- Us Web Coated Swop V2 Definition
- Us Web Coated Swop V2 Download
- What Is Us Web Coated Swop V2
- Us Web Coated Swop V2
- The original US Web Coated (SWOP) v2 profile has been around for a while but is slowly being replaced by the more accurate and up to date WebCoatedSWOP2006Grade3.icc and WebCoatedSWOP 2006Grade5.icc profiles. They are installed with CS4 and CS5.
- US Web Coated (SWOP) v2. US Web Uncoated v2; US Sheetfed Coated v2; US Sheetfed Uncoated v2; Coated FOGRA27 (ISO 12647-2:2004) Web Coated FOGRA28 (ISO 12647-2:2004) Uncoated FOGRA29 (ISO 12647-2:2004) Coated FOGRA39 (ISO 12647-2:2004) Japan Web Coated (Ad) Japan Color 2001 Coated; Japan Color 2001 Uncoated; Japan Color 2002 Newspaper.
- Soft proof documents to preview final results on-screen. (left) An sRGB color profile is assigned to an image. (right) Assigning the U.S. Web Coated (SWOP) v2 profile allows an on-screen simulation of the printed output. To simulate the output colors that are produced by a device, you need to choose the color profile of the device.
An outputintent describes the final destination device you will useto reproduce the color in the PDF, such as the separations printingdevice. Output intents override working spaces during viewing andprinting, but they do not convert the colors in the PDF.
Enclosed in our compressed archive are: 4 RGB profiles Adobe RGB (1998) Apple RGB ColorMatch RGB sRGB IEC61966-2.1 10 CMYK profiles US Web Coated (SWOP) v2 US Web Uncoated v2 US Sheetfed Coated v2 US Sheetfed Uncoated v2 Europe ISO Coated FOGRA27 Euroscale Uncoated v2 Japan Web Coated (Ad) Japan Color 2001 Coated Japan Color 2001 Uncoated Japan.
Note:
In a PDF/X1-a workflow, the output intent describes the workingCMYK space. In a PDF/X-3 workflow, the embedded ICC profile in theoutput intent is used to dynamically convert any objects with color-managedcolor to the color space of the ICC profile in the output intent.In most cases this will be CMYK, but can also be RGB or Grayscale.
There are two kinds of output intents: One includes an embeddeddevice profile that defines the color space of the destination device,such as U.S. Web Coated (SWOP) v2; the otheris a name that defines the destination color space and usually namesa standard output condition. Using a named output intent rather thanan embedded profile helps reduce the size of a PDF, but this istypically only possible for PDF/X-1a files, or PDF/X-3 files thatdo not contain color-managed color.
You include output intents when you create PDF/X (or PDF/A) files,using the Standards panel of the Adobe PDF Settingsdialog box. (You access Adobe PDF Settingsdifferently, depending on the application you’re using.) You canalso use third-party plug-ins to include output intents. For documentswith named output intents rather than embedded profiles, the programlooks for the color profile associated with the named intent.
Choose Tools > Print Production > Preflight. On the Output Intents tab of Preflight Preferences, do one of the following:
To create a new output intent from scratch, click the Create A New Output Intent icon .
To create an output intent based on an existing one, select an option from the list on the left, and then click the Duplicate Selected Output Intent icon . An integer is appended to the name of the duplicated output intent.
Youcan extract an embedded output intent from another PDF, and thenadd it to the list of output intents in Preflight preferences.
On the Output Intents tab of Preflight Preferences, click Capture.
- Locate the file with the embedded output intent you wantand open it.
The output intent appears at the end of the list, witha name that indicates it was captured from a certain type of file,for example, “Captured Output Intent from PDF/Xfile.”
Choose Tools > Print Production > Preflight. On the Output Intents tab ofPreflight Preferences, select the output intent and click ExportICC Profile.
The ICC profile appears with the other ICC profiles inthe Profiles folder.
On the Output Intents tab of Preflight Preferences, select the output intent and click Delete .
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Home -> Adobe training -> Photoshop training -> Professional Photoshop training with Dan Margulis
From: 'jeremyschultz'
I asked our printer for color settings and specifications, and they sent me a .csf file to load for proper color settings. But I noticed that it is almost exactly the same as the U.S. Prepress Defaults settings included with Photoshop—Adobe RGB, US Web Coated (SWOP) v2, 20% dot gain and Black Ink—US Web Coated (SWOP) v2 for grays. I’m most wary of the CMYK setting, which sets black limit at 100 and GCR at medium (just like the default).
