yard Work For Me

Environment Smooth p. 21–24

Diane Cooledge Porter

stand on my back porch and watch a tiny brownish bird streak from the apple tree to the garden, drop to the ground at one end of the vegetable bed, and disappear under the dense greenery. Broccoli leaves quiver as the bird travels through the hidden depths of the patch. The house wren emerges at the other end of the bed, with a large cabbage moth caterpillar bulging in its bill. I know where that caterpillar’s going. Under the eaves of our house, a gourd-like pottery birdhouse swings from a cord, and cradled within are seven baby house wrens. Hungry baby house wrens. They chirp continually. Carrying the caterpillar, the wren dashes to the nest and dives through the entrance hole. For a moment, sound ceases. Then she’s gone, and the babies begin to cry again. They’re still hungry! The nest is right outside my window. I’ve timed the parents’ trips. From daylight to dusk, seldom does more than two minutes elapse between feedings. Observers whose patience exceeds mine have counted over 1000 feedings to a house wren brood in one day. And what do these meals consist of ? Caterpillars off my chard and broccoli. Aphids pried from apple buds. Grasshoppers out of my cherished green beans. Moths. Beetles. Snails. My garden does better when wrens patrol it. I knew this would be a good year for chard and 21

LARGE FORMAT

broccoli when the wrens appeared, in mid April. Every year, a male house wren announces his claim in my yard with loud, rollicking, bubbling song. Wrens are tiny, but they sing big. After the first male arrives, I don’t often see other male house wrens in my yard. Hearing the territorial male’s song, perhaps others recognize that they can’t settle there without a battle, and that they’ll improve their chance of breeding by silently moving on and looking for unclaimed territory. Pottery Wren HouseAfter thoroughly exploring my whole yard, this year’s male house wren selected the birdhouse hanging under the eaves. The previous spring, wrens nested in a dead limb of our old box elder. One year I found the wrens’ nest in the hollow center of my huge ball of twine in the garden shed. During a childhood summer I spent with grandparents on Sauvie’s Island, Oregon, house wrens built a nest in the mailbox at the end of the long gravel driveway. For the month until the young birds fledged, the postman brought the mail up to the house every day. I was delighted that this year’s male chose the birdhouse under my eaves, because it’s close to the window that my desk faces. I knew immediately that he liked it. He stood on top of the birdhouse, swelled his chest, and sang at the top of his voice. Then with great energy he started bringing twigs and stuffing them inside. He had trouble with the long ones. I watched him try repeatedly to push one broadside through the small round opening. Eventually he turned the stick lengthwise, and it went right through. After the wren got the stick-and-hole puzzle figured out, his work went faster. Long after I thought the birdhouse must be crammed full, the little bird was still adding more sticks. He wasn’t furtive about it. Each time he exited, he stood atop the birdhouse and sang, as if attracting attention were the main point of the exercise. Perhaps he was correct, for after a few days a female house wren landed in the viburnum near the birdhouse. The male approached her, his short tail pointing straight up. He quivered his wings. He sang. He 22

flew to the door to his treasure of a nest and looked over his shoulder at her. She must have liked the birdhouse, because the female went inside and stayed for about a minute. Then she started pushing sticks out through the opening. After she had thrown out enough to make a small pile on the ground below, she brought dried grass into the birdhouse. She added a fluffy feather, coarse reddish hairs that reminded me of a certain neighbor’s dog, and some round, cottony objects which proved to be spider’s egg cases. While the female was gone, the male replaced one of his rejected sticks into the nest. When his mate returned, she threw the stick out. After that, the male brought dried grass, which his mate accepted. This male was lucky. Sometimes a female doesn’t like the nest the male has started. One year a female went into a birdhouse a male was advertising in my back yard and then simply flew away and didn’t come back. No quitter, the male wren immediately began working on a new nest in a tree cavity. Eventually he succeeded in attracting a mate. Although I was disappointed, because I couldn’t look into that nest, the wrens succeeded in raising a family there. Although male and female house wrens look alike, after watching them a while I believed I could tell them apart by their attitude. When the pair is feeding young, the female goes to straight to the nest. A few seconds before she arrives, the babies inside rev up the volume of their chattering. That tips me off to I look up from my work in time to see a wren, feathers sleeked down, land at the entrance to the birdhouse and disappear inside. House Wren singsThe male seems to want for me and everybody else to notice him. Suddenly a puffed-up little wren perches in the arrowwood viburnum next to the birdhouse. He clings to a vertical stem, points his sharp bill upward, and explodes into song. Then he’s gone, only to reappear singing in a hawthorn on the other side of the nest. His wings vibrate. He sways from side to side. Even with his 23 LARGE FORMAT

