Pressing Service
Current Turnaround Times:
Pressing is one of the most radical concepts to surface in this hobby the past decade. The concept of pressing is simple; it removes slight non-color breaking defects in a comic book through non-restorative techniques in order to raise the book's grade and value. We are the industry leader in pressing, combining an unsurpassed process with unmatched knowledge and experience. We've worked on every kind of comic book ever published; over 100,000 comics have passed through our doors since we began pressing a decade ago, including the most valuable, sought-after issues seen on the market.
The art of choosing candidates for pressing can be complex, with many angles to consider. Have you spent years assembling your collection, or did you keep it since childhood? Are they already CGC graded, or still raw? Do you have 5 comics to submit, or 1,000? All of these (and much more) will play a factor in how you should approach this service. We have broken down the most basic questions below. When you feel that you are ready to press your books, go to our submission page to start the process.
What exactly is pressing and how did it begin?Pressing removes minor defects from comic books, such as dents, folds and bends to make the comic appear flatter and less flawed. Because CGC’s grading system is based on point deductions for each defect, pressing can possibly raise the grade, and thus value, of a comic book. In a general sense, pressing has been around since the beginning of comic book collecting. Crude and simple methods of pressing were employed in the beginning, with little thought given to long term effects. By the ‘80s pressing became more sophisticated, serving as part of the evolving restoration process. In the ‘90s pressing became linked to water and solvent cleaning (hence the catch phrase “cleaning and pressing”) as general cleaning broke away from the restoration process. Some did not consider cleaning and pressing to be restoration during this time. That all changed when CGC entered the market in 2000. CGC immediately considered water or solvent cleaning to be restoration. This left pressing as the sole technique allowed on unrestored comic books. We were in the restoration business at that time, but recognized the massive potential of pressing, and immediately set about developing a process that maximized its effect and minimized the hazards while (most importantly) adhering to CGC grading standards. We’re proud to say that a decade later we are the true leader in comic book pressing. Our secret, multi-step process has been modified and honed through thousands of hours of research and pressing tens of thousands of comic books. The ultimate key to successful pressing is to understand how it relates to CGC’s grading standards, which we have achieved through thousands of CGC submissions each year. One misnomer about pressing is that it is easy; this is based on peoples’ awareness of unsophisticated pressing techniques from prior decades. It results in poor, ineffectual pressing that can adversely affect your comic books. There are people who claim to press comics today that in fact have very little experience under their belt. Given the many variables involved with pressing—Golden Age vs. Silver Age vs. Moderns, DC vs. Marvel, low grade vs. high grade, tanned pages vs. white pages, the countless combination of defects—there is no simple way to press a book. It is important that you consider who has invested the most time and effort into how to account for these variables to insure your books safely reach their full potential. Does CGC consider pressing to be restoration?CGC does not consider pressing to be restoration. In fact CGC exclusively RECOMMENDS Classics Incorporated for pressing on their website. In CGC’s eyes, there is a fine line between what constitutes restoration and what does not. Because our services cover any and all ethical improvements to a comic book, we innately understand where this line lies. We make sure your comic does not receive a restored grade from CGC when we press. CGC also does not consider dry cleaning to be restoration, which we automatically include in our pressing service. Dry cleaning’s main purpose is to remove dirt or pencil from a cover, particularly in the white areas. Dry cleaning does not remove tanning, stains, pen or marker, sun shadows or foxing. If we feel your book’s grade would benefit from a dry cleaning, we will automatically perform this during the press process. How do you press a comic?We get asked this quite often, but our process is a trade secret. It’s a process we have spent thousands of hours developing over the past decade through research, testing, and pressing tens of thousands of comics. We strive to make sure every technique is safe for the short and long term. Our pressing process does not involve disassembly, nor do we use abrasive materials like chemicals, or perform any work that would constitute restoration. The end result is undetectable, with each comic exhibiting a fresh, untouched look and feel. How do I spot a good pressing candidate?The first step is to identify a comic book's "good" defects and "bad" defects. In short, good defects can be diminished or removed with pressing, and the bad defects cannot. Here is a comprehensive list of both:
Identifying good press candidates can be very challenging because it requires you to grade a comic not as it is, but as it could be with a pressing. This thought process requires both the identification of good and bad defects and a firm knowledge of CGC’s grading standards, and goes like this:
Just because a comic exhibits good defects does not mean it will automatically increase in grade with a pressing. For example, say you owned an Amazing Spider-man #20 graded CGC 9.0, and upon close inspection under a light you discover an impacted corner top left back cover that does not break color. But you also notice a small ¼” color-breaking crease on the bottom corner of the front cover. Even if the back cover impact is completely pressed out, we know that CGC will not allow a 1/4” color breaking crease in any grade higher than 9.2, so we would not consider this copy a good pressing candidate.