I've based my current settings on what Dan's book recommended, and I've gotten good results. Should I conclude that the printer's settings are dubious?
Jeremy
___________________________________________________________________________
Date: Thu, 26 May 2005 14:28:14 -0600
Subject: Re: Default Photoshop color settings
It's a bit of a crap shoot. Is the printer known for high quality printing? If so, there's a good chance they pass the resulting separation through a set of curves to account for their actual press behavior, and if printing on a good quality stock, and printing CTP a 100% black ink limit and medium GCR with good process control in place won't be a problem. But SWOP separations are geared for printing at 133 line screen, conventional platemaking, on a #5 stock. Adapting such separations to different printing conditions is possible but are inferior custom separations for actual printing conditions.
Further questioning of the printer may reveal what happens to your file once they get it. Will it be going through a set of plate curves, or will it be processed using a DeviceLink? Have you communicated to them your level of tolerance for a match between your display and their contract proof? If so, I'd use what they're recommending until proven this is not good advice. If they balk at the display to proof match, and instead bring up the proof to press match, that merely means they are banking on any discrepancy showing up in the proof, and you'll fix the problem at the proofing stage through iterations, and then they will match the proof. A big part of the point of color management is reducing those proof-color correction iterations.
If you get back a proof that is clearly not representative of your file, let them know their suggestion isn't a particularly high quality one. The options, as you see it are: a.) a custom profile for the press or proofing system so you can get closer in one or two iterations; b.) unlimited free proofs and a discount for the time you lose having to guess how their setup behaves.
A printer is obligated to either accept tagged RGB and separate correctly (for a fee, or not as long as this is explained up front), or he is obligated to inform you how his press/proofing system behaves. A 'ballpark' suggestion isn't useful, and it's certainly appropriate to let him know this in the context of 'do we really have a fit here? Should I be looking for a different printer?' But until you've received the first proof, how good their suggested setup is, is an open ended question. But you're suspicion is reasonable.
Chris Murphy
www.colorremedies.com/realworldcolor
___________________________________________________________________________
Date: Fri, 27 May 2005 11:07:58 -0000
Subject: Re: Default Photoshop color settings
I asked our printer for color settings and specifications, and they
sent me a .csf file to load for proper color settings. But I noticed that it is
almost exactly the same as the U.S. Prepress Defaults settings included with Photoshop—
Adobe RGB, US Web Coated (SWOP) v2, 20% dot gain and Black Ink—US
CMYK WS: US Web Coated SWOP v2 (TR001)
Spot: Standard Default 20% curve
I'm most wary of the CMYK setting, which
sets black limit at 100 and GCR at medium (just like the default).
This is CUSTOM CMYK - not the values of the Adobe v2 profile.
This has been confused many times in the past.
The v2 profile has a 90% K limit and the GCR is not the same as custom CMYK Medium GCR, but it does seem to be a havier or 'medium' GCR more so than light or UCR.
I've based my current settings on what Dan's book recommended, and I've
gotten good results. Should I conclude that the printer's settings
No, you should conclude that the printers settings are accurate and that they print to TR001 aimpoints.
If you have entered custom CMYK then you have changed their CSF file, the popup menu should now read custom and not have the original CSF name.
Do you mean that the CSF actually has legacy Custom CMYK and not the v2 TR001 profile from Adobe?
Although these two profiles have 'swop' in their name - they do not describe the same thing at all.
___________________________________________________________________________
Date: Fri, 27 May 2005 08:13:24 EDT
Subject: Re: Default Photoshop color settings
Jeremy writes,
I asked our printer for color settings and specifications, and they sent me
a .csf file to load for proper color settings. But I noticed that it is almost exactly the same as the U.S. Prepress Defaults settings included with Photoshop—-
Adobe RGB, US Web Coated (SWOP) v2, 20% dot gain and Black Ink—US
Web Coated (SWOP) v2 for grays. I'm most wary of the CMYK setting, which
sets black limit at 100 and GCR at medium (just like the default).
As Stephen points out, the black limit and GCR settings are contained in the SWOP v2 setting, which cannot be altered or even examined. When you change to Custom CMYK you get an older default. The 100% ink limit you see is therefore not valid with these settings.
