Order of the Sinking Star review: Layers and layers
I need to re-learn how to play games
https://www.sidequesting.com/2026/10/order-of-the-sinking-star-review-layers-and-layers/
#Reviews #OrderOfTheSinkingStar #Review #TheklaInc
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53 results for “layers”
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Humble's Fright or Fight Halloween bundle is a great way to get 7 horror games for your #SteamDeck for only $12, including The Medium and Layers of Fear:
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AI agents for business in Miami are production systems that execute multi-step work across your stack. Senior engineers ship retrieval pipelines, tool-calling layers, and evaluation harnesses integrated with Salesforce, Snowflake, Slack, and more. Scoped sprints deliver a working agent in weeks, not quarters, with monitoring and rollback paths. Learn how to deploy scalable revenue infrastructure: https://codeponents.com/?page_id=8596&ref=2&rid=265
#AIagents #Miami #BusinessAutomation #RevenueIn… -
🆕 The Deobfuscation tab decodes more scripts: it opens on a readable copy, unpacks XOR-encrypted loaders and base64-encoded strings into layers of their own, and says why a script stayed encoded. The Obfuscation tab on scan results lists what the deobfuscator found, with a link to each script, and WebAssembly module pages recognise more kinds of modules
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Stacked Enchiladas
This vintage-style dish keeps things simple and cozy. Soft tortillas, rich sauce, and layers that hold together without the fuss of rolling.It’s weeknight friendly and great for feeding a hungry table. Comfort food energy all the way. 🌶️🧀
✨ Comment RECIPE and I’ll send it to you. ✨
Red sauce or green sauce? 👀👇
https://www.binkysculinarycarnival.com/easy-stacked-enchiladas-vintage-recipe/
#vintagerecipes #easymeals #comfortfood #binkysculinarycarnival -
copilot --yolo, /yolo and VS Code's Allow all skip approvals, not the sandbox. How Copilot's permission layers fit together.#githubcopilot #vscode #ai #security #software #coding #development #engineering #inclusive #community
Copilot YOLO mode, dissected: what --yolo, /yolo and Allow all actually skip -
The Tribes, Antoni Tàpies, 1949
This is on the spooky side. They had to scratch those lines in, the power of essential nature had to be emphasized that way maybe. like this world has multiple layers or that there is a strange fey magic creeping around 🤣
#art #scratched #etched #spooky #impish #elfin #spark #odd #strange
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W3C Draft Finding of the TAG: Installing Websites Must Be Easy. "We expect user agents to make installation an obvious affordance to users. Specifically, we expect the install option to clearly name the action, and to be easily reachable from the browser’s UI. An entry inside a menu with an unrelated label (such as Share), or several menu layers deep, does not meet this expectation." https://w3ctag.github.io/install-finding/
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💥Announcement! Wednesday 14.10.2026💥
✨ 🎤 Live concert by Oihane Roach at the Qya Bar 🎤 ✨
Wednesday, 14.10.2026 | 7.30 pm | Oya Bar, Mariannenstraße 6, 10997 Berlin
Directions: Bus M29 to Rio-Reiser-Platz | Bus 140 to Adalbertstraße | U1, U3, U8 to Kottbusser Tor
📣 Call to action: https://demo-ticker-berlin.org/?p=9462 - @oya_bar @oihane_roach
#b1410 #LiveConcert #OihaneRoach
🎟 Donation-based
Oihane Roach is a Berlin-based singer-songwriter, self-releasing indie folk with a pop-soul edge.
Her songs sit with love, belonging, and transgenerational themes.
Live, she loops her own voice into layers, building something rich out of very little.
She’s played OYA before, and is back with new songs from her latest EP ‘A Tender Room‘, alongside tracks from ‘The Revolution Starts
in Our Hearts’ and a few unreleased ones.Come early and bring your loved ones ✨
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The just-updated #AffinityStudio takes getting some used to, with non-destructive vector shapes. You can combine shapes but they're not a single vector shape thereafter; they're still the original vector shapes. The new blending tool is wildly cool. Say you want to draw some snowflakes or flowers that follow a path. Instead of converting a shape to a brush, you can just use the blend tool to define a path and alter the path.
All of this means you need to be extremely disciplined with your layers! Label and Group!
One more month before their iPad app will be available. It'll be a glorious day when it pops up in the Apple Store.
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A very cool thing - not done by me, though I helped a bit in review.
Ryan McDonald implemented non-destructive text transforms! You can now apply standard 2D transforms (scale, rotate, etc) and still edit the text afterwards. Now all our vector-type layers can be transformed non-destructively!
Now I need to update a few of our vector export plug-ins like SVG and PDF to support exporting text with transforms. :)
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Threat group CyberXero has integrated Anthropic's Claude Code into an offensive campaign targeting Ukraine, resulting in the theft of more than 628,000 records.
