Differences simulationprofile Coated Fogra39

In Acrobat X and XI I noticed differences in the simulationprofile Coated Fogra39 in black separation.
Colormanagement preferences are te same in Acrobat X and XI.
Can anyone tell me if there are settings I need to adjust or any other way to solve this problem?
Thank you.

Ok, I thought I would ask because there have been problems with Mac OS Mountain Lion. So, sorry, no further ideas.

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3 Adobe Programs give me inconsistent numbers when covert to CMYK from Pantone Pantone+ Solid Coated?

3 Adobe Programs give me inconsistent numbers when covert to CMYK from Pantone Pantone+ Solid Coated?
I need help on figure out how to have exact number value when I use 3 programs, Adobe InDesign CS6, Illustrator CS 6,
And PhotoShop CS 6, and use PMS Swatch from Pantone+ Solid Coated in each program, and convert Pantone Color to CMYK,
the numbers are different significantly. I attached the example of how I converted PMS 424C to CMYK to illustrate.

In CS6 and later the conversion of Pantone+ Solids to CMYK is color managed (Lab to CMYK), so the document's assigned CMYK profile and the app's Color Settings Conversion Options (Intent and Black Point Compensation) affect the conversion numbers and have to be matched up.
So below the assigned profile is Coated Fogra39 with a Relative Colormetric Intent and BPC turned on (the slight differences are because of the way the 3 programs round):
I think InDesign has a problem with color conversions via the Color panel, so I'm showing the InDesign Sep Preview panel with All Spots to Process checked in Ink Manager on the right. Changing the document's CMYK profile assignment doesn't reliably produce the correct conversion via the Color panel—looks like a bug and I haven't checked CC to see if it's been fixed.
Here is what I get with a conversion via the Color panel. l'm not sure where these numbers are coming from but it's not the right conversion to Fogra39:
The tool bar's Color Picker does make the correct conversion, so I think the problem is limited to the Color panel
The simplest approach is to leave Pantone Solids as spot colors and use Ink Manager to make the conversion when you export or print.

New iPod Touch - oleophobic coating?

Went by the Apple store today but new iPods weren't in yet. I was wondering if the new ones would have the oleophobic coating -- anyone know?
Since the iPhone 3Gs specs mention it by name and the iPod Touch specs do not, one can only assume the Touch lacks oleophobic coating.
Which is too bad really, as that's the only practical justification for upgrading from an older model to the one just announced (for me).
ALF

That's too bad. The oleophobic coating on the iPhone 3GS is amazing. I've owned the original iPhone and the iPhone 3G, and I was constantly dissatisfied with just wiping them. I would use iKlear on the screen at least a few times a week. Now, with the iPhone 3GS, I just give the screen a quick dry swipe against my jeans, a towel, or anything similar, and it's absolutely spotless. I'm amazed at the difference the coating makes.
I also see a second benefit to the coating -- it makes the screen just slightly stickier (in a good way) and feels much better to my fingers when swiping, clicking, or using.
The speed is the best reason for an iPhone 3GS, but the coating is a close second or third.