I've based my current settings on what Dan's book recommended, and I've gotten good results. Should I conclude that the printer's settings are dubious?
Most printers know almost nothing about Photoshop or how to prepare files for printing. There are some happy exceptions who can make our life much easier. It helps to find out which kind of printer you're dealing with.
Here, the printer has, in response to your inquiry, given you the Photoshop defaults as a file, as opposed to just telling you to use Photoshop defaults. This is not a happy sign. Stephen has indicated that you should assume that the printer prints to those specs. I respectfully disagree. It may be true that they've looked at their output and have made an intelligent decision to use these settings, but I certainly wouldn't assume that.
If you can find out anything more about whether this particular printer has any competence in this area you'll be way ahead. But if all you have to go on is that they've fed you back the Photoshop defaults then the odds are unfortunately good that they simply have no clue about these matters, in which case you are left to your own devices.
Dan Margulis
___________________________________________________________________________
Date: Fri, 27 May 2005 12:40:23 -0000
Subject: Re: Default Photoshop color settings
Agreed Dan, I was feeling in an uncharacteristic optimistic mood in regards to the print industry when I wrote that. It does assume two things - (a) that this profile is provides the right colorimetric description and delivers appropriate GCR etc, and (b) that this profile provides an accurate softproof of a file in CMYK or for a RGB file going to CMYK and that they have controlled lighting/viewing conditions and correctly calibrated and characterised monitors.
<sarcasm>How could one consider my original post to be optimistic?
___________________________________________________________________________
Date: Fri, 27 May 2005 22:29:27 -0500
Subject: Re: Re: Default Photoshop color settings
I looked at the v2 profile that was installed with Photoshop, and it had the same values as the profile the printer sent me (100%K, med GCR, etc), so I assumed that they were the same. That1s not the case?
Jeremy Schultz
Design and illustration for print and the web
2120 Grand Avenue, Suite 26
(515) 306-4348
___________________________________________________________________________
Date: Fri, 27 May 2005 21:42:30 -0600
Subject: Re: Re: Default Photoshop color settings
On May 27, 2005, at 9:29 PM, Jeremy Schultz wrote:
I looked at the v2 profile that was installed with Photoshop, and it had the
same values as the profile the printer sent me (100%K, med GCR, etc), so I
assumed that they were the same. That's not the case?
When you say you 'looked at the v2 profile' do you mean you're going into Custom CMYK? That doesn't work because Custom CMYK is a way to CREATE profiles. It is not a way to look at existing profiles, or edit them.
Us Web Coated Swop V2 Definition
Chris Murphy
www.colorremedies.com/realworldcolor
___________________________________________________________________________
Date: Sat, 28 May 2005 10:53:04 -0700
Subject: Re: Default Photoshop color settings
Dan writes:
If you can find out anything more about whether this particular printer
has any competence in this area you'll be way ahead. But if all you have to go
on is that they've fed you back the Photoshop defaults then the odds are
unfortunately good that they simply have no clue about these matters, in
For the less informed in your audience, would you care to suggest a manner in which this investigation of competence can be done? In the real world, often the prepress guys are so pig-headed and/or busy that they will not deem to talk with mere designer or photographer (excluding readers of this list, of course), and even more often, all enquiries are made through some customer service rep. So, even with some knowledge of what is required, how can we judge a companies competence? Certainly not by the samples in the front office, or the marketing hype from a salesman.
Thanks
John
_________________________
PC Graphics Report
___________________________________________________________________________
Date: Sat, 28 May 2005 15:52:27 -0500
Subject: Re: Re: Default Photoshop color settings
Yes, that's what I meant, but I realize what you1re saying now. Thanks for correcting me, Chris, Dan & Stephen.
When you say you 'looked at the v2 profile' do you mean you're going
into Custom CMYK? That doesn't work because Custom CMYK is a way to
CREATE profiles. It is not a way to look at existing profiles, or edit them.
Jeremy Schultz
Design and illustration for print and the web
2120 Grand Avenue, Suite 26
(515) 306-4348
___________________________________________________________________________
Date: Sat, 28 May 2005 23:43:18 -0700
Subject: Re: Re: Default Photoshop color settings
In my experience, it's not that the prepress guys don't want to talk to the client, it's just not something that we can initiate. Someone has to say 'I want to talk to a prepress guy right now', or 'I want a face-to-face meeting with your best prepress guy.'