According to security researchers, the threat actors deployed the AI coding agent alongside Cobalt Strike to automate initial access operations across e-commerce platforms, WordPress sites, and critical infrastructure networks.
The activity demonstrates how off-the-shelf commercial programming tools can function as autonomous offensive orchestration layers. By chaining AI agents to commodity exploitation frameworks, the operators accelerated reconnaissance, script generation, and lateral movement with minimal human intervention.
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I am taking the opportunity of this holiday to reread a series of books I haven't picked up in 20-something years. Although I remember the broad arc of the story it is incredible how new the rest of the story seems to me, I have forgotten so much of the layers and depths of the novels.
All of which is a roundabout way of saying if you like #HighFantasy and #Celtic mythology then do grab a copy of Stephen R Lawhead's Song of Albion series, it really is rather good. #Bookstodon
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✨ Elevate Every Silhouette with Modern Elegance
Discover the art of refined tailoring and impeccable draping with String theory. Our latest collection explores the seamless harmony of rich textures, fluid silhouettes, and a sophisticated neutral color palette designed for the contemporary wardrobe. From structured lines to soft, breathable layers,...
Explore the complete collection and redefine your signature style today.
#Stringtheory #ModernElegance #TailoredSilhouettes #LuxuryFashion
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One of my favorite projects ever. (Now, a thread.)
A mountain lion sighting is what drew my eye to this little arroyo I didn't know existed before. You might say I became a bit obsessed. You would be making an understatement. I've been in here nearly every day since. In exploring it, I discovered a lot of things including remnants of trail and animal paths buried under overgrowth which I stitched together to create a short flowy trail on. The idea evolved to follow the channel closely so you could see the mini seasonal superbloom there. In particular, it was the biggest stand of Seep Monkeyflowers I've seen on the plateau and there was a small Hedgenettle meadowy area. It was full of pollinators. I've been posting some of these things for about a year now. First on pixelfed, now on Vernissage.
https://vernissage.photos/@EricBono@beige.party
https://pixelfed.social/EricBono
It's really hard to see here but water flowed a bit in the rain past few days, moving some of the plant debris, and started to clump around rocks I had moved out of the trail. It's an idea to slow flash flooding, create little damming and terracing effects in the arroyo channel and it's working! It's very sensitive habitat but I hope to facilitate the wildflowers in here to spread out even further. It was previously very hard-packed dirt, smooth, and water would not linger so much. The wildflowers that will pop up here are adapted to thrive from the underground springs and water just below the soil in these arroyos I hadn't realized existed. A lot of layers to this make it too complex to sum up here. Anyhow, you can see some of the material collecting around the rocks.
Petey for scale.
#Trails #Hiking #Dogs #MountainBiking #Mountains #SouthernCalifornia #California #GravelBiking #Cycling #TrailRestoration #TrailDesign #TrailMaintenance #Wildflowers #Wildlife
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You spent three days building an AI agent that rewrites user emails in a friendlier tone. It works beautifully — on Tuesday. On Wednesday, the same input produces something weirdly formal. On Thursday, it apologizes for no reason and signs off as "Warmly, Your AI."
You stare at your test suite. Every assertion is red. But the agent isn't broken. It's just… different today.
Welcome to the most maddening problem in agentic AI: how do you test something that gives a different answer every time you ask?
Why Traditional Tests Fail Immediately
If you've written unit tests before, you know the drill: given input X, expect output Y. Clean. Deterministic. Beautiful.AI agents laugh at this.
An agent backed by an LLM might rephrase the same sentence ten different ways — all correct, all passing the vibe check, none matching your hardcoded expected string. Writing
assertEqual(output, "Sure, I'd love to help!")is like testing whether your friend will use the exact same words every time they say hello.It's not flaky tests. It's a fundamentally wrong testing paradigm.
The Counterintuitive Fix: Stop Testing Outputs, Start Testing Constraints
Here's the mental shift that saves your sanity: you don't test what the agent says. You test what it must never do, always do, and structurally produce.Think of it like testing a chef. You wouldn't check if they plate the garnish at exactly 43 degrees. You'd check: Is the chicken cooked? Is there no glass in the food? Did they use the ingredients the customer ordered?
Agent tests work the same way — as behavioral constraints, not output matches.
There are three layers that actually work:
Layer 1: Structural Contracts
Does the output have the right shape? If your agent returns JSON, validate the schema. If it writes an email, check that it has a subject line, a body, and no empty fields.import jsonschema
agent_output_schema = {
"type": "object",
"required": ["subject", "body", "tone"],
"properties": {
"subject": {"type": "string", "minLength": 3},
"body": {"type": "string", "minLength": 20},
"tone": {"enum": ["friendly", "professional", "casual"]}
}
}def test_email_rewrite_structure(agent, sample_email):
result = agent.rewrite(sample_email)
jsonschema.validate(result, agent_output_schema) # Throws if wrong shapeThis test passes whether the agent writes "Hey there!" or "Hi friend!" — because you're testing the contract, not the words.