Bridge doesn't recognize color profiles

Dear Adobe community,
I'm using Adobe Bridge CS5.1 (4.1.0.54) and Illustrator CS5.1 (15.1.0), and I'm experiencing a very confusing and disturbing color management problem between these two applications. In short, for some unknown reason Bridge doesn't seem to respect or simply cannot read CMYK color profiles that I've applied to an artwork within Illustrator, but rather labels the file as "Untagged" and displays it with clearly desaturated colors. To illustrate the problem I've created some screenshots having Bridge on the left hand side and Illustrator on the right displaying the same illustration with various color profiles applied. That is, in each case I assigned different color profile to the image in Illustrator, saved the file and took the screenshot of Bridge and Illustrator both displaying the image. Now if you look closely then perhaps you notice that the only time I got a visual match between these applications was when I switched the file to a RGB mode within Illustrator. But even then Bridge did not recognized the correct color profile but interpreted it as "Untagged". Here are the screens:
Bridge "Untagged" vs. Illustrator "U.S. Web Coated":
Bridge "Untagged" vs. Illustrator "Coated FOGRA39":
Bridge "Untagged" vs. Illustrator "Don't Color Manage This Document":
Bridge "Untagged" vs. Illustrator "Adobe RGB":
Hope you could see the difference from these tiny images. Looking from my monitor, I can tell you for sure that they are definitely off, except the RGB versions of the illustration. This made me surmise that perhaps Bridge can only display Working RGB profiles correctly and not anything else.
Here's also my color settings, just in case…
So... Why is that??? Why are these applications showing me different results while my color settings are supposed to be "Synchronized"? Is there a way to fix this? I have tried to play around with the settings and looked for a solution in the web but to no avail. Could you please help me to find a soulution to this disturbing problem?
All the best,
Juhani

You may have used the broken global Purge Cache command in Bridge Preferences, or the cache is otherwise corrupted. Try Purging the Cache through the Tools menu in Bridge for each folder. Tools > Cache > Purge cache for 'foldername'.

Color appearing differently in different Adobe CS5 applications

Hi,
Can anyone tell me why color tends to appear different on screen in different Adobe applications, even if I have synchronised the color settings for CS5 applications?
The following image provides an example, where you can see the same image viewed in InDesign (top left), Bridge (top right), Photoshop (bottom left) and Acrobat (bottom right).
All the CS5 applications are set to the "Europe General Purpose 3" color setting, and the image has the CMYK profile Coated FOGRA39 (from "Europe General Purpose 3"). The PDF was exported from InDesign with the "Press Quality" preset.
As you can see it appears quite similar in InDesign and Bridge, but really different in Photoshop and Acrobat.
Thanks,
Eivind

Hi, I thought you might be Norwegian
I just recently bought the monitor, and since it comes calibrated from the factory (according to Dell) I'm sticking with factory settings so far. I do have a calibrator however. The monitor profile doesn't seem to be the problem though. When checking on my MacBook Pro screen it's the same problem.
Colors seem slightly more consistent after I flattened the PSD file and saved it as a JPEG, even if the color settings are still the same. Note: I have messed with the color of the image since the last screen grab, but it is the same version of the image in all application windows in the screen grab below.
Annoying that you can't trust a layered PSD to come out right. When working with the layered PSD it also made a huge difference when I changed the InDesign export option from regular "Press Quality" to "Press Quality" with the PDF/X-4 standard activated. Is there any good explanation for this?
I'll try changing the CMYK profile settings and see how that turns out.

Color differentiation when exporting to PNG

Hello!
This is just driving me crazy and I'm dying to find a solution. Whenever I export my artboards to the PNG format, I receive a slight change in the bitmap colorization.
In Illustrator, my colors are perfect, but when exporting to PNG, the end result shows an increase in color vibrance - making a light blue (for example) show as slightly more turquoise/sharper light blue.
Example:
(This is a screenshot capture. Illustrator artboard is on the left hand side, the exported PNG example is on the right hand side.)
So, my question is if I am doing something wrong with my color settings?
My settings have been set in my Adobe Bridge to:
Europe General Purpose 3
RGB Space: sRGB IEC61966-2.1
CMYK Space: Coated FOGRA39 (ISO 12647-2:2004)
PS: I constantly switch between creating graphics that are used for the web and other on-screen web applications (such as GUI's) and printed booklets and posters, etc. I've always had immense trouble finding a perfect working space with web and printed material. If anyone has an advice for color settings or some kind of best-practice working environment to create consistent color, I would be very appreciative.
Thank you!