Everytime I've done that the job goes smoother and the client gets an education. But the client needs to ask for it if the salesperson isn't smart enough to suggest it.
J
___________________________________________________________________________
Date: Sun, 29 May 2005 13:30:21 -0000
Subject: Re: Default Photoshop color settings
Hi John.
I send a lot of jobs to press, and my basic rule is that if I don't have complete, free access to the pre-press people, I go elsewhere - period. It's nice if the sales person is knowledgeable too, but as long as they admit when they are over their heads, that's fine by me. The printing company needs to have that cooperative team attitude if high quality work is expected to come out the other end, and if they don't it suggests to me they just want to spit out whatever crap they can get the client to accept regardless of quality. It has been my experience that the pre-press people like to talk to someone who has some knowledge and wants to learn more so he/she can deliver excellent files. It saves them lots of headaches and time if the job is designed and delivered properly up front. Of course, they need to balance that against training a complete newbie, which can eat up ton of their time. I always visit local printers before giving them a job, take a tour, see their process and equipment, and spend time with the prepress people. I also try to attend all press checks, since it sets a level of expectation in their minds, at least when it comes to my jobs.
I find the good ones are almost good team players.
Lou
___________________________________________________________________________
Date: Sun, 29 May 2005 10:49:57 -0400
Subject: Re: Default Photoshop color settings
Common misconception that if you select the SWOP profile and then you go to 'Custom CMYK' that you're looking at the actual settings of that profile. Not true as Dan, Stephen and others pointed out.
As far as examining a profile, USWebCoatedSWOPv2 for example, you can do some snooping both directly and indirectly. If you want to find out K limit and total ink of a profile in Photoshop, simply create a 0,0,0 RGB patch and either convert or soft-proof it. Keep in mind for 'real photos' you'll typically get less ink than what this tells you since you'll not likely have large areas of 0,0,0 RGB, more like 8-32 RGB values for shadows with detail. The easiest thing to do for Photoshop profile snooping is to have either a neutral gray RGB or Lab gray ramp with which to examine a CMYK profile.
If you want a DIRECT look at a profile, then you can use either Chromix ColorThink or X-Rite ColorShopX. For example, using CSX and peaking at SWOPv2, it tells me the K limit is 90% with a 298% total ink limit (you'd be hard-pressed to get more than about 85% K in actual image conversions however). Midtone gray balance is a typical 50c41m41y with the K start point around 45c37m37y (first printable black dot comes in around 45% cyan). Based on this, I would call this a light-to-medium GCR setting but there is no standard for these terms. For me, a K start point of between 25-35% (cyan) in the actual profile is what I prefer and *I* choose to call this 'medium GCR'. :-)
Later,
_____________________________
Color Management Consulting
http://www.colormanagementgroup.com
___________________________________________________________________________
Date: Wed, 29 Jun 2005 13:50:45 -0700
Subject: Re: Digest Number 1436
I think that often prepress and printers are just so overloaded that they don't have the time. But honestly, my experience is that the more sincere effort you make, warts and all, the more people will try and help. Often, everybody is flying blind is my experience. After almost 20 years on press as a designer off and on, I am just now beginning to have real rapport with my press people but it's partly because I offer real respect and try and ask (not too many) legitimate questions. At the end of the day, if we really take stock of how many people really don't know what they are doing every day—we would all pretty surprised. I just try and think of myself as a sort of Don Quixote going forth—I will reach my goal!!!!
my .02
Ann-Marie
___________________________________________________________________________
Date: Mon, 30 May 2005 00:36:51 EDT
Subject: Re: Re: Default Photoshop color settings
John Feld writes,
Dan and anyone,
For the less informed in your audience, would you care to suggest a manner
in which this investigation of competence can be done?
In the real world, often the prepress guys are so pig-headed and/or busy
that they will not deem to talk with mere designer or photographer
(excluding readers of this list, of course), and even more often, all
enquiries are made through some customer service rep.
This is more a question of psychology than color theory. Everybody agrees that you try to steer work to a printer you have faith in, and that you try to speak to the prepress people and not the CSRs (warning: if you *do* manage to get through and speak to the prepress people, make a resolution first that you will not get mad, no matter what. CSRs are trained not to say anything that will cheese off a client, even when the client deserves it. Prepress people are not.)
However, there are times when you can't do this, so really the question is, how do you assess the competence of an unknown printer that you're forced to work with if you only have access to a CSR?