What grade range is the best for pressing candidates?The best range of grades that benefit from pressing fall between 8.0 and 9.6. Because pressing removes small defects like bends, folds, dents and non-color breaking spine stress, improvements from pressing tend to be subtle, which means they have the greatest impact on very high grade books that exhibit only minor flaws. Also, the value increase is much more substantial for a 9.4 to 9.6 increase than a 6.0 to 7.0 increase. For more valuable comics, the grade range can extend down to 6.0 or lower, depending on the value increase between grades. A good example is Amazing Fantasy #15 (the first appearance of Spider-man), which is so valuable in any grade, one should consider pressing copies as low as 4.0. Currently, a 4.0 Amazing Fantasy #15 is worth about $5,000, while a 4.5 is about $6,000, and a 5.0 is $9,000. With pressing and grading fees running about $175 in this range, even an increase from 4.0 to 4.5 can yield a profit of roughly $800. Here are some general guidelines for good press candidates:
Modern Age Comics (1975-present) Of course there are many exceptions to these guidelines. Golden Age comics are much rarer than Silver or Bronze Age comics, and the market subsequently smaller, so grade increases don't necessarily translate into a specific percentage increase of value. But because Golden Age comics are much scarcer, there is a greater chance a Golden Age book could become the sole highest graded copy with pressing, thus dramatically increasing its desirability. I want to have my raw comic book collection pressed and CGC graded.Whether you kept your comics from childhood, or you’ve spent years assembling your collection, or if you’re a newbie who lucked into an accumulation of comic books, eventually you need to consider whether having your comics pressed and CGC graded is worthwhile. There are two kinds of comics that benefit the most from CGC grading: high grade copies, and valuable key issues. Most comic collections are of average grade, which is why the high grade specimens are so rare and valuable. Typically only a small percentage of any collection is nice enough to warrant pressing and CGC grading. So how nice or how valuable must each comic be to justify the cost invested in pressing and CGC? There is not an easy or straightforward answer to this question, but with the right tools and research, one can determine which of his or her books are worthy. There are three things you need: 1) to be familiar with CGC’s grading scale and a general understanding of how to grade a comic book, 2) access to gpanalysis.com (GPA) or an Overstreet Price Guide, and 3) the fees associated with pressing and grading each comic. First, you must be familiar with CGC’s grading standards, outlined here. To learn how to grade comics, the best source is the Overstreet Grading Guide, found here. Some who have been active in the hobby the past decade already know the difference between a 6.0, an 8.0, and a 9.4. Advanced collectors even know the minute differences between 9.4, 9.6 and 9.8. But many are either new to comics, or have been inactive for a long period of time and may have a hard time assessing their own comics for potential pressing and grading. If this is you, do not fear. Our screening service will accomplish this step for you. Second, access to gpanalysis.com (GPA) or a current Overstreet Price Guide will show you what comics are selling for in any particular grade. For high grade comics, the most reliable is GPA, which tracks CGC sales that have taken place in the market since 2002. This allows you to see what each comic sells for in each grade (a subscription is about $10 per month). An Overstreet guide is most valuable when determining values for lower grade comics, key issues and Golden Age comics (prior to 1955). A new Overstreet can be found at any bookstore or online for about $20. Using this data, you can determine which of your comics are valuable enough to submit for pressing and grading. Third, calculating the fees to press and grade each comic will help you determine your potential profit margin. CGC fees are listed here on their website, and our pressing fees can be found here. Typically, the cheaper or newer a comic is, the less cost is involved. A basic understanding of comic book grading will allow you to pick the highest graded comics in your collection. Using either GPA or the Overstreet in conjunction with the applicable CGC and pressing fees, you then determine which of those are worthy of pressing and grading.