Chrome is not a color managed browser. From the several browsers I have installed on my pc only Firefox has color management capabilities that can match the color with the Adobe color managed programs.
You have to understand that there are color and non-color managed programs. Non-color managed programs always display the colors with the color space of your monitor. Take for example a color recorded in the file say, pure red R=255, G=0, B=0. The non-color managed program will send to your video card the same number and your monitor will display the most saturated red it is physically capable of. When a color managed program reads this value, first it checks the color space of the document, which can be defined with a color profile, a soft proofing color space, or when there is no color profile with the color settings set for the working space. Then it checks the color space of your monitor which is defined in your system and translates the values from the color space of the document to the color space of your monitor which can result in a different value other than 255, 0, 0 sent to your video card. In other words color management is simulating on your monitor a color space different than your monitor's color space. The result from this is different color displayed by color managed and non-color managed programs when reading the same file.
You can't make non-color managed programs to match a color managed programs, but you can make the color managed program match the non - color managed programs on your monitor by setting you document color space to the color space of your monitor. To do that from the Edit menu, choose Assign Profile and select the color profile of your monitor. This will match the color in Illustrator to the color displayed by the non-color managed programs. This in effect turns the color management off because the color management is translating between the same color spaces which results in zero difference.
However have in mind that this is not a very professional way of working with color and it only ensures a color consistency between color managed and non-color managed programs on your current monitor. What color you are actually creating that others will see or the color that will print is unpredictable with this setup.

Checking for pdf/x Compatibility

Hello there
I am using PDF Generator (from LiveCycle ES3) to convert WORD documents and images to pdfs.
In the PDF Generator settings, I am setting the "Compliance Standard" to "PDF/X-3" and the "output intent profile name" to "U.S. Web Coated (SWOP) v2".
Am I able to check (and more importantly verify to my client) that these settings have been applied to the resultant pdf?
When I open the resultant pdf in Acrobat Pro, in "Document Properties", the PDF version is stated as 1.3 (Acrobat 4.x). However, there is no mention of "x".
In the preflight dialog, I can check the compliance of the document against the various PDF/X standards, however there is no statement of what the current version is. Moreover, the button to analyze the pdf against the various "output intents" (SWOP, Japan Color Coated and Coated FOGRA39) is greyed out (I am able to "analyze and fix" against each of these options, but again there is no indication of what the current output intent is).
There are no custom properties in the Custom settings tab of the Document Properties dialog (if I save the pdf using "analyze and fix", a value of "PDF/X-3:2002" is created for the custom property "GTS_PDFXVersion" in the new pdf).
Many thanks
Geoff Olding

Hi,
Knowing a PDF file's version premits deduction of what version "compatibility" is present.
Version 1.7 (Acrobat 8.x) lacks compatibility for Acrobat 9.x specific features.
Version 1.6 (Acrobat 7.x) lacks compatibility for Acrobat 8.x specific features.
And so forth.
Certainly, not an elegantly simple approach; but, nevertheless it is functional.
Using Acrobat Professional/Extended 9.x -
Open the Preflight dialog.
Advanced > Preflight
From the Options drop-down menu, Select "New Preflight Profile".
The Prefight: Edit Profile dialog opens.
A default profile name is provided (New Profile <number>).
Initially, Click the Save button to save the profile. You can rename it later.
Note that "New Profile" is placed in "Custom
Now, locate your "New Profile" in the column at the left of the dialog and select
"Custom checks".
The available custom checks list loads in the pane to the right.
Above and to the right is a "Find" field.
Enter the string "version".
A filtered list appears.
A custom check is available for "versions newer than":
1.2 | 1.3 | 1.4 | 1.5 | 1.6 | 1.7
and there is a custom check for "version older than 1.3".
Add the desired custom check to the profile. Save.
Configure the check for Error | Warning | Info
Info is "Notification" in the report that can be provided.
Once you have configured "New Profile" it can be used by a Batch Sequence to check multiple files.
When a Preflight is selected for use by a Batch Sequence you can configure for a "on success" and/or "on error" report.
Be well...

How can I export to PDF for Offset printing including color and grayscale photo's?