The fundamental mistake that many people make in this situation is to try to impress the CSR with how much about prepress they know. The idea is not to intimidate her but to find out how much *her* company knows about the subject, if anything.
My recommendation is to be as nonthreatening as possible. That means being exceedingly respectful of the great expertise of the printing company. It means implying that you have very rarely done this kind of work before and could really use some help.
DON'T ask for Photoshop settings until you think that there's some possibility they know what you're talking about. DO ask if they have any kind of handout that the give out to people to help them prepare files. Good companies often have them, bad ones usually don't.
DON'T ask what their ink limit is. DO say that you heard from a friend that there can be a problem on press if you use too much ink, is there any truth to that?
DON'T ask what brand of platesetter they use. DO ask how they get your digital files onto the press.
DON'T mention profiles or the words 'color management.' Do ask whether what you see on your monitor is what's going to print on press.
These types of innocuous questions will very quickly reveal whether the person you are dealing with (and by extension, the whole company) is clueless. If such questions have never been asked, or if nobody cares enough to give the CSRs pat answers to them, you know that you're not going to be able to count on them for very much, PLUS you haven't made yourself obnoxious enough to get second-rate service in the future. Printers like to be buttered up almost as much as photographers do.
If still in doubt, there are two further investigative tools. First, find out what happens when you ask a technical question that sounds simple but that the CSR is unlikely to be able to answer. Like, 'is it true that if I just use the same percentage of each ink I'll get a gray?' Find out whether she'll make something up, or refer the question to somebody who she thinks knows the answer.
Second. Concoct some fairly simple technical problem. Call the plant at 10 pm in a panic. Explain that you are a client and that you have promised to show a proof of the job that they're going to print at 8 a.m. tomorrow, that's why you're calling tonite. If they don't have somebody there who seems to know how to boot up Photoshop, that's a very bad sign.
Certainly not by the samples in the front office, or the marketing hype
Certainly yes. You pick up the samples and compliment them on the wonderful quality of the work and how you hope your job will turn out just as well. When the salesman starts to beam, stick the knife in. Ask if it wouldn't be possible to get the digital files that produced two or three of the pictures, because you want to study them. Whatever that guy did in Photoshop, you want to do it too! No need to tell him that you've seen better printing off a color copier and that you're planning to adjust your separation parameters based on how the other guy's stuff printed. The salesman won't know what a separation parameter is anyway.
Playing dumb like this has very little downside. If the responses you get indicate that there is intelligent life on this printer's planet, then you go on from there. If they indicate that the printer has no idea what happens in Photoshop, fine, you can live with that, too—and at least you haven't made an enemy of the printer by showing how little he knows about the subject.
Dan Margulis
___________________________________________________________________________
Date: Mon, 30 May 2005 16:18:13 -0700
Subject: Re: Re: Default Photoshop color settings
Hello, Dan, and welcome back from Italy.
What you say here is very sensible, but I wonder whether the fear of 'making an enemy of the printer' should really be a concern every single time. I mean no disrespect, but there's a lot of babying and 'kid-glove-type' handling in what you suggest. I personally like to start from an assumption that we all, as professionals, (a) can be trusted to separate personal feelings from business, and (b) can get the answers we need without having to resort to condescending to other professionals.
Mind you, I do NOT advocate verbal abuse (either implied or explicit) and showing off one's 'superior knowledge' with the aim of making the CSR, or the prepress people, feel dumb. That is childish and hostile, and certainly not a good idea. But in my years of work with all sorts of print providers (and, hey, maybe I did it wrong the whole time!), I would ask the 'hard questions' almost from the get go, with the understanding that if the CSR didn't know the answer, he/she would direct me to the right person. And in the great majority of cases I did get my answers. All in all, things worked.
What about CSRs with a thin skin and prepress operators with a chip on their shoulder? There's one (or two, or three, etc...) in every crowd, like in real life. As they say (somebody did...), whatchya gonna do? My motto is: keep it professional, don't underestimate them and don't let them underestimate you. The assumption must be that each of us has a job to do and knows how to do it. And if he/she doesn't, on my part I'll make sure to voice my opinion on the matter to my colleagues and warn them.
As I said, whatchya gonna do...?
Best regards.
———————
Mill Valley, CA
___________________________________________________________________________
Date: Wed, 1 Jun 2005 20:12:12 EDT
Subject: Re: Re: Default Photoshop color settings
Marco writes,
Hello, Dan, and welcome back from Italy.
