CS5 Revealed!

Yes, that’s right my friends, CS five! Anybody can show you CS4, but only here at Publicious will you get the scoop on CS5. We have obtained super secret plans from our moles within the Adobe empire, revealing a radical new direction for the Creative Suite.

Codenamed XMullet, the Creative Suite is being reworked from the ground up, with a decidedly retro-shock flavor. In addition, it’s clear that Adobe is following in Apple’s footsteps, and providing an end-to-end software-and-hardware package. None of CS5 will run on Mac or Windows. Adobe software will run only on Adobe machines. What a gamble! These exclusive photos show just how far out of the box Adobe is thinking. Will the publishing world be ready?

Heavy metal typesetting: adjusting leading with actual lead! It’s so obvious; why didn’t I think of that?

Here’s one of their radical new input devices. Throw away your mice, trackballs, and Wacoms. You’ll be able to hold type in your hands.

A glimpse at the 3 enormous InDesign Server configurations powering the CS5 revolution.

Actually, I think that thing on the middle right might be a fridge.

Photoshop CS5 will bring a true 3-dimensional workflow. Images are spun around inside a clear drum. Hey buddy, put on some safety goggles!

Behold, Dreamweaver CS5’s mind-blowing Code View.

On top of it all, CS5 is totally “green.” This Illustrator CS5 workstation runs on diesel, but can easily be converted to run on vegetable oil.

Well, there you have it. What do you think? I for one, welcome our new Totally Awesome publishing overlords.

Vol. 2: Ohs and Wows Strike Back

More bits of tid from the InDesign CS3 Help file. In this episode: pages 51-100.

p. 52

Right-click/control-click an empty spot in the document window to get a lite version of the View menu at your cursor. (grids and guides controls, display performance, rulers, zooming).

Ruler guides come in two flavors, page guides, and spread guides. Spread guides stretch to the edges of the pasteboard. To create a page guide, drag out a guide and drop it on a page. To create a spread guide drop the guide on the pasteboard. To create a spread guide when you are zoomed in (i.e can’t see the pasteboard), press command.

Double-click the ruler to create a spread guide without dragging.

Hold shift to constrain a guide to the nearest tick mark.

Command drag from the ruler origin to create crossing guides.

Reposition a ruler guide numerically by editing its x/y coordinates in the Control panel.

Control click with a guide selected and choose Move Guides to move them precisely.

Remember: columns created with guides do not control text flow on import.

p. 54

Create Guides command creates page guides only, not spread guides. Hey Adobe how ’bout a choice?

You must target the spread/page you want to drag the guide onto from the pages panel or it won’t work.

To evenly space existing guides, select them and distribute, using the Control panel.

To show/hide guides on one layer only, DC on the layer name in the Layers panel.

Why can’t I select this !@#$% guide? It’s on locked layer or it’s a master item.

Cut/copied guides can be pasted to other pages or even other docs.

Guide weirdness, (but it is technically correct): if you drag a spread guide up or down and release it on anywhere on the page, it turns into a page guide. D’oh!

p. 55
Cool Beans: hold alt/option as you drag a guide to make the current magnification level the view threshold.

cmd-opt-g should be called Select All Visible Guides, as it won’t select guides below the view threshold. But choosing Layout > Create Guides…Remove Existing Ruler Guides gets ’em all.

p. 56

Obvious but worth stating: putting guides on different layers doesn’t affect them visually. They’re always above columns and margins, and in front of/behind page objects (depending on your pref setting).

When both Snap to Grid and Snap to Guides are selected, Grid snapping takes precedence.

Guides must be visible for things to snap to them, but grids don’t.

Snap to Guides is layer-agnostic.

The “snap to” zone is measured in pixels.

p. 57
A nice, neat definition of masters: pages or spreads that automatically format other pages or spreads.

p. 58

Targeted vs. Selected pages: targeted page numbers are reversed in the Pages panel, selected pages are blue.

Betcha never noticed that the vertical ruler is grayed out beside non-targeted spreads. Good to know if the  Pages panel is out of sight.

Select a spread by single clicking on the page numbers.

p. 59
To dupe a spread, drag page numbers to the new page icon..

or drag a single page, or choose duplicate page/spread in the Pages panel…

or press alt/opt and drag to a new location in the panel. Whew.

p. 60
brackets around page numbers means you’re looking at an “island spread.” That is, someone turned off Allow Selected Spread to Shuffle.

p. 61
10 pages is the max for a spread. How many more do you want?