beak full of food for the nest, he sings. After the eggs hatched this year, I stopped seeing two adults at the same time. Maybe one belonged to the minority of male house wrens who switch their attentions to a second mate and family before the first brood is fledged. I heard a wren singing from the other side of the house. That may have been the same male inviting another female to inspect a tipped-over flowerpot tilled with twigs in the tool shed. However, the female under the eaves had motivation and energy enough to provide for her babies by herself. As they grew, the nestlings made more and more noise. They started poking their yellow-flanged bills out the entrance, opening them wide to receive whatever prey their mother brought. During the last few days in the nest they crowded at the entrance, vying with each other to put their heads out. Sometimes one of the babies was more outside the birdhouse than inside and almost fell. About two weeks after hatching, the fledgling wrens left the nest. Although I neglected my work to watch the wrensâ&#x20AC;&#x2122; nest nearly all day, I saw only two of the babies actually leave. They flew straight and fast out of the entrance. That evening, in the garden, I heard the chattering of a wren. On the wire fence by my neighborâ&#x20AC;&#x2122;s yard teetered seven fluffy baby house wrens. The mother brought the caterpillar of a cabbage moth to one and then led the family into a thicket at my gardenâ&#x20AC;&#x2122;s edge. For I sometimes saw the wren family, often in the chard or broccoli patch. The harvest was excellent.

THE PAPER OF

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Paper Options Style Avon Brilliant White | Smooth | 80T, 100T Solar White | Super Smooth | 80T, 100T

FINISHES

WEIGHT

So what is the paper texture? Each paper has a finish that gives a nice texture to the touch. Boc offers smooth texture for photo books.

The weight of the paper refers to the thickness of it. Paper is measured in GSM, or grams per square meter, which is the weight of the sheet.

SMOOTH This surface is a velvet-like surface that offers a consistent performance in many different projects.

80T (118 g/m²) 80T is short for 80lb text weight. It is the lgihter paper weight for photo books. T refers to “text weight” which works best with text heavy pages.

SUPER SMOOTH This surface is a velvet-like surface that is slighty smoother than smooth and creates a very clean surface.

100T (148 g/m²) 100T is short for 100lb text weight. It is a little thicker than 80lb and adds a nice weight to give the paper a higher quality feel. T refers to “text weight” which works best with text heavy pages.

Symbols Below you will find the common symbols and their significance that you will find on various paper samples throughout the book.

Made with a minimum 30% post consumer materials.

paper style no. 5

Avon Brilliant White Weight: 80T Classic Crest Smooth p. 27â&#x20AC;&#x201C;31

paper style no. 6

Avon Brilliant White Weight: 100T Classic Crest Smooth p. 31â&#x20AC;&#x201C;34

Cockatoo Cockatoos are recognizable by the showy crests and curved bills. Their plumage is generally less colorful than that of other parrots, being mainly white, grey or black and often with colored features in the crest, cheeks or tail. On average they are larger than other parrots; however, the cockatiel, the smallest cockatoo species, is a small bird. The phylogenetic position of the cockatiel remains unresolved, other than that it is one of the earliest offshoots of the cockatoo lineage.

Kingfisher Kingfishers are a group of small to medium-sized brightly colored birds. They have a cosmopolitan distribution, with most species found outside of the Americas. There are roughly 90 species of kingfisher. All have large heads, long, sharp, pointed bills, short legs, and stubby tails. Most species are tropical in distribution, and a slight majority are found only in forests. They consume a wide range of prey as well as fish, usually caught by swooping down from a perch. While kingfishers are usually thought to live near rivers and eat fish, most of the kingfisher species in the world live away from water and eat small invertebrates.

Tree Swallow The tree swallow is a migratory passerine bird that breeds in North America and winters in Mexico, Central America and the Caribbean. It is a very rare vagrant to western Europe. The bill is tiny. The adult tree swallow has iridescent blue-green upperparts, white underparts, and a very slightly forked tail. The female usually has duller colours than the male, often more greenish than the more bluish male. The juvenile plumage is dull grey-brown above and may have hint of a grey breast band.