Thank you, I have just about lost all the weight I gained in that land of fine food.
What you say here is very sensible, but I wonder whether the fear of
'making an enemy of the printer' should really be a concern every single time.
Definitely not. If their proofing, outputting of files, and/or press quality control is not adequate, by all means make enemies, if that's what it takes to get them to do the job right.
That's not the situation here. The printer has supplied a recommendation for how to prepare a separation in Photoshop. The only question is whether there is the slightest reason to suppose that this printer knows what he's talking about, or whether that recommendation should be given as much weight as his prediction of who will win the presidential election of 2032.
I mean no disrespect, but there's a lot of babying and 'kid-glove-type'
handling in what you suggest. I personally like to start from an assumption that
we all, as professionals, (a) can be trusted to separate personal feelings
from business, and (b) can get the answers we need without having to resort to
A user who needs printers to give an answer about how to make separations is in for a short but painful life in prepress. In any case, the answer does not appear to be available—if the printer doesn't know, we're not going to be able to teach him much by the time the job gets printed.
What about CSRs with a thin skin and prepress operators with a chip on
their shoulder? There's one (or two, or three, etc...) in every crowd, like in
There are, but if they know nothing or a close facsimile thereof about file preparation, then they can't help us no matter how much we provoke them.
If the printer doesn't know what advice to give about file prep, that's too bad, but we can live with it. If we raise a stink, first of all the printer probably won't agree that he has to offer such advice; second, he may have had experience in the past with jokers who didn't check their numbers before they sent the file out and then blamed the printer's color management when the job didn't print well, and he may associate us with those people, to our later detriment; and third there's not a blessed thing to be done at this point anyway.
If he messes up the printing, we *can't* live with that, and there are things that he *can* do to remedy the situation, like reprint the job in an extreme case. In getting him to live up to his responsibilities a little foul language may not be inappropriate. But its impact won't be nearly as effective if we've already raised a stink about something that he doesn't think is his responsibility and in which he could never have assisted us in the first place.
Dan Margulis
___________________________________________________________________________
Subj: Re: Default Photoshop color settings
From: Gary Owens
Hi Dan and group,
The most important thing I've learned as a photographer is to let the photolab do there job. When the job comes back wrong that's when you ask questions and make suggestions. It's no different with prepress.
Here are some suggestions:
1. If dealing with a photolab keep a supply of there order envlopes at home. Fill out the envelopes at home and drop them off at the lab. This saves much time and frustration and reduces errors.
2. If I'm sending a strip of negatives in for enlargements I write over the frame that is to be printed; what is to be printed. And I also put a copy of my proof (wallet size printed 3 up; one to customer, two for me)in the envelope.
3. If I get an order back that isn't printed right I write instructions on a sticky note; stick it on the envelope and take it back to the lab.
4. If I start seeing too many errors from the lab and don't get any satisfaction I walk out the door.
5. In selecting a photolab; prepress; or printer submit a test job to see how the business performs and treats you. Then tell them you are a professional looking for relaible services.
Remember we are the customer and we are right; but we have to communicate with the vendor as teammates.
Gary Owens
Us Web Coated Swop V2 Download
___________________________________________________________________________
What Is Us Web Coated Swop V2
Date: Fri, 3 Jun 2005 23:10:57 -0600
Subject: Re: Default Photoshop color settings
On 29-Jun-05, at 2:50 PM, Ann-Marie Stillion wrote:
I think that often prepress and printers are just so overloaded that they
don't have the time. But honestly, my experience is that the more sincere
effort you make, warts and all, the more people will try and help. Often,
everybody is flying blind is my experience. After almost 20 years on press
as a designer off and on, I am just now beginning to have real rapport with
my press people but it's partly because I offer real respect and try and
Us Web Coated Swop V2
ask (not too many) legitimate questions. At the end of the day, if we
really take stock of how many people really don't know what they are doing
every day—we would all pretty surprised. I just try and think of myself as
a sort of Don Quixote going forth—I will reach my goal!!!!
Ann-Marie:
Why is this the scariest post in the recent past? Because it hits home; it rings true.
And yet, I like your final part, which is an optimistic one. It also resonates.
We like to think the world is getting to a better place, and if we believe, it will happen.
Thanks,
___________________________________________________________________________