To tie all three components together, let’s pretend you have a collection of Spider-man #1-300. You either bought them many years ago, or they were given to you buy your (super nice) Uncle, so you have little money invested in them. You’re not very familiar with how to grade comics, but after some research you think you have developed a basic understanding. You think issues #1 through #20 average VG 4.0 to FN 6.0. Then the run gets nicer, with #20-50 averaging FN 6.0 to VF 8.0. After #50, there appears to be some real gems in the batch, especially when you go above #150. Which should you submit for pressing and grading? The fact that you have little or no investment in the comics to start with is an important factor. It means that your only cost will be pressing and grading. Since CGC graded comics are more liquid in the market, and tend to bring at least 50% more than ungraded comics, you’ll want to consider grading any comic worth more than $100 over the pressing and CGC costs. So you think your Spidey #3 a 6.0 right now. After checking GPA you find out a CGC graded 6.0 is worth about $750. An ungraded (raw) 6.0 may only sell for $500, so your CGC cost of $50 already yields a potential $250 return. Pressing the Spidey #3 may increase its grade to 6.5 (worth $950) or even 7.0 (worth $1200), yielding another potential return of $200 to $450. It would clearly be worthwhile to submit this Spidey #3 to us for evaluation. Another example would be your Spidey #95 that looks almost flawless. Since this issue is worth considerably less than #3 in the guide, you have to watch your numbers more carefully. According to GPA, a 9.2 copy is worth about $125, and a 9.4 about $175. Pressing and CGC fees for this book will run about $50. So if your target profit margin is a minimum of $100, then the book must grade at least 9.4 to be worthwhile. (Some people don’t mind a lower profit margin, and would accept 9.2, yielding them a $75 profit). In this case, you would submit this Spidey to us with a Pre-screen of 9.4. To summarize benchmarks for the Spidey run:
It’s impossible to make generalizations as to which books are worthy of investing pressing and grading fees. Each issue is different from the next, and demand (and values) for every comic fluctuates on a regular basis. But if you take the time to grade your comics and research prices, you’ll have a good idea which should be submitted to us. If you feel you are not capable of screening your own comics, our screening service can accomplish this for you for $1 to $5 per book. If you are not familiar with pressing, you may want to start with a small batch of books. We recommend 10 to 20, which is just large enough to yield a good average of results. We are used to handling large collections, sometimes pressing hundreds or even thousands of comics for one client at a time, so do not be concerned that you will overwhelm us! For discounts on large submissions, check here. Below is an example of a client who submitted 18 modern comics to us ON-SITE at a major show in 2009. All were raw, and were purchased from various sources over a period of a year. This client has a good eye for pressing candidates, with 2/3 of his submission passing our Pro-screen process. After pressing and grading, our Pro-screen accuracy was 58%, a bit low, but our variance per book was only 1/8 of a grade in the positive direction. The raw value of these comics before pressing averaged about $50 per book, while the post-press value quadrupled to $228 per book. Average press and grading costs were about $30 per book. Keep in mind that what the client paid for his comic books (an unknown factor in the equations below) is a critical factor in his profit margin.