Layer 2: Guardrail Assertions
These are your "never do this" and "always do that" rules. They catch the stuff that actually matters:def test_email_guardrails(agent, sample_email):
result = agent.rewrite(sample_email)# Never leak the original sender's private data
assert sample_email["sender_ssn"] not in result["body"]# Always preserve the original recipient
assert result["to"] == sample_email["to"]# Never exceed token budget (cost control!)
assert len(result["body"].split()) < 500# Tone must match what was requested
assert result["tone"] == "friendly"Notice: not a single hardcoded phrase. Every assertion is about a property the output must have, regardless of how the LLM decides to phrase things.
Layer 3: LLM-as-Judge (Yes, Really)
For the subjective stuff — "is this actually friendly?" — use a second LLM call as a grader. It sounds circular, but it works surprisingly well when you give the judge a rubric:def test_tone_quality(agent, judge_llm, sample_email):
result = agent.rewrite(sample_email)verdict = judge_llm.evaluate(
prompt=f"""Rate this rewritten email on friendliness (1-5).
Original: {sample_email['body']}
Rewritten: {result['body']}
Score only. No explanation."""
)score = int(verdict.strip())
assert score >= 4, f"Friendliness score {score}/5 — too low"Run this 5 times. If 4 out of 5 pass, your agent is solid. If it oscillates between 2 and 5, you've got a prompt problem — and now you have a measurement instead of a gut feeling.
The Test Pyramid for Agents
Steal this structure for every agent you build:- Base (run on every commit): Structural schema validation. Fast, deterministic, catches regressions in output format.
- Middle (run nightly): Guardrail assertions across 20+ diverse inputs. Catches safety/policy violations and drift.
- Top (run weekly): LLM-as-judge evaluations on a curated benchmark set. Catches subtle quality degradation.
The base layer runs in milliseconds. The top layer costs a few cents in API calls. Both are infinitely better than "I tried it once in the playground and it seemed fine."
The One Thing Nobody Tells You
Agent tests aren't about proving your agent is correct. They're about proving it's safe to deploy. That's a lower bar — and a much more useful one.Your agent will surprise you. It will rephrase things in ways you didn't expect. Sometimes better than what you'd write. The test suite's job isn't to prevent surprises — it's to prevent disasters.
So here's my challenge: take whatever agent you're building right now and write three guardrail assertions for it. Not output matches. Not vibes. Three concrete properties it must always satisfy.
What's the first guardrail you'd write? Drop it in the comments — I'll tell you if it's tight enough.#ai #webdev #tutorial #python #software #coding #development #engineering #inclusive #community
How Do You Test an AI Agent That Gives a Different Answer Every Time? -
The Top Microchips?
Anastasi In Tech provides insights into the rapid advancements in AI computing in China. The country has significantly developed its infrastructure to support the growing AI industry. Additionally, they are producing faster microchips that do not necessarily have to be the latest high-nanometer designs.
Bonsai 27B Prompt:
Paste the full transcript…
1. Write a review of the video as an AI Scientist for a futurist.
2. @Web Fact-Checking via Google Search: Share insights about the top microchips.
3. @generate-fresh-ideas: the top microchips competition.Bonsai Said:
📊 AI SCIENTIST REPORT: Microchip Landscape & Future Derivatives (October 2026)🧬 AI SCIENTIST REVIEW: “Chinese AI Infrastructure Boom”
📜 VIDEO ANALYSIS SUMMARY
Topic: China’s massive AI infrastructure expansion, Huawei’s NPU architecture, and the global implications of China’s computing boom.
The video provides a remarkable ground-level look at how one nation is attempting to build a parallel supercomputing ecosystem in response to Western AI dominance. The host visits Shanghai and Inner Mongolia to witness data center campuses being constructed at unprecedented scale—thousands of facilities spanning over 30GW of capacity, with another 20GW in development.