Pyrrhula Pyrrhula is a small genus of passerine birds, commonly called bullfinches, belonging to the finch family. Bullfinches have glossy black wings and tail feathers. They show a white rump. The legs and feet are fleshy brown. Their short, swollen bill is adapted to eat buds, and is black except for the brown bullfinch, which has a grey or greenish-grey bill. The males can be distinguished by their orange or red breast. Some species have a black cap.

paper style no. 7

Solar White Weights: 80T Classic Crest Super Smooth p. 35â&#x20AC;&#x201C;38

HUM DE DUM HUM DA DE HUM DEE 35

Let the

HUMMINGBIRDS Sing

paper style no. 8

Solar White Weights: 100T Classic Crest Super Smooth p. 39â&#x20AC;&#x201C;42

SPECIES

Tanager

SEVEN-COLORED TANAGER The seven-coloured tanager is a vulnerable species of bird in the Thraupidae family. It is endemic to forests in north-eastern Brazil.

SILVER THROATED TANAGER The brassy-breasted tanager is a species of bird in the Thraupidae family. It is endemic to Brazil. Its natural habitat is subtropical or tropical moist montane forests.

BRASSY BREASTED TANAGER The brassy-breasted tanager is a species of bird in the Thraupidae family. It is endemic to Brazil. Its natural habitat is subtropical or tropical moist montane forests.

EMERALD TANAGER The emerald tanager is a species of bird in the Thraupidae family. It is found in Colombia, Costa Rica, Ecuador, and Panama. Its natural habitats are subtropical or tropical moist lowland forests and subtropical or tropical moist montane forests.

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FINISHES

WEIGHT

So what is the paper texture? Each paper has a finish that gives a nice texture to the touch. Boc offers smooth texture for photo books.

The weight of the paper refers to the thickness of it. Paper is measured in GSM, or grams per square meter, which is the weight of the sheet.

SMOOTH This surface is a velvet-like surface that offers a consistent performance in many different projects.

SUPER SMOOTH This surface is a velvet-like surface that is slighty smoother than smooth and creates a very clean surface.

70T (104 g/mÂ˛) 70T is short for 70lb text weight. It is a little lighter than 80T, which gives a good weight to magazines and makes it easily read.

80T (148 g/mÂ˛) 80T is short for 80lb text weight. This weight is slighty heavier for magazines and creates a higher quality feel for your magazine.

Symbols Below you will find the common symbols and their significance that you will find on various paper samples throughout the book.

Made with a minimum 30% post consumer materials.

BIRDS

paper style no. 9

Ultra Bright White Weights: 70T Environment Smooth p. 45–48

PARADISE written by MEL WHITE photos by TIM LAMAN

ru Islander Eli Karey explained what Tim Laman had to do: “Before you climb the tree in the morning, you must get wax from your ear with your finger and rub it on the tree trunk. You must do this so the birds will come!” Which is how I found myself in the predawn darkness watching Tim wiggle a sweaty finger into his ear in honor of the local custom. We were standing at the base of a large tree, surrounded by climbing gear, in a remote forest on a rarely visited island partway between New Guinea and Australia. We had endured days of travel to reach this distant Indonesian outpost, and Tim was finally ready to haul his camera equipment up the rope, into a leaf-covered blind high in the canopy. With the help of the Karey clan, Tim’s blind had been made

in the traditional style used by generations of bird hunters on the Aru Islands. If all went according to plan, Tim would document one of the greatest spectacles in the natural world: the communal courtship displays of the Greater Bird-of-paradise. Our trip to the Aru Islands took place in late 2010 during the penultimate year of our nearly decade-long quest to scientifically document all of the species in the incredibly diverse family Paradisaeidae: the birds-of-paradise. This project took us all over the island of New Guinea, to several nearby islands, and to the rainforests of Australia. We made 18 expeditions, spent more than 500 days in the field, and visited more than 50 field sites. Our journey began in 2004, when Tim Laman and I joined forces after he received an

assignment to photograph birds-of-paradise for National Geographic. By the time the article was complete, Tim had photographed 22 species—a huge success by any measure. But somewhere near the end of those first few years, perhaps in a fit of delirium induced by the tropical heat, we realized that our partnership offered a unique opportunity to continue. So we hatched a plan to do something nobody had ever attempted: to find and document all 39 bird-of-paradise species. We knew it would be a challenge, but we never imagined it would take another five years before our vision would be complete. By going to the Aru Islands, Tim and I were following in the footsteps of the great 19th-cenL: KING BIRD OF PARADISE OPEN WINGS DISPLAY. VOGELKOP PENINSULA, INDONESIA.