I want to upgrade my existing CGC collection using pressing.If you have spent part or all of the past ten years buying CGC graded comics, at some point you’ve probably wondered if any of them have upgrade potential. This is easier to ascertain than raw comics, since you should be familiar with CGC’s grading standards already. Also, CGC graded comics have an established grade and value, which streamlines your research. We are able to evaluate your CGC graded comics through the holder without opening them. Any rejects are returned to you in their holder. There are two main reasons why you may want to upgrade your CGC collection. The first and most obvious is to increase the value of your comics. The second is to obtain higher grades, which is very important if you are assembling a high grade run for the CGC registry. What you must determine is if the next highest grade of each comic yields a profit margin that is more than the cost of pressing and grading. The first step is to obtain a subscription to gpanalyis.com. This website tracks most CGC sales going back to 2002. You can search any book to determine the value in its current state, and the value of the next highest grade. The value difference between the two grades, minus your pressing and grading fees will be your profit margin. For example, if you have a Batman #200 in 9.4, the current GPA value is around $350 as of this writing. The 9.6 value is about $700. Deducting pressing and grading fees for that book (about $100), that leaves a profit margin of $250, which is substantial enough to consider pressing. Each person sets their own threshold, depending on their goals. If you have only a small handful of books you think are pressing candidates, then your profit margin threshold may be higher, say at least $100 per book. If you’re doing many books at once, or if you have little invested into each book, you may consider a thinner profit margin as your threshold, say $50. Then there are those who are primarily looking for upgrades for their registry set, and would even consider breaking even if it meant achieving a higher grade. Another thing to consider is spreading out your risk. There is no guarantee that a book will increase in grade with pressing, even if we think it has a strong chance. So the more books you press and grade at once, the better chance you will reap a number of impressive grade increases. You should also consider the amount of risk you want to take with each book. There are five outcomes we will list for each book we Pro-screen. For instance, if we evaluate the Batman #200 in 9.4 for upgrade potential, we will list one of these five suggestions: dnp, 9.4+, 9.4 – 9.6, 9.6-, and 9.6 (or higher). The "dnp" stands for Do Not Press, which means we think the book has no shot at upgrade. A 9.4+ means we think there is a 25% chance, a 9.4 – 9.6 has a 50% chance, a 9.6- has a 75% chance, and a 9.6 means we are very confident that the book will upgrade with pressing. Some of our clients are risk adverse, and wouldn't press this Batman if we procreened it 9.6- or lower. Others like to take risks, and would consider pressing the Batman with a Pro-screen as low as 9.4+. It mostly depends on the gain made from a grade increase. If that reaps a profit of $2000, you may be more willing to gamble the pressing/grading fees on even a slight chance of upgrade. If the gain is only $100, then you may stick with only the most confident assessments. A few clients will even want to press the occasional DNP, either because they are confident in their own assessment, or the value increase is so large they feel it's worth gambling the pressing and grading fees regardless of our assessment. No matter what your risk threshold is, it's important to remember that our evaluations are only estimates, and there are no guarantees as to what CGC will ultimately grade a book.
Below is an example of a submitter who assembled a very impressive run of Silver Age Marvels. After picking out 60 books he thought were good press candidates, he submitted them to us for Pro-screen. We considered 22 had a good chance of upgrade with pressing, slightly better than 1 out of 3. Once pressed and graded, 15 of the 22 did increase, including one double upgrade. Six stayed the same grade, and one dropped a grade. Even though only 25% of the client's original submission upgraded, the value increase of those books after deducting pressing and grading fees was a staggering $30,000. Not all submissions will yield this level of profit. This collector had spent years locating these rare, in-demand books in high grade. But almost any CGC collection assembled during the last 10 years is bound to contain at least a few upgrade gems. (Because of the high value of his comics, we have hidden the titles and issues for his privacy. They are from the Silver Age).