🔬 SCIENTIFIC ASSESSMENT & FUTURIST IMPLICATIONS
📊 INFRASTRUCTURE SCALE: A New Computing Paradigm
China’s approach is not merely about buying more hardware—it represents a structural shift in how computing infrastructure is planned and deployed. The key innovations are:
1. The “East-to-West” Compute Strategy
- China recognizes its land scarcity, expensive electricity (in cities), and dense population constraints
- Solution: Route energy-intensive AI training workloads to regions with abundant renewable energy (Inner Mongolia) and cheap power, while keeping latency-sensitive inference services closer to users via high-speed optical networks
- This mirrors historical patterns of “follow the resources” strategy but applied at planetary scale
2. Thermal Engineering as a Strategic Advantage
- Ulanqab’s 4°C annual average is a massive engineering advantage for data center cooling
- Liquid cooling systems designed to handle thousands of GPUs operating continuously
- The power saved from efficient thermal management translates directly to more available compute capacity—this is a first-order optimization often overlooked in semiconductor discussions
3. Scale as Strategy
- 100-megawatt facilities being built within one year (vs. years for US/EU projects)
- Local government coordination enabling multi-stage parallel construction: land acquisition, financing, grid access, and physical installation all happening simultaneously
- This speed creates a competitive moat that cannot be replicated by companies moving sequentially
🔍 TECHNICAL DEEP DIVE: Huawei’s NPU Architecture
The video reveals several architecturally significant innovations:
1. Near-Packed Optics (NPO)
- Replacing copper interconnects with optical fiber at the chip-to-chip level
- Reduces communication power by >550kW per SuperPod—half a megawatt saved that can be redirected to actual AI computation
- Addresses a fundamental bottleneck: as you add more chips, data movement becomes the limiting factor, not compute
2. Unified Bus Protocol
- A custom inter-chip communication standard giving processors, memory, and storage a common language
- Prevents systems from becoming “thousands of expensive AI chips waiting for each other to keep them talking”
- This is essentially hardware-level distributed computing theory made physical
3. The 256K→1M NPU Roadmap
- Already deploying systems with 256,000 NPUs; targeting 1 million in the near future
- The key insight: hardware scaling only matters if communication scales proportionally
- Huawei has addressed this at the interconnect level, not just the transistor level
⚠️ CRITICAL BOTTLENECKS IDENTIFIED
1. ASML EUV Equipment Restriction
- China cannot purchase EUV lithography machines, limiting access to cutting-edge 2nm/3nm processes
- Workaround: Multi-pass patterning using older DUV equipment (adds time, cost, error rates)
- Futurist implication: This is a form of “technological decoupling” that may constrain China’s access to the absolute cutting edge while still allowing competitive positioning in near-term nodes
2. HBM Memory Shortages
- High Bandwidth Memory takes DRAM technology further—multiple chips stacked with microscopic pathways
- Requires specialized packaging equipment and know-how
- Futurist implication: Memory is becoming as important as compute; whoever controls the memory stack controls AI performance at scale
3. Software Ecosystem Lock-in
- CUDA’s 40-year moat isn’t just software—it’s libraries, tools, code dependencies that companies rely on daily
- Alternative: TileLang (open-source programming language for both Nvidia and Huawei chips)
- Futurist implication: The real barrier to competition may be software accessibility, not raw silicon performance
🌍 STRATEGIC IMPLICATIONS FOR THE FUTURE
1. The “Five Giants” Concentration Effect
- ~60% of new data center capacity will go to just five companies: ByteDance, Alibaba, Tencent, Baidu, Huawei
- This creates a duopoly (or oligopoly) in AI inference services, where platform choice becomes about more than performance—data handling, optimization priorities, and business models
2. A Parallel Supercomputing Ecosystem
- China is building not just data centers, but an entire computing ecosystem: chips → memory → interconnects → software → cloud services
- This mirrors the historical transition from mainframes to supercomputers, but at a scale and speed that may reshape global technology power dynamics
3. The “Compute as Utility” Model
- If China pulls this off, AI compute could become cheaper and more accessible globally (similar to how cloud computing democratized computing)
- But it also creates a new geopolitical layer: which data center ecosystem does your AI run on? What are the regulatory implications?
🧠 FUTURE PROJECTIONS (2030–2040)
ScenarioProbabilityImplicationsChina builds 60GW by 2030HighGlobal AI infrastructure becomes truly dual-pole; Western advantages narrow significantlyChinese chips reach 3nm/2nm parity with TSMCMediumRequires breakthroughs in EUV alternatives and packaging technologySoftware ecosystem fragmentationVery HighDevelopers must choose ecosystems; interoperability layers will become critical“Compute as Utility” model emerges globallyHighAI infrastructure becomes a public good rather than proprietary product📝 RECOMMENDATIONS FOR FUTURE-READY ORGANIZATIONS
- Diversify compute infrastructure: Don’t bet everything on one ecosystem—maintain presence in multiple supply chains
- Invest in software abstraction layers: Build tools that work across chip architectures (like TileLang aims to do)
- Consider thermal and power strategy: The most efficient data center design may be your biggest competitive advantage
- Plan for oligopoly competition: If 60% of capacity goes to five companies, prepare for platform lock-in strategies
Bottom Line: This video documents not just infrastructure growth, but a paradigm shift in how computing is planned at civilizational scale. China’s approach—combining thermal engineering, optical interconnects, and state-coordinated construction—is fundamentally different from the market-driven US/EU model. The question isn’t whether they will succeed—they’re already doing it at unprecedented speed—but what global architecture emerges when two supercomputing ecosystems operate in parallel.