When you drag a page to another doc, the receiving doc’s versions of identically named masters, styles, and layers win out.

If you copy a different size page size, it will be re-sized to match the receiving doc.

p. 62
Dragging a page to a new doc window gives you the insert pages dialog

p. 63
Master page objects appear behind page objects from the same layer.

Put a master item on a higher layer to have it appear in front of other page objects. It will still retain its mastery.

p. 65
Wow! To apply a master page to multiple pages, select them then press alt/opt as you click a master, or (yawn) choose Apply Master to Pages.

p. 66
So.. instantly remove all master items by selecting a page and option clicking on the None master.

Clean up after yourself: Select Unused Masters to delete trash ’em.

p. 67

Overriding v. detaching master items, you must override before you can detach.

You can override only if Allow Master Item Overrides On Selection is checked.

Wow: cmd-shift click and drag to override multiple items at once.

If you override a threaded text frame, all visible frames in that thread are overridden.

p. 68
Wow: master items that don’t allow overrides have no frame edge and are un-selectable on a doc page. See Ghost in the Machine.

You cannot restore detached master items, but you can reapply the master, and delete the detached items.

p. 69

when importing a master from another doc with the same name, choose Replace Master Page = source overrides destination.

The number of layers a doc can have is limited to the RAM avail to ID. Hmm, so what happens when you make a doc with a jillion layers, then open the doc on a machine with less RAM? Let’s hope we never find out.

Wow: to create a new layer above the selected layer (instead of atop the stack) hold ctrl/cmd as you click New Layer.

p. 71

What appears in a layer color: the dot in layer panel, frame selection handles, bounding box, text ports, text wrap bound, frame edges, and hidden characters, and text threads.

Deja vu: New Layer, Duplicate Layer, and Layer Options all have the same dialog box.

To select all objects on a layer, opt click the layer.

To move objects to a hidden or locked layer, hold cmd/ctrl as you drag. To copy the objects add opt/alt.

Paste Remembers Layers forgets an awful lot. When you have it on and move objects to a different doc, the only thing that comes is the layer name, not the layer’s options or its place in the stacking order.

p. 74
Picking locks: objects on locked layers can change, e.g. if you applied a swatch and then change the swatch. Anything using the swatch on the locked layer will change.

More selecting vs. targeting: you can select multiple layers, but target only one. When you merge layers, all objects from selected layers move to the target layer.

To flatten a doc select all layers, then choose Merge

p. 75
ID vocabulary: paths vs. frames. Paths are vector objects, frames are identical w/one difference: they can be containers for text or graphics. OK, two diffferences, frames have the X inside them.

You create frames by placing or pasting contents into paths.

A frame is a container version of a path. Now it makes a tiny bit more sense that there’s a rectangle tool and a rectangle frame tool……………………nah, I still hate it.

p. 76

If you click inside a frame you select it. Not so with a path.

p. 77
Don’t tease me, bro: when a frame contains text or graphics you can’t redefine it. But the menu choice Object > Content isn’t grayed out. You have to choose it to see all the choices are unavailable. Actually this goes for all menus. You have to navigate to the sub-menu before you can see it’s a dead end.

p. 80
A doc can have only 1 chapter number assigned to it, use sections for a multi-chapter doc.

The 4 functions of sections: restart page or chapter numbers, change numbering style of chaps and pages, add prefixes and section marker text to the numbers, also section markers can appear in TOCs and indexes.

p. 85
If you want text variables to be present to all your future documents, set up the TVs with no doc open.

p. 87

You can use the Filename TV, with Include Folder Path, to always know where your doc lives.

p. 89

3 things you can do when deleting a TV: replace it with another, clear it, or convert it to text.

TVs are like Pinocchio-they want to be real living text, but they are just puppets.

You can copy TVs to another doc when you synch a book.

p. 90

Adobe’s recipe for “a clean computer system”: defragment, use virus protection, remove old versions of software, “optimize” memory, and update drivers. My recipe: don’t eat Doritos at your desk.

Garbage In: Damaged PagMaker and QXP files usually remain damaged when opened in ID. Troubleshoot the doc in the original app.

p. 91
Clear unnecessary data by doing Save As. When you do a regular Save, ID appends new info to the doc but doesn’t remove outdated data (e.g. info about deleted graphics). Seems a bit obsessive, no? Save as = smaller file, that redraws and prints more quickly–but by how much???

Head scratcher: Creating styles with no documents to open “can cause duplicate styles to appear when you create a new document.” Why? Even if you have identically named styles in a template file, you don’t get duplicate styles because the template’s versions win out.