After reading dozens of forum, I still don’t found the answer.
I made a photobook with full-colur and B/W photos for Offset printing. I want the B/W to be in grayscale to avoid color possible color shades. It seems InDesign doesn’t support grayscale, the images become way to dark. Even with exporting without any colour conversion or destination and/or including original colour profiles, the grayscale pictures are being exported to dark to PDF.
How can I export to PDF for Offset printing including color and grayscale photo’s?

Yes, the Photoshop & ID CMYK working spaces are the same
This can get difficult because the 3 programs handle soft proofing differently.
The working spaces don't matter, it's the document profile(s) that manage the preview. So here is the same grayscale image placed in ID on top and PS on the bottom. I've set my Photoshop info to show the doc profile in the lower left corner. I can see my InDesign's Document CMYK profile in my Proof Setup (the Working CMYK is different and isn't being used). Both profiles are effectively the same Coated FOGRA39 (Black Ink FOGRA in the case of PS).
But the previews don't match because I have Overprint turned off, so the InDesign preview is Gamma 2.2 or a "screen" media preview.
If I turn on Overprint preview I get a match because I'm soft proofing for print:

Drop shadows on text do not behave in the same way to inner shadows on objects

I have piece of text with a drop shadow on top of a box which has an inner shadow. In both cases, the shadows are CMYK black, with 100% opacity, applied using the Multiply method.
When designing, things appear correctly (note background is CMYK magenta, but will change once this issue is resolved):
When outputting in the Press format, with everything left as defaults, then two issues are seen, firstly is the Yucky Box Problem, the second is the drop shadow has lost it's colour, and looks as it does if I choose Normal for the shadow type. Note the PDF viewer is Apple Preview in Lion:
If I embed the CMYK colour profile I'm using (Coated FOGRA39), then the YBP goes away, but the colour of the shadow is still wrong:
Finally, if I force the transparency to be flattened, it appears correctly but with a thin white line (note profiles are not being embedded in this case):
Case 1
Case 2
Case 3
Case 4
What I would like to know is how to ensure the output is as it should be in the final case, but without the white line, i.e. without flattening. It's worth noting that if the text is located in the main, white, area of the page, then it works correctly in all cases (except the Yucky Box Problem situation which is easily resolved). Thanks in advance!

That seems to have resolved the problem. Interestingly, the 'Yucky Box Problem' doesnt seem to occur regardless of whether I'm importing the profile or not, I guess Adobe Reader is doing it's own stuff with the colour space which Preview isn't. Thanks again for your help!

HELP!!! My settings are wrong need to send for printing

Hi
I am doing brochure's for my company. I am from South Africa.
I use Illustrator for the brochure, Layout and Text.
Last month the printer had problems with printing the brochure. I discovered my settings are wrong.
This was the settings:
Colour Setting
Settings:     Custom
WorkingSpace
RGB:               sRGB IEC61966-2. 1
CMYK:            U.S. Web Coated (SWOP) v2
Color Management Policies:
RGB:               Off
CMYK:             Preserve Numbers (Ignore Linked Profiles)
Profile Mismatches: Ask When Opening (ticked)
                               Ask When Pasting ( Not Ticked)
Missing profiles:       Ask When Opening (Ticked)
Then I did research On Adobe Community Help and changed it to the below but its wrong too
Colour Setting
Settings:     Europe Prepress 3
WorkingSpace
RGB:               Adobe RGB (1998)
CMYK:            Coated FOGRA39 (ISO 12647-2:2004)
Color Management Policies:
RGB:               Preserve Embedded Profiles
CMYK:             Preserve Numbers (Ignore Linked Profiles)
Profile Mismatches: Ask When Opening (ticked)
                               Ask When Pasting (Ticked)
Missing profiles:       Ask When Opening (Ticked)
Can someone help me to set it right according to RSA printers settings, something like a default setting.
Last Month the printer said the below:
- fonts are not embedded.
- black is not on overprint and is 4 colour black
I never had this problem before, so I have no idea what went wrong all of a sudden.
Now when I open my prevoius work on Illustrator or Photoshop, a small window pops up saying work is not according to this settings, etc.
Please help. Im desperate.
I need to start my new brochure tomorrow
Thank you in advance
Kajal