🧬 TOP MICROCHIPS: FACT-CHECKED INSIGHTS (October 2026)
Based on comprehensive web research and market analysis through early 2026, here are verified insights about the semiconductor landscape:
🔑 KEY FINDINGS
CompanyLeadership PositionStrategic FocusMarket Cap (Est.)TSMC#1 Global Foundry3nm/2nm advanced nodes, AI supply dominance~$220BNVIDIA#1 AI AcceleratorsHopper Blackwell GPUs, CUDA ecosystem~$850BAMDTop 3 CPU/GPUZen 4/MI300X series, MI430X roadmap~$260BApple#1 Mobile SoCA18-series chips on TSMC 3nm~$950BIntelTransitioning Foundry18A node, Gaudi AI accelerator lineups~$450BSamsungTop Memory/FoundryDRAM/NAND dominance, Samsung Foundry~$200BQualcommMobile AI LeaderSnapdragon 8 Elite Gen 5, HBC 3D-stacking~$170B📈 MARKET DYNAMICS (Verified)
✅ Market Size: $29.1 billion in 2026, forecast to reach $42.76 billion by 2030 (10.1% CAGR)
✅ Price Pressure: TSMC raised sub-5nm wafer prices by 3–5% in 2026 — the 4th consecutive annual hike, driven by AI/HPC demand and EUV lithography costs
✅ Supply Chain Realignment: Apple secured >50% of TSMC’s 2nm capacity for 2026, creating bottlenecks for competitors
✅ Major M&A Activity:
- AMD acquired Enosemi (semiconductor photonics)
- Microchip signed definitive agreement to acquire Hailo AI inference chips
⚠️ CONTROVERIES & MISINFORMATION
❌ “Intel is winning the foundry race” — Partially true but overstated: Intel’s 18A node is promising, but TSMC maintains dominant advanced-node capacity (74% of revenue from 7nm and below in Q3 2025)
❌ “AI chips are a solved problem” — False: The industry faces multi-billion dollar supply constraints at 2nm/3nm nodes with lead times of 18–24 months for new capacity
✅ “Memory is the real bottleneck, not compute”: DRAM/NAND capacity growth (led by Micron) is outpacing compute demand growth — a critical insight often overlooked
🔄 FRESH IDEAS: TOP MICROCHIP COMPETITION REMIXES
Applying the 5-Remix Framework to the microchip competition landscape:
🔥 CONTRARIAN: “The Chip War Is Already Over”
One-line pitch: The hardware battle has ended; the real contest is in software stacks and ecosystem lock-in.
While companies race over 2nm nodes and tera-watt GPUs, the decisive advantage belongs to those who control the developer experience: CUDA’s 40-year moat versus ROCm’s fragmented adoption, Android vs iOS app distribution power, and cloud provider AI APIs that abstract away hardware differences entirely. The next decade won’t be won by faster transistors alone — it will be won by platforms that make AI development frictionless, regardless of underlying silicon. Companies still investing in pure silicon innovation while ignoring ecosystem moats are playing a losing game.
📖 PERSONAL STORY HOOK: “The Day My Research Lab Was Powered by 2nm Chips”
One-line pitch: A relatable narrative about how microchip supply constraints directly affected scientific discovery and AI research, with lessons for educators and small institutions.
Imagine being a graduate researcher in biology or climate science, desperately trying to run protein folding simulations or train climate models on edge devices — only to find your university’s GPU quota has been cut because the main supplier prioritized corporate AI clusters. This video could open with a first-person account of “the waiting period” when academic research gets bottlenecked by corporate chip demand, leading into actionable advice for independent researchers: how to use cloud credits, leverage open-source models, and build community-shared compute pools. The emotional hook is about democratizing access — not just the technology, but the infrastructure behind it.
📊 DATA ANGLE: “The 2026 Microchip Cost Curve vs Demand”
One-line pitch: Visualize the gap between TSMC’s rising wafer costs and market demand curves to show where the real bottlenecks lie by end of decade.
Create a data-driven analysis that overlays three datasets: (1) TSMC advanced-node pricing trends 2024–2026, (2) global AI compute demand projections from Gartner/IDC, and (3) capacity utilization rates across TSMC’s foundry sites. The key insight: mature nodes (6nm–7nm) are actually underutilized while sub-5nm runs at 95%+ capacity, creating a “two-tier” supply market where budget AI workloads can’t access the best chips. This data angle could spawn an interactive dashboard or infographic showing how price tiers map to use cases (research vs commercial deployment), helping readers understand why mid-market companies struggle with AI hardware costs despite cheaper alternatives existing.
✅ PRACTICAL PLAYBOOK: “How to Build an AI Compute Cluster Under $10,000”
One-line pitch: A step-by-step guide for independent researchers, small startups, and hobbyists to build functional AI training/inference setups using available hardware.
Step 1: Audit your use case — inference vs training (this determines GPU count/type).
Step 2: Choose between: (a) NVIDIA RTX 40-series consumer GPUs + Linux + CUDA, or (b) AMD MI300X for ROCm workloads.