Head scratcher 2: to print separations, “use Adobe-conforming EPS, DCS or TIFF CMYK files only.” So PDF, AI, PSD don’t separate reliably???

Transform graphics before placing in ID, as ID sends the graphic in untransformed state to the printer, then appends it with the transformation instructions, which takes more time and more printer memory.

p. 92
File > Open can open ID 1.x and later, INX, PM 6, QXP 3.3, 4.1, and Passport 4.1, .indl and .indt.

.indls (libraries) from earlier versions of ID will open and convert to CS3, even if they were locked.

Semi-Wow: Drag assets from doc window into Adobe Bridge to create Snippets. But they have weird names, so you have to select and rename them in Bridge.

p. 94
Why didn’t I think of that?: Create an instructions layer with in a template explaining how to use it. Lock it and make it nonprinting.

p. 95
To edit a template (.indt) choose File > Open > Open Original

Saving a doc saves the layout, references to source files (aka links), info on which page is currently displayed, and the zoom level.

Saving also updates metadata (thumbnail preview if the pref is turned on, fonts, swatches, file info).

Wowish: Save all open docs: cmd-opt-shift-s.

p. 96

A doc preview contains a JPEG (and on the Mac, a PICT) of the 1st spread. A template preview has JPEGs of every page, which you can see in Bridge.

Saving a preview with a doc in the Save As dialog box overrides and change the application pref (Preferences > File Handling > Saving InDesign files > Always Save Preview Images With Docs).

p. 98
If your files have a lot of the same metadata, save metadata as a template: File > File Info, Save Metadata Template. Then your template is a choice in the dialog box and auto fills the fields.
To get a free 100-page quickstart guide on switching from (and ironically, back to) Quark, go here.

For better XPress conversions: emulate QXP by choosing Text Wrap Only Affects Objects Beneath, and Adobe Single Line Composer.

p. 99
More on converting from Quark:

QXP’s color profiles are ignored by ID. Embedded graphics are not converted. OLE or Xtensions graphics are not converted. Grouped items stay grouped, except for nonprinting items. Strokes and line styles are converted to those they most closely resemble. Custom strokes and dashes are converted to custom, well, custom strokes and dashes. Multi-ink colors become mixed inks, if they contain spots, otherwise they becomes process colors. HSB is converted to RGB.

p. 100
If you have trouble converting a large PageMaker doc, convert it in pieces.

ID can recover most docs that PM can’t open. Hey wait a minute Adobe, back on page 90 you said garbage in, garbage out. Which is it?
At least he’s honest: if ID can’t convert something, it displays a warning and the reasons it couldn’t do the job.

All items on the pasteboard of a converted QXP doc appear on the PB of the 1st spread in ID.

A Use For Ghost Frames?

Last week I wrote a goofy post about what I called InDesign Ghost Frames. These are frames on a master page that have no stroke, no fill, and no not allow master item overrides. You can see the frame edges when you’re looking at the master page, but from a document page, there is no evidence that the frame exists. A curious oddity, and no more? Maybe. Then again, maybe there is a practical use.

A few days ago I was reading some people’s complaints about how it’s all too easy to forget you’re working on a master page. There’s nothing inside the InDesign document window that makes it obvious you’re working on a master page. Sure, there’s the page number at the bottom left of the window, but sometimes that can be off the screen, or obscured by other stuff. And if your Pages panel isn’t open, it’s up to you to remember where you are. More times than I’d like to admit, I’ve designed a whole page, placed text and images, and gone to print before I realized I’d put everything on a master page. D’oh! This never happened back in my Quark XPress days, because I had that big honkin’ chain icon at the top of a master page.

InDesign doesn’t have anything quite so honkin’. But with a Ghost Frame, you could make your own BHMPI (Big Honkin’ Master Page Indicator).

You could use any frame. But unfortunately, you can’t use open paths or lines, since both of those are invisible when they are unselected and have no stroke/no fill.

Still, there areplenty of lots of possibilites.

A letter to match the master page prefix.

Or something more exotic, like the Japanese kanji for “master?”

Or even a master Jedi.

Ohs and Wows, Vol. 1

On the re-certifcation front, I’m continuing to plow through the InDesign Help file. Some of it is like reading a how-to guide for tying your shoes, but occasionally there are things that make me go “Oh! So that’s what that does,” or “Wow! That’s freaking awesome!”, or even, “Oh wow, I wish I’d known that before…” So, I’m going to start posting Ohs and Wows, in 50-page batches, with page references in case you want to check them out for yourself.