R: BLUE BIRD OF PARADISE PERCHED ON A BRANCH. SOUTHERN HIGHLANDS PROVINCE, PAPUA NEW GUINEA.

tury naturalist and explorer Alfred Russel Wallace. Like Wallace, we had come to these fabled islands to find the Greater Bird-of-paradise. Wallace made his voyage because he knew that seafaring traders had long been transporting Greater Bird-of-paradise skins from the Aru Islands to distant lands, where they were prized for their rarity and beauty. In the 16th century, some of those early “trade skins” made their way to Europe aboard the only ship to return from Magellan’s famous voyage around the world. Because of their exceptional appearance and the special way the skins were prepared by the Aru Islanders (with legs and wings removed to accentuate their plumes), the first bird-of-paradise skins to reach Europe caused a sensation. At that time, many believed that these ethereal creatures must have come from the biblical Garden of Eden. In other words, they were thought to be birds from paradise.

paper style no. 10

Ultra Bright White Weights: 80T Environment Smooth Pgs: 49–52

“So we hatched a plan to do something

nobody had ever attempted:

to find and document all bird of paradise species.”

By Wallace’s day, belief that the birds came from a literal paradise on Earth had subsided, yet the intrigue surrounding their origins and natural history had not. So it was, at the eastern terminus of his epic voyage through the “Malay Archipelago” (more or less the Indonesia of today), that Wallace finally encountered the true homeland of the Greater Bird-of-paradise. Beyond being the first Westerner to see the species in the wild, Wallace was the first to observe a bird-of-paradise of any species performing its elaborate courtship display. In

evolved: during their courtship displays. From his experience in the Aru Islands, Wallace realized that to fully comprehend the extraordinary nature of any of the birds-of-paradise meant understanding their courtship behavior. Only then would the exceptional appearances for which they had been revered begin to make sense. The long days that Tim spent in the traditional canopy blind made our project a huge success. In addition to his incredible photographs, Tim also captured audio and video

“Beyond being the first Westerner to see the species in the wild, Wallace was the first to observe a bird of paradise performing its elaborate courtship display.” a letter posted from the Aru Islands in 1857, Wallace wrote, “I have discovered their true attitude when displaying their plumes, which I believe is quite new information; they are then so beautiful and grand.” Wallace was the first naturalist to comprehend how the extraordinary plumes of a bird-of-paradise were actually used in life. Before Wallace, people could only speculate on how the birds-of-paradise used their incredible feathers. He saw how the yellow flank-plumes of the males become radiant when fluffed and expanded over their backs. He witnessed the astonishing sight of multiple individuals moving in exaggerated synchrony along the branches of their communal treetop display area. It took an arduous journey to a remote forest in a far-flung part of the world, but Wallace’s observations made him a pioneer in the scientific study of birds-of-paradise. He was the first person to go down the exploratory path we would follow in the course of our multiyear project. It is the path of discovery that comes from observing birds-of-paradise in the context for which their extraordinary appearances

recordings of courtship displays, female visits, and even mating, which added substantially to the scientific understanding of this species’ natural history. His modern photographic equipment combined with the canopy perspective of the birds’ courtship revealed details never before documented. No doubt, Wallace would have been amazed to see their “true attitude” with such clarity and detail. But before departing on the next leg of our journey to find and document another species, we decided to try something Wallace could not have imagined in his wildest dreams. Because one of the goals of our project was to reveal the birds-of-paradise from new perspectives and in ways they had never before been seen, we decided to find a way to get a wide-angle view of birds-of-paradise overlooking the forest canopy. TOP: WALLACE'S STANDARDWING BIRD OF PARADISE MALE AT HIS DISPLAY SITE. HALMAHERA ISLAND, INDONESIA. BOTTOM: KING OF SAXONY BIRD-OF-PARADISE ADULT MALE AT CALLING PERCH ABOVE THE CANOPY. TARI GAP, PAPUA NEW GUINEA.