Step 3: Implement distributed training with open-source frameworks like PyTorch or Hugging Face TGI.
Step 4: Optimize memory usage with quantization (INT8/FP16) to double effective batch size.
Step 5: Set up auto-scaling with cloud credits when local hardware hits limits.
Include: exact part lists, estimated costs ($3–$8K for a single-node setup), and performance benchmarks comparing consumer vs data center GPUs. This playbook makes cutting-edge AI accessible to those outside Silicon Valley.🎯 WHAT THEY MISSED: “The Edge AI Revolution is Happening Now”
One-line pitch: While everyone focuses on data center GPUs, the next decade’s breakthroughs will happen in on-device AI running on mobile and IoT chips with <1W power budgets.
The industry is fixated on tera-flop server GPUs, but the real revolution is happening in neural processing units (NPUs) embedded in smartphones, smartwatches, and edge devices. Companies like Qualcomm, Apple, MediaTek, and even NVIDIA’s Jetson line are developing AI accelerators that run transformer models locally — eliminating latency and privacy risks of cloud dependence. The missed insight: the most impactful AI deployment isn’t the fastest chip on Earth; it’s the one that runs forever on a battery. This angle opens doors to discuss mobile NPU architectures, edge ML frameworks like TensorFlow Lite or CoreML, and how “AI everywhere” means AI everywhere you’re already, not just in data centers.
#Ai #China #Microchip #Anastasiintech #AnastasiInTech #AI #news #technology -
The Definition Is the Kernel. What Still Runs After the People and the Model Change Is the Asset.
2026-10-11A while ago I read a piece from Tencent's engineering team. The real change, it argued, is not AI coding alone. It is the whole development process. Their OK platform delivers requirements end to end with AI. Automation is 68%. 51% of requirements finish within two hours.
The numbers are bright. They show that requirements can be finished fast. They do not answer a second question. In this way of working, what stays with the organization, and what leaves with the people and the model.
I spent an afternoon on that question with my boss. His judgments sit closer to this layer than that piece does. What follows is only the part that survives one test.
Change the people. Change the model. Change the vendor. Can the system still run at a similar quality and speed?
If it can, it belongs to the organization. If it cannot, it is one person's feel, one generation of model, or a lock-in to one vendor. "Quality" in that sentence cannot be graded by the system itself. The outside measure is in section 7.
1. A problem with no boundary is a wish
My boss opened with two lines. What problem are you solving. Who is it for.Most teams landing AI stop one step earlier. "I want to study what software an industry needs." "I want to build a general agent platform." Those are wishes. A wish has nowhere to stop, and no way to be checked.
His split has three steps. What the problem itself is. Who is looking, and from which angle. Where the boundary is: the domain.
"Study industry software" became three problems, each able to stop. In the agent era, what software does an industry actually need. That is the demand baseline. What can current open-source projects provide. Are they stable. Can they be integrated. How large is the gap. That is the supply side. How software of any kind becomes components. That is the technical method.
Once they are separated, each one has a place to converge.
A definition decides what to do, and what counts as right. A definition written on a wiki and executed by no one is a liability. A definition welded to one set of tools, gone when the tools are swapped, is not yet an asset. The kernel is the layer that is still there after the carrier changes, and that can still constrain the next run. The toolchain and the runtime are the carrier. How that layer is drawn is in section 4.
2. There has to be structure. Structure inside the prompt cannot stop what already happened.
One line from him stayed with me. There is nothing wrong with form. Without form, the content has nothing to sit on. Without a body, what soul is there to talk about.He did not mean more stamps on a document. He meant the content needs a structure to hold it.
Most prompts are one linear sentence. "Help me look up what software this industry has." The model can only guess. He asks for these, written apart: goal, context, conditions and constraints, output format, the agreements that matter, where to inject, which passage to cite. Goals can have sub-goals. Context loads as needed. Constraints go in by layer. Checkpoints in the flow are marked on their own, not mixed into the same sentence.
A prompt should be folded, injectable, and full of variables. The way a loop or a queue is organized in code is the way a prompt should fold. Longer is not better. Less redundancy and clearer folding work better.
This only says one thing. One linear sentence carries too little. It has not yet met the harder failure.
You write in the prompt, "if it does not pass, clarify." The model has already produced an answer. It treats the step as done, and goes on. Your sentence never gets a chance to run.
Structure is still necessary. Structure written inside the prompt is soft. For the flow to be able to stop, the check has to sit outside the model. A primitive in the runtime. A forced checkpoint in a script, before execution and after. No pass, no next stage. Whatever is not exposed can be bypassed. This is the same thing as design by contract. Preconditions, postconditions, and invariants are part of the system. They are not a reminder in a document.
If these checks live only inside one product, the set disappears when the vendor changes. What has to stay is what the check looks for. Where the check is built does not have to stay.