All InDesign/InCopy documentation is available in PDF and LiveDoc formats on the Resources Page at Adobe.com.

Fonts are installed during ID installation on a Mac at library/application support/adobe/fonts
or on a PC at startup drive/program files/common files/adobe/fonts

To show/hide all panels press tab (knew that already), but didn’t know that to temporarily show tab-hidden panels, move your mouse to the screen edge.

Press ctrl (same on Mac or PC-wow KBSC parity) while dragging a panel to keep it from docking.

To resize all panels in a dock, drag the gripper at top left. I just like the idea of there being thing called the gripper in ID.

To resize a single panel, drag a side or any corner.

To collapse a panel dock into pure icons, drag the gripper toward the screen edge till the text disappears.

Customizing menus: you can customize the main menu, panel menus, and context menus by choosing Edit > Menus

Show All Menu Items appears at the bottom of each menu where you’ve hidden items.

Holding the command key temporarily shows any menu choices you’ve hidden.

Slick way to jump to a master page: cmd-j then type the letter, then enter. So to jump to master page A, it’s cmd-j, a, enter.

Close all windows for the active doc: cmd-shift-w

Close all windows for all docs: cmd-shift-opt-w

Math in panel fields: to use the current value as part of the expression, click before or after it. becomes

Applying percentages in panel fields is even easier. So if you have  enter to get

Prefs and settings are stored in files called InDesign Defaults and InDesign SavedData, which are saved when you exit InDesign.

RAM and “the kind of actions you perform” limits the number of undos you have.

Mimimum Vertical Offset= how far the pasteboard extends from the page/bleed/slug, whichever is farthest out.

Good trivia: Maximum pasteboard vertical offset is 10 feet. Maximum document width is 18 feet. Minimum is 1 pt.


To override the current units in panel fields and dialogs, use these abbreviations:

inch- i, in, inch, ”
point-pt, or p before the value
NONE Are CaSe sensitive

More trivia: what are the only non-printing elements to remain on screen when you switch to Preview mode? A line drawn with measure tool and guides that were selected before switching into Preview mode.

Snap to Guides also makes things Snap to the Baseline Brid.

Working at 100% view makes it much easier to keep the X,Y position and width/height of objects at clean whole point values.

Ghost In The Machine

Ahoy mateys! T’is I, Captain Mike, returned from my time at sea, with a tip straight from Davey Jones’ locker, on how to hoist a ghostly Jolly Roger on an InDesign page. Arrrr!

Whew, sorry for the piratespeak. A week of sun, sand, and gift shops stocked with eyepatches and rubber hooks will do that to a person. Here’s in interesting tidbit on what I have dubbed InDesign Ghost Frames, which I discovered last week on the Vineyard while my kids were watching Scooby Doo. Coincidence? Hmmmm.

I never believed in ghosts till I started reading the InDesign Help file. I’m not talking about the ectoplasmic remnants of ex-people. I mean spooky page objects that affect a layout even though you can’t see or select them. Behold, an empty looking document page.

All layers are visible. Guides and frame edges are showing. You’ll have to trust me on those; scout’s honor. OK, nothing there, right? Now I draw a frame and fill it with text.

ZOINKS! It’s the ghost of Credit Card Bills Yet To Come! This page is haunted! Or is it? There must be a perfectly logical explanation. Hop in the Mystery Machine and help yourself to some Scooby Snacks. We’re going to find just what this ghost is made of.

In a new document, go to a master page and create a text frame. Using a ghastly font, type a ghoulish glyph.

Convert it to outlines (cmd-shift-o).

Now let’s gracefully remove the outlined glyph from its frame. With the Selection tool, select the text frame and the outlined glyph, then choose Object > Pathfinder > Intersect.

Scale it to monstrous proportions.

Turn on Text Wrap: Wrap Around Object Shape, with zero offset.

Set stroke and fill to None.

And now for unmasking. Our ghost becomes totally invisible on a document page if we go to the Pages panel and uncheck Allow Master Item Overrides on Selection.

As a master page item, our skull and crossbones would normally have a dotted outline in its layer color. And it could be overridden by cmd-shift clicking/dragging it. But with this option turned off, the outline vanishes and the object cannot be overridden or detached from the master. From the document page, it is invincible and invisible–lurking until its presence is revealed by some unsuspecting text that wanders by. Of course, I could have used any object with text wrap applied to it; I didn’t have to start out with a glyph. But then you wouldn’t’ve gotten the bonus Pathfinder tip. Also, I did a Find/Change after filling the frame with text to remove all End of Paragraph markers and give the skull a cleaner outline.