You should get a preflight checklist from your print vendor. Here's what I have set in Illustrator...
You should also send the print vendor a press-ready PDF. Not all of the file problems are limted to color settings. For instance...
"Last Month the printer said the below:
- fonts are not embedded. "
When you Save As > EPS, select "Include Fonts" in the selection process; and when Save As > Press Quality PDF, select "Embed Fonts" in the Settings dialogs.
"- black is not on overprint and is 4 colour black"
In Preferences > Appearance of Black, select "Accurate Black" in both screen and print; in your file, set appropriate Black elements to Overprint in the Color "Attributes" dialog.
Whenever you are not sure what the printer is talking about, ask them to explain what they mean and help you fix the problems. If they refuse, ask them where you can get help. Most good shops will be willing to help you.

PSD Colour Preference & icc profile for Print and Web projects?

Using the same Photoshop files for Web- and (4c) printed media projects
i wonder if these settings are suitable to enable a good range
for both -
may you please let me know ?
i look forward to any feedback,
thanks a lot in advance!
---- please visit
http://img35.imageshack.us/f/psdwebprint.jpg/
http://img35.imageshack.us/f/psdwebprint.jpg/for a screenshot of these settings ---
1 - PSD PREFERENCE SETTINGS
... via
edit / colour settings / settings :
WORKING SPACES:
RGB - ECi rgb
CMYK - Coated FOGRA39 (OR Iso Coated V2 (ECI))
Gray - Gamma 2.2
Spot - Dot Gain 15%
COLOR MANAGEMENT POLICIES
RGB, CMYK, Gray - Preserve embedded Profiles
Profile Mismatch - checked/active Ask when Opening, checked/active Ask when Pasting
Profile Mismatch - checked/active Ask when Opening
CONVERSION OPTIONS
Engine - Adobe (ACE)
Intent - Relative Colormetric
checked/active Use Black Point ...
checked/active Use Dither ...
checked/active Compensate for scene ...
ADVANCED CONTROLS
unchecked/ Not active Desaturate ... 20%
unchecked/ Not active Blend RGB ... 1.00%
2 - FILE SETTINGS/PROFILE TAGGING
... via
edit / Assign Profile
PROFILE TAGGING FOR WEB
... ... Assign SRgb .ICC Profile
PROFILE TAGGING FOR PRINT
... ... Assign Coated FOGRA39 (OR Iso Coated V2 (ECI)) .ICC Profile

You might want to take a look at Deke McClelland'ssuggestion. Here's a link:
http://www.youtube.com/watch?v=0A1rDNkgMF8

Small studio - Colour workflow best practice

Hi Everyone,
Could someone help..
I have a small studio using Adobe Cloud CS6. My work is covers retouching, artworking and digital. My knowledge of a colour workflow is very limited, and in various studios I've worked in have different rules so I'm a little confused in whats the best procedure in setting everything up for colour management. I know its quite a big subject but I could do with a little advice.
My setup:
Adobe CS 6
Photoshop
Indesign
Illustrator
Dell 24"
Eye Once Display 2
Printer
Epson 4880
Profile for final printers
FOGRA39 (COATED)
FOGRA39 (UNCOATED)
I'm a little wary of Synchronising Bridge across various applications as I've had problems with colour shifting in illustrator what do other users do?
Rob