What is your success rate with pressing and restoration check?We achieve the most accurate screening and successful upgrades out of anybody pressing comics today. Our success rate depends on the type, number and grade range of books you submit. If you submit 300 raw, new comics from one accumulation with a request for 9.8 Pro-screen, your success rate will likely be higher than if you pressed 40 CGC Silver Age Marvels that grade between 9.2 and 9.4, and have been assembled from many different sources over several years. But the value increase for those early Marvels will be much more substantial. Success must be measured in value as well as quantity. Aesthetics also play an important role in upgrading: a group of 20 comics from a collection exhibiting high gloss, ink reflectivity and white pages stand a better chance of upgrade than 20 comics that appear dull and average, even though both groups of books may be equal in grade from a structural standpoint. One good example is a pedigreed comic, which not only exhibits exceptional aesthetic qualities, but also benefits from a reputation that precedes its CGC grading. For more information on pedigree collections, please visit our sister site comic book pedigrees. How fast can I have my comic book pressed?For our fastest service you can choose to exPress your books, which takes 7-10 business days. Regular turnaround time for pressing is 20-30 business days, which does not include any screening time or restoration removal (if that service is chosen in conjunction with pressing). Do you offer discounts for bulk pressing?We offer a 10% discount for orders that exceed 100 comic books in one order. If an order of over 100 comics are submitted with a Pre-screen or Pro-screen and enough are rejected to where the number of pressings falls below 100, this does not qualify for the discount. Do you do on-site Pro-screening at comic conventions?We perform Pro-screens at our booth at most of the major conventions each year, including San Diego, New York, Chicago, San Francisco, Toronto, Philadelphia, Los Angeles, and Baltimore. There is no need for an appointment, but it is suggested that you complete a work order before arriving at our booth with your comics. There is no limit on the number of comics you can submit. Our schedule fluctuates each year, so be sure to check our calendar periodically. Can you travel to me to screen my collection for pressing?We will travel to you if you plan to immediately submit more than 1,000 comics for pressing. If you are considering this, please CONTACT Matt Nelson for details. If you live near one of the shows we attend, it is possible we can come to you either before or after the show to view your collection. Is it possible to press a 9.8 into 9.9 or even 10.0?Even though the value of any 9.9 or 10.0 is much higher than 9.8, we feel that trying to achieve a 9.9 is not feasible. Because 9.9’s are given out so infrequently by CGC, there is no realistic way to predict when a book will grade 9.9, even with a pressing. Some have been lobbying CGC to open a 9.9 Pre-screen service, but this would require more manpower from CGC and a slight lowering of standards for 9.8 and 9.9. It could also have a detrimental effect on values if the market knew there was an assured way to achieve 9.9. During the month of 12/09, the ratio of graded 9.8’s to 9.9’s by CGC was roughly 1 to 64, while the ratio of 9.9’s to 10.0’s was almost 1 to 4. This ratio shows the difficulty of achieving a 9.9 in relation to 9.8 is 16 times greater than that of a 10.0 to 9.9. Given the logarithmic nature of the CGC census, the opposite should be true. There should be more 9.9’s coming out of CGC. Can I consider submitting PGX graded books for pressing?When considering PGX graded books for CGC grading (called cross-grading), it’s important to point out the risks involved. While PGX grades are usually within a point of CGC either way, their standards for particular defects can vary drastically from CGC. Cover tanning is one good example; PGX is much more lenient on tanning, as much as three or four points, making these kinds of books very bad candidates for cross-grading. Also, we find that CGC’s restoration detection is better than that of PGX, adding the risk of receiving a CGC restored grade from an unrestored PGX book. While these risks seem extreme, it’s important to consider this upside: some PGX books are undergraded compared to CGC, and they historically sell for less than CGC books, allowing for a considerably larger profit margin if a higher (or even same) grade is achieved from CGC. What happens to the old labels for CGC books that are pressed?When we remove a book from its CGC holder to press and resubmit to CGC, the old label is included with the book. CGC will keep the label and remove the grade from their census. If a CGC graded book is pressed and returned to you, the old tag will be included with the book. It will be up to you to return the label to CGC for census accuracy. Is it possible my CGC graded comic will receive a lower grade after pressing?It is rare, but it does happen from time to time. This is often due to a shift in CGC’s grading standards between the comic’s first CGC grade and its second. One example is their consideration of cover tanning, which has fluctuated over the decade. Because tanning is a defect not easily quantified, a tanned book graded 9.2 in 2005 may now receive a 9.0 due to tighter standards for that particular defect. We stay abreast of shifts in CGC’s grading standards because of our large volume of submissions, more then anybody else in the industry. Rest assured that we offer the best advice on whether you should attempt an upgrade on any book that has already been CGC graded. If a CGC graded comic receives a lower grade, we offer a free re-evaluation and repressing (if necessary) to help get the book back to its current grade. Additional CGC fees will have to be paid for by the client. If I don’t get the grade I want, is it a good idea