I’m not yet sure what I’d use a Ghost Frame for, but it fascinates me that I can completely hide something on a document page. Maybe a less creepy hidden message or watermark. Keep this trick in mind if you ever can’t tell why text is jumping around on an otherwise deserted page. It’s also a good prank to play on your unsuspecting co-workers. Just make sure there are no meddling kids around to foil your plans.

Peel Me A GREP

I am not a scripter, nor do I play one on TV. I know my share of HTML, CSS, and XML, but really I’m just an old school publishing geek who never tires of learning the next trick or tool. My hands are all GUI from years of keyboard shortcuts.

I know scripting is in my future. It’s just too powerful, too useful, too cool to put off much longer. And I am totally jealous of the power of scripters. It’s not like I haven’t tried. I’ve attended AppleScript and JavaScript seminars, but they didn’t stick. Hell, I have driven around an 800-page JavaScript book on the passenger seat of my car all summer, in hopes that it would start talking to me during my commute. No dice. So as a gentle, evolutionary step toward scripting, I’ve been working to learn GREP within InDesign

GREP was added to InDesign with CS3 as a more powerful means of finding and replacing text. While it sounds like something you should be inoculated against (“The nurse gave Johnny his Dip/Tet, his Grep, and a lollipop.”) it really stands for General Regular Expression Print. Forget the General and the Print part, the heart of it are these things called Regular Expressions, little secret codes that function in a Find/Change operation. And they make GREP searches a jillion times more powerful than a plain Text search.

Text search in InDesign only gives you four wildcards: Any Digit, Any Letter, Any Character, and Any Whitespace. GREP has those plus many more wildcards. It also lets you look for locations, like the beginning and endings of words and paragraphs. So you can say “find every word (of any length) starting with a capital letter”.

It lets you specify repeat values, so you can say things like, “find every number of three or more digits”. Or, even fancier, “find every hyphen in between numbers of three or more digits”.

And you can add logic, to say find “Mike” or “mike,”, or find every word ending in “ike,” except “Mike.”

And it lets you take any part of a found expression and leave it alone. So you can find phone numbers, add parens around the area codes, and leave the numbers themselves unchanged.

Combine this text-finding ability with Find Format settings, and I think it’s fair to say you can now Find/Change anything you can think of in an InDesign document. Providing you’re thinking of text, of course.

The only “problem” with GREP is, it’s more digital trivia to learn. Your brain’s already addled with passwords, keyboard shortcuts, file formats, and the names of all the actors on Barney Miller. For the love of Abe Vigoda, how are you going to learn GREP codes?

You can just start playing, but that can be frustrating to say the least, because like all coding adventures, you don’t get much feedback when you’re doing it wrong. Nothing happens, or the wrong thing happens and you have no idea how to fix it. I bought the O’Reilly Safari book on GREP in InDesign CS3, which very good, well worth the $10. But there’s something even better, and it comes from New Zealand.

For learning GREP, there’s a great, free online tool called The Lightning Brain GREPGrokker. It’s offered up by Rorohiko Ltd. who also have a bunch of free and commercial plug-ins for InDesign (make your own Sudoku! Sweet!). The GREP Grokker is an interactive tool for learning GREP. You can follow the step-by-step instructions and see how typing in certain codes selects text. Or you can type/paste in your own text and search on that. It is just so cool to see how the selection changes as you change your codes. It’s very “oooh”, “ahh”. Check it out. And check out Rorohiko’s other plug-ins. There’s some fun free stuff in there. Like if you used to love Quark’s Jabberwocky, they have a version of it for InDesign.

Über-Master Pages

The Master stalks Buffy..
As an unashamed Buffy fan, I have to admit that every time I hear the word “master” I get visions of Buffy’s original Big Bad. The aged vampire who she eventually ends up beating after making a witty remark about him dying (poofing actually, since he was already dead). While he was a A Big Bad, he wasn’t nearly as Bad as he thought he was. Not if he could get beat by a snappily-dressed high-school cheerleader. And all of this is a non-subtle intro to master pages for people who think they’re Bigger and Badder than they actually are.

Over the years, I’ve talked with a lot of designers who are just as afraid of master pages as Buffy was of the Master. Well, maybe that’s a slight exaggeration. But once Buffy was given knowledge of the Master , she became less afraid. And I think the same would happen with a designer or production person who is making or needs to use a template.