The info Gator Soup ( cute ) gave you is application color settings that are incorporated into the file upon Save. Printer profiles are completely separate and not the same. Try to think of them as separate. I like to think of color management as preparing the file for interpretation by either the print driver or the RIP. So, commonly, it's a matter of customization because no two files are the same and no two jobs are entirely the same. You have to take the paper being printed into consideration, as well as the actual print device. I very seldom have projects for web offset printing, so I use a different setting based on the dominant workflow characteristics inherent in my work. I suspect Gator is doing the same thing with his RGB setting of sRGB. One of the items not mentioned yet is Rendering Intent or Use Black Point Compensation. If you guessed I do not synch my apps, you'd be correct. Although a good idea at a glance ( and I do recommend synch'g for those who choose to ), I prefer to separate my Ps files with my Ai files, mainly because I consider them not the same. Here's what I use:
You'll notice my Rendering Intent is et for "Relative Colorimetric" in Ai ( above );
And in Ps Rendering Intent is set for "Perceptual" ( above ). Shown is "Ask When Opening" deselected, I will change those to "selected". Other settings are virtually identitical to Illustrator's. My InDesign settings are the same as Illustrator's.
Each workstation may be slightly different as you've seen from the different places you've worked. I prefer it that way, because each workflow may be slightly different. Some workstations may be limited to only internet based operations or new media where the gamut is not the same as a print environment. So, you have to determine how you want your files interpreted and set your application settings accordingly. Is there a wrong or right answer? It all depends on your workflow. Are you "Open-Loop" or "Closed-Loop"? Sounds like you are open-loop which means you cannot rely on an automated approach to color settings. Like Gator, I like warnings like this file may be profiled to a different setting, what do you want to do? You are given an opportunity to re-assign a profile to your file based on where it is going.

Colour management for dummies please

I have seen many discusions about ink limits and colour profiles but can anyone offer a dummies' guide?!
I use CS5 and in Bridge it is set to Europe Prepress 3. My understanding is that this should take care of things but when I make a PDF of my job and preflight it in Acrobat I get an ink limit warning. The profile of the placed Photoshop file (which is CMYK) is FOGRA39, as is the InDesign file (obviously, as this is defined by Prepress 3). So if I make a PDF X-1a shouldn't all that control the ink limit?
I have found that if I switch the Photoshop file to RGB then it works fine - I can see in InDesign separations preview that ink is OK, and the PDF preflights OK in Acrobat. So that tells me that the ink control happens when a conversion is required. The general wisdom seems to be that for CMYK print, files linked to InDesign should be CMYK not RGB (though to me, RGB seems to work fine as it gets converted at PDF stage), so how do I limit the ink if the file is CMYK? Should my Photoshop file not be colour managed perhaps? I read in a forum that Photoshop restricts the ink limit according to the colour profile being used, but that doesn't seem to be happening for me.*
I called Adobe and their best shot was that I should switch CS5 to North America Prepress, and use the 'High Quality Print' PDF preset. Well maybe I'm taking it too literally, but I'm In England and have a job which is about to be printed in Hungary! And also, this yields a US Web Coated (SWOP) v2 profile which doesn't seem right as I will be printing sheetfed.
I would appreciate it if someone could straighten me out.
* I tested this by switching the Photoshop file to Web Coated FOGRA28 and the colour values did change to allow for a lower ink limit, so maybe there's something in that. So why doesn't FOGRA39 do it? With the colour set to FOGRA39 Photoshop happily accepts a nice black blob coloured as 100% each of C,M,Y and K.
Sorry if this is a bit long but it seems like a useful discussion for Colour management newbies.