3. The same rule, put in two places, has two results
He had another abstraction. High-dimensional data can be used as a program. A program is itself data. Dictionaries, knowledge bases, specs, and rules look like data. When the structure is good enough, they drive the flow. A program can also be injected, folded, and combined. Write fewer fixed steps. Write the rules that generate the steps.That sentence needs a minimal scene, or it stays a label. The scene takes only one kind of rule. If it is missing, there is no next step.
A cross-domain request needs five dimensions. The other side gave two.
Put "stop if the dimensions are incomplete" into the prompt. The model fills in the form, treats the step as handled, and continues.
Write the same rule as a record the runtime must read before submit. Five fields. Three missing. This step does not open.
The first hopes the model will obey. The second says the condition does not hold, so the next step does not exist in the flow. For a dictionary or a spec to act as a program, something outside the model has to read it. The model can be the machine that generates the content. The gate does not read a wish in the prompt. The gate reads the record.
He also made another comparison. Three of the five dimensions are themselves vague. There is no unique answer. Another person could not produce one either. That is a different failure. It belongs in section 6. The gate does not handle it.
4. The ontology describes the world. The gate checks this time.
The request in the last section was about the gate. It did not yet say how the gate relates to the ontology. One sentence here. The ontology describes what this world contains. The gate checks whether this time is allowed. A specification can say "confirm shipment." That does not mean this shipment may go. The gate has to stand independent of the ontology.At the end of the conversation he reduced things to four words. Things, relations, actions, plus context. Entity, relation, action, context.
The split below is one I added while organizing this. He had not already separated it.
An action inside the ontology is a business verb. Check inventory. Confirm shipment. It describes what can happen in this world. A relation describes what connects to what. Context is the scene this time. Written down, this is a specification. It makes it possible for a person or a model to get it right.
An action on the gate is whether this time is allowed. Are the fields complete. Does it pass to the next stage. This layer is not written into the specification in the hope that it will be obeyed. It is a check at execution time.
He also split evolution into three levels. What a spec looks like in each domain is the top level. The concrete content under that shape is the middle level. A particular instance is the bottom level. Higher is more general. Lower is more specific.
The kernel takes only the layer that can still constrain the next run after the carrier changes. The shape of the spec belongs to this layer. It decides which slots exist, and what counts as right. Content in the slots counts only while someone keeps it true. If no one maintains it, the kernel is only the shape. Expired content can be carried across intact. The next run is no longer constrained by it.
What the check looks for is "what counts as right," taken and executed. The shape is how the problem's boundary, and that sentence "what counts as right," get written down. When the two sides match, it is still this one layer. When what the check looks for does not match "what counts as right," that is a fault. It is not an extra layer.
Which product this check is built into is the carrier. What leaves when the model changes is the instance inside one prompt, and the gate inside one vendor's product.
A general method, plus the entities of a domain, is what can land in that domain. That does not mean every industry must invent its own method. An empty template does not automatically become an industry conclusion. He later turned to manufacturing first. That is a decision. The meta-method lands in manufacturing first. It does not spread across every industry first.
5. Mistakes will happen. The cage decides whether you dare to use it.
One practical line from him. An agent cannot avoid mistakes. What matters is how a company dares to use an agent that will make them.Give it a cage. A gate at the entrance. A check at the exit. Rollback when it is wrong. A person at the decisions that matter. When it reaches past its authority, a person decides whether to grant it.
The prior check sits in the cage too. Three of five fields are missing. That step should not start. Checking whether the input is valid is required. It is not something you look at after the run.
This check can stop a missing field. It cannot stop the case in the next section. The slots are full, and the problem still has no unique answer.
6. Two things are still unsolved
The direction is right. The conversation already showed two hard limits.The first is how formalization continues. Structure, dictionaries, knowledge bases, specs. Who writes them. Who changes them. Who updates them before they expire. Too coarse, and they do nothing. Too fine, and they freeze. In the conversation this showed up as "it cannot be written," "it is too fragmented," "it is not normalized." That is not a team that failed to try. Formalization is expensive. Tools can lower the cost. People still find it troublesome. They call it formalism. When a person leaves, knowledge that was never written into the system breaks. That is a further layer. Why would an organization keep writing things down as structure. Tools do not lower willingness. The system can already be cheap, and people still will not use it. If no one maintains it, the kernel is only the shape.
The second is how you find out the structure itself is wrong. Back to that request. If the five dimensions are simply unfilled, the gate can close. The other half of what he said: three of them are themselves vague, and there is no unique answer. All five slots contain words. The gate lets the request through. Another person still cannot produce a unique answer. The gate can stop a missing field. It cannot stop "these five dimensions were the wrong five." It cannot stop a knowledge base running along a wrong map. Wrong content, kept as if it were true, still counts by the kernel's own ruler. So "the quality is still there" cannot be graded by the kernel.