to resubmit the comic to CGC?This is actually a strategy we strongly suggest, especially when submitting many comics at once, or submitting high value books. Inevitably there will be some comics in any given submission that do not receive the desired grade from CGC. All is not lost! One client of ours had his entire CGC collection screened, and of the press candidates we chose, about 25% did not upgrade. He sent those back to us to reevaluate through the CGC holder, of which 15% were chosen for resubmission to CGC. About 40% of these received upgrades the second time around. This strategy obviously involves more CGC fees, and the success rate is typically lower, so the value increase of resubmissions must be carefully weighed. We may also recommend that some be repressed if any fixable defects are found on a book. While we take great care in removing all fixable defects the first time around, sometimes a book gets “dinged” by the time it is graded and shipped back to you. For example, if one tried to upgrade a comic from 9.4 to 9.6 where the value increase was $1,000, and the fees per pressing/CGC were about $100, it would be worth resubmitting this book more than once (if we deemed it had a good shot at upgrade). The threshold of resubmission feasibility is when the cost of pressing and CGC is more than 25% of the value increase (hence two submissions would cost you half of your profit margin). Above this threshold, a client’s motive would be more about achieving the desired grade for his run rather than making money. Do multiple pressings hurt my comic?When considering a comic for repressing and resubmission to CGC, one question inevitably arises: will multiple pressings hurt my comic book? There are various levels of pressing we have witnessed in the hobby, from spot pressing to very aggressive methods. The more aggressive techniques can cause warping, cockling, waves, color loss, flaring, damage to staple areas, and an overall limpness to a book, even with one pressing. With slightly less aggressive techniques, one press may not damage a book, but multiple pressings using the same method can produce negative results. Because we have aligned our process with CGC’s standards for the past decade, our pressings are devised to remove all “good” defects without causing the unwanted side effects that can negatively impact grade. Our process allows for safe multiple pressings, and can even diminish or completely remove negative effects a book may exhibit from someone else’s improper pressing. This last scenario has become more commonplace as others attempt to press comics in recent years. We get a lot of other peoples’ pressed comics through our doors, either to fix damage caused by their improper pressing, or to remove defects they were unable to fix with their process. The bottom line is, because of the number of years we’ve been pressing, the number of books we have pressed, and the depth of knowledge we have of CGC’s grading standards, there is no one else in the industry that can duplicate the safety and effectiveness of pressings we provide. What if my comic book is graded “restored” by CGC after using you pressing service?This is rare, but on occasion a comic deemed unrestored by either us or CGC may receive a restored grade from CGC afterwards. This is because of restoration that was present before we received the book. Whether the book was raw and Pro-screened by us (we missed the restoration) or the comic was cracked out of a CGC holder (CGC missed it), we will determine if the restoration can be safely removed, and perform the removal for free. See our Pro-screen page for more information regarding guarantees on missed restoration. I’m ready to submit my comics for pressing.Once you’ve read through the information above and you’re ready to submit, simply go to the submission page and follow the instructions. How does the process work once I submit my comics for pressing?After you have finished entering all of your books in a new work order through our website, you’ll print the work order and mail it with your books. Once they arrive they will be marked as “received” in the work order and an email notification will be sent to you. If you have chosen one of our screening services, the evaluations will be emailed to you once they are completed. After we receive your emailed approval, an invoice for all fees will be generated, the books’ status will be changed to “in progress” in the work order, and work will commence. Any rejects will be immediately mailed back to you unless your pressings are being returned to you as well, in which case we’ll hold them and ship all at once. If a No screen was chosen, we will immediately generate an invoice once the books are checked in and begin work. Once your comics finish pressing, they will either ship back to you or directly to CGC if you have chosen to have them graded. The work order status will be marked “shipped” and a copy of your invoice will be emailed to you. For comics going directly to CGC, their invoice numbers will be recorded at the bottom of your Classics Inc. invoice. Once CGC finishes grading your comics, they will be shipped directly back to you. Your work orders and invoices can be viewed on our website any time. If you do not have your own CGC account, we will submit your books though our account, for which we receive 20% off submissions. The CGC grading and shipping fees will be included on your Classics Inc. invoice, and we will prepare all forms for your submission. The CGC invoice numbers will be recorded at the bottom of your Classics Inc. invoice once the comics ship to CGC. Once CGC receives your order, you must contact them by phone with any questions you have, or to track the progress of your orders. Orders submitted through our account will not be accessible to you through CGC’s online tracking system.
1440 Halsey Way (Venture Building), Suite #114, Carrollton TX 75007 | 972-980-8040 |
|||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
