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Our look is the result of reader comments, our own experimentation, and feedback from distribution channels. Distinctive covers complement our distinctive approach to technical topics, breathing personality and life into potentially dry subjects.

The animal on the cover of JavaScript: The Definitive Guide, Fourth Edition is a Javan rhinoceros. All five species of rhinoceros are distinguished by their large size, thick armor-like skin, three-toed feet, and single or double snout horn. The Javan rhinoceros, along with the Sumatran rhinoceros, is one of two forest-dwelling species. The Javan rhinoceros is similar in appearance to the Indian rhinoceros, but smaller and with certain distinguishing characteristics (primarily skin texture).

Rhinoceroses are often depicted standing up to their snouts in water or mud. In fact, they can frequently be found just like that. When not resting in a river, rhinos will dig deep pits in which to wallow. Both of these resting places provide a couple of advantages. First, they give the animal relief from the tropical heat and protection from blood-sucking flies. (The mud that the wallow leaves on the skin of the rhinoceros provides some protection from flies, also.) Second, mud wallows and river water help support the considerable weight of these huge animals, thereby relieving the strain on their legs and backs.

Folklore has long held that the horn of the rhinoceros possesses magical and aphrodisiacal powers and that humans who gain possession of the horns will gain those powers, also. This is one of the reasons why rhinos are a prime target of poachers. All species of rhinoceros are in danger, and the Javan rhino population is the most precarious. Fewer than 100 of these animals are still living. At one time Javan rhinos could be found throughout southeastern Asia, but they are now believed to exist only in Indonesia and Vietnam.

Rachel Wheeler was the production editor for JavaScript: The Definitive Guide, Fourth Edition, and Leanne Soylemez and Jane Ellin were the copyeditors. Rachel Wheeler, Sheryl Avruch, and Matt Hutchinson were the proofreaders. Mary Brady, Claire Cloutier, Tatiana Apandi Diaz, and Ann Schirmer provided quality control. Maureen Dempsey, Derek Di Matteo, Darren Kelly, Edie Shapiro, and Sarah Sherman provided production assistance. Ellen Troutman-Zaig wrote the index.

Edie Freedman designed the cover of this book. The cover image is a 19th-century engraving from the Dover Pictorial Archive. Emma Colby produced the cover layout with QuarkFigure XPress 4.1 using Adobe's ITC Garamond font.

David Futato designed the interior layout. Neil Walls converted the files from XML to FrameMaker 5.5.6. The text font is Linotype Birka; the heading font is Adobe Myriad Condensed; and the code font is LucasFont's TheSans Mono Condensed. The illustrations that appeared in earlier editions of this book were created in Macromedia Freehand 5.0 by Chris Reilley. For this fourth edition, Robert Romano created and updated figures using Macromedia Freehand 9 and Adobe Photoshop 6. This colophon was written by Clairemarie Fisher O'Leary.

The online edition of this book was created by the Safari production group (John Chodacki, Becki Maisch, and Madeleine Newell) using a set of Frame-to-XML conversion and cleanup tools written and maintained by Erik Ray, Benn Salter, John Chodacki, and Jeff Liggett.

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