Like so many things I’ll probably end up talking about, master pages are great because they save time. Time that I’d rather spend watching Buffy, time that Michael would rather spend Photoshopping space suits on his cats, time that you may rather spend reading Tolstoy. Or, time that you may be able to spend working for another client or working for that promotion. Master pages lead to measured efficiencies. Impress your boss with that line.

This is our sample file. This is the first spread, there are other pages that follow this that contain the last bit of our story but this is the perfect example of how to begin creating a template from this document. I wouldn’t consider this a template, but some people would. It’s a point of preference and comfort. Since I often think my way is right and therefore the only way something could/should be done, I’ve become shocked lately to see how some people’s thinking differs from mine. Mine is still right, of course, but I’m willing to be understanding that they’re different from me.

I like a template to contain empty boxes/frames that are linked as needed but minimally styled. For example, my version of the perfect template for this layout to be used across all file types would like this:
Template Outlines

How I got this was by selecting ALL, cutting, going to Master Page A and Pasting in Place. I then deleted all of the content from the text boxes and applied the “none” object style to each frame, except for the footer. Now I have the frames I need to begin creating any of the four types of files without having to remove any text. All I have to do is select a box and style it with the desired object style before I begin pouring. There are a few other things I need to do to make this template work better. By taking a few extra steps now, I’ll save myself a lot of time later.

There are just a few things I’d like to explain more. Let’s start with the red line around the outside of my spread. This designates how much bleed the printer requires of me. This number will vary from printer to printer so be sure to ask yours how much to prepare for. This particular printer asks for a p9 bleed. (That’s 9 points, for all of you who work with other measures. I hated points when I first started, but after trying to do the math with fractions, I realized points were easier.) To set your bleed line, go to your File menu and choose Document Setup. Click on the “More Options” button on the right. At the bottom of the window are selections for bleed and slug.

By adding a measurement to the bleed boxes, you’ll get the nice red line outside your spread so you can visually check that all of your images bleed off the page as required. If “Snap to Guides” is selected, it’ll be even easier to make sure that you have the right amount of bleed on frames that run off the page. It also means that you can easily set up your print styles to include this area when you print a paper copy, or print a postscript file. If you want to have the exact same amount of bleed on each side of your layout, all you have to do is input the number into the Top box and select the little chain icon to the right of the entry boxes. This will apply the same amount to each box without you having to type the information four times. “Measured efficiencies” remember?

We won’t be using the Slug yet, but if you wanted to include a frame that would appear outside the layout when the InDesign file was viewed and easily be printed or not printed you would set your slug area as desired. One possible use for slugs might be to create a box in the slug area where you can leave notes for the Designer to view.

Another time saver is to set up our file so it automatically applies the page numbers in the footer. And this is much, much easier than you may fear. Simply place your cursor where you want the auto-number to appear. Now go to your Type Menu and select Insert Special Character and then Auto Page Number. Click and you’re done. If the pagination changes, your page numbers automatically update and you never have to manually change a page number. In fact, I would highly suggest never manually changing a page number.

Now I briefly talked about layers in my first entry here on Mike’s wonderful site, but I want to revisit it. I propose a simplification and standardization of layers. Your organization mileage may vary, but there’s no reason to have dozens of layers in a file. For this layout I propose 4 layers:
Art (which isn’t being used for this spread, but will be used for the spreads that come after this one)

Very simple, right. You can look at the name of the layer and look at the item on your page, and probably guess on which layer that item will reside. The only thing which should live on the Footer layer are the footer boxes that contain the page numbers, and any book title, chapter title, etc. info. That’s it! This layer will begin in the unlocked position, but once you add the needed info to your master page, you will lock this layer. This will help you feel confident that you won’t accidentally edit this item.
Template with links showing.

The second layer in your palette is the text layer and it should contain any boxes that will have text poured into them. I would also suggest linking all of your text boxes together in the order you’re most likely to come across the text. This will help your pouring job easier in CS2 and even easier in CS3. I also suggest selecting all of your text boxes and grouping them together. Since the text boxes will remain on your master page, but you’ll actually begin to pour the text on the working page which means you’ll have to break the link for these items from your master page. And only these items, actually.

There are still a number of “efficiencies” we can express in this template, especially for the pages that we’re going to add to it next time. But we’ve got a really good start, I think. I may not be as witty as a cadre of Hollywood screenwriters made a high-school cheerleader sound, but hopefully I’ve at least given you a little more confidence so you can start to tackle the über-master pages in your own documents.