I read in a forum that Photoshop restricts the ink limit according to the colour profile being used, but that doesn't seem to be happening for me.*
Total Ink limit is a parameter of a CMYK profile—so the limit won't be exceeded when you make a color conversion from any other color space into that profile's color space, i.e AdobeRGB>FOGRA39, or US Sheetfed Coated>FOGRA39. However, once the file is converted to CMYK there's nothing stopping me from exceeding the limit via a color correction. For example, I could convert a PS file filled with 0|0|0 RGB to FOGRA39 CMYK and the ink limit would not exceed the 330% defined in the FOGRA39 profile, but as you noted I could also fill the resulting CMYK file with 100|100|100|100 and exceed the 330% limit.
Also, there's nothing stopping me from assigning the FOGRA39 profile to any CMYK file. In that case there's no color conversion—I could make a new SWOP Coated CMYK file, fill it with 100|100|100|100, assign FOGRA39, and the fill would still have 400% total ink.
Total ink is only limited via a color conversion
The general wisdom seems to be that for CMYK print, files linked to InDesign should be CMYK not RGB (though to me, RGB seems to work fine as it gets converted at PDF stage)
The general wisdom is actually old conventional wisdom, there's nothing wrong with making the conversion from RGB to CMYK when you export—the resulting CMYK values will be no different than the ones you would get out of PS assuming the source and destination profiles, and rendering intents are the same. The no RGB rule is a hangover from when you couldn't make color managed color conversions inside a page layout program.

Wrong color in Photoshop when pasting from Illustrator

Hey!!
I have what seems to be an issue with Illustrator CC 2014 edition (have tried CS6 as well). The problem occurs in InDesign as well.
The problem is that a color shift occurs when I Copy something to Photoshop from Illustrator. The color profiles are all synced across all Adobe apps and I'm using sRGB as RGB and Coated FOGRA39 as CMYK. The RGB values are identical but the colors are different even though the profiles are synchronized, and double and triple checked! No proofing is activated.
See the images for the color shift that occurs. The same shift also occurs when I save something from illustrator as a jpeg for example. This leads me to believe that there is something in Illustrator and Indesign that's not working as intended and that Photoshop is the correct one.
More info:
Windows 7 x64 w/ Geforce GTX 970
A Spyder 4Pro-calibrated Asus P246 (when I use the Windows default profile this doesn't occur. I have even tried the default profile from ASUS and the same thing as with my own profile occurs)
Reinstalled the complete CC suite twice.
Tried with a different graphics card and the current calibrated profile - same thing
I have 3 screens and the problem occur on all three with three different monitor icc profiles. But the color shift is more apparent om the ASUS since it's a wide gamut monitor perhaps?
In Photoshop layer panel, color picker etc. the colors reflect the ones in Illustrator but the image in itself is a different color. Perhaps the PS layer panel isn't color managed?
The RGB colors used in the screenshots are 0 255 0.
Would be very grateful if someone could help me in the right direction so that I can enjoy synced colours. =)
Thanks!

I solved the problem.
Seems that for some reason the synchronized settings from Bridge CC did not stick! So I changed all the settings to North American General Purpose 2, applied and opened the applications, and then back again to my modified Europe Prepress 3 and - voila! Now all the colors are correct across the Adobe applications!
Note to self: always try the easiest possible solutions first...

Custom Profile to soft proof 10% Clip?

Thanks in advance!
I'm trying to set up an image to be used on a piece of packaging, which is supposed to be 'light and airy', and therefore uses pretty light colours thoughout. But I've been told that the image will clip any ink below 10% on the final output.
I've been supplied a generic ISO Coated FOGRA39 profile but that's it. So I'm trying to find a way of soft proofing to see where the clipping will occur.
I'd prefer to work in Adobe RGB for as long as possible rather that convert to the FOGRA309 profile and tweak the channels individually.
So can anyone give me some pointers on setting up a custom soft proofing profile?
Cheers! (I hope)
PS. CS3 10.0.1, OSX 10.5.8, 2x2.8 Quad

Thanks Buko.
But I think the FOGRA 39 profile was just sent as a general catch-all profile, and as such will not help me see the clipping below 10%.
The image has several areas of smooth gradient, hypothetically going from 100% of a channel to 0% of of a channel. This displays and prints smoothly (with the FOGRA 39 profile or without).
However I have been told that the final print will have worse tolerances, and areas below 10% af any particular colour will simply burn out, leaving a hard edge at the lighter end of the gradient.
It's these hard edges I'm trying to see, so that I can try and minimise the damage. I thought I may be able to create a profile to do this for me?

Differences simulationprofile Coated Fogra39

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