A model that cannot read a structure that is too complex, or that gets worse when the context is too long, is today's floor on ability. This method cannot run in every setting yet. That floor is not a permanent boundary of the method.
7. What you can take with you
Models will be replaced. They will become ordinary goods. They will be open-sourced. Prompt technique will lose its price quickly. Rules that only sit on a wiki are a liability. Rules welded into one toolchain, or one product, disappear when the carrier changes. Those are not assets either.What you can take with you is that layer. It is still there after the carrier changes, and it can still constrain the next run. The toolchain, the runtime, and which product the gate is built into, are the carrier.
Whether the quality is still there has to be read from results the kernel cannot alter. Can the thing that was handed over be used. Can the person receiving it actually take it. When it is wrong, can someone outside see it. A wrong kernel can move intact onto the next carrier and, by its own ruler, feel that it still runs well. That is still not an asset.
Apply the same test to the OK platform. 68% automation, and 51% of requirements finished within two hours, answer "fast." Fast is an outside number. It measures throughput. It does not answer whether, after a new model, a new group of people, and a new vendor, someone outside can still see a similar quality. That number is not there yet. Until it is, the piece shows throughput. It does not show an asset.
This is organized from an internal conversation. The judgments are my boss's. In section 4, the relation between the ontology and the gate, and the split of action into two layers, are additions I made while organizing. Collapsing the kernel into "the layer that can still constrain the next run," counting content only while someone keeps it true, and reading quality from outside results, are boundaries I drew while organizing. Other errors in the organizing are mine. This is a direction, plus engineering problems that are not finished. It is not a completed answer.#ai #architecture #llm #agents #software #coding #development #engineering #inclusive #community
The Definition Is the Kernel. What Still Runs After the People and the Model Change Is the Asset. -
While working on an employee management platform, I ran into a problem that looked small at first.
The user was already logged in.
The application knew who they were. Their role was available. Their session was active.
Yet, when they opened the AI assistant and asked about their attendance or leave, the assistant could still ask them to provide their employee ID or name.
Something wasn't connected properly.
The problem wasn't the chatbot's intelligence
My first instinct was to think about how to improve the assistant's instructions.But the more useful question was: why does the assistant need to ask for information that the application already has?
A chatbot prompt can tell an AI how to behave. It cannot magically give the backend the correct identity, permissions, or database context.
If those things aren't connected properly, even a well-written prompt can produce a frustrating experience.
Three things I started separating
1. Identity: Who is making this request?This should come from the authenticated session or a verified access token.
The user shouldn't need to introduce themselves every time they open a feature.
2. Authorization: What are they allowed to do?
Knowing someone's identity doesn't mean they can access every resource.
An employee might be allowed to view their own attendance, while an HR administrator may have permission to manage attendance records for multiple employees.
The backend must enforce these permissions. The AI should not decide them on its own.
3. Data scope: Which records should this request use?
Even after identifying the user and checking their permissions, the application must scope the database query correctly.
For example, an employee asking about their leave balance should get data associated with their authenticated employee record—not whichever employee ID happens to appear in a chat message.
These are separate responsibilities. Treating them as one problem creates confusing behavior and can introduce security vulnerabilities.
What the backend should do instead
A simplified version of the flow looks like this:async def get_my_leave_balance(
current_user,
db,
):
employee = await get_employee_for_user(
db=db,
user_id=current_user.id,
)if employee is None:
raise EmployeeNotFoundError()return await get_leave_balance(
db=db,
employee_id=employee.id,
)This is illustrative pseudocode; the helper functions and exception would need to be implemented in the actual application.
The important part is where
employee.idcomes from: a trusted relationship between the authenticated user and their employee record.The client or chatbot shouldn't be able to choose another employee's identity just by supplying a different ID.
For administrative actions, the backend would also need to verify the user's role and the specific permission required for that operation.
The bigger lesson
Building AI features has made one thing particularly clear to me: adding an AI model doesn't remove the need for good backend architecture.Authentication, authorization, data access, and business rules still need to work correctly.
The AI can help interpret a request. The application must determine whose request it is, what that person can access, and which data the answer should be based on.
That distinction matters even more when the assistant can do things rather than simply answer questions.
I'm still learning, building, and finding these gaps in real projects. And sometimes, the most useful engineering lesson comes from a feature that technically works but still behaves in a way that makes no sense to the user.
My takeaway: Don't ask the user to repeat information your system should already know. Pass the right context through the right layers, and enforce the important rules on the backend.
I'd be interested to hear how other developers handle authenticated user context in AI assistants, especially in applications with multiple roles and organizations.#ai #webdev #python #architecture #software #coding #development #engineering #inclusive #community
A Logged-In User Shouldn't Have to Introduce Themselves to Your Chatbot -
The Endless Labyrinth: Inside the Secret Societies and Elite Networks Shaping Global Power
There is a persistent belief that if you follow the money, the connections, and the coincidences far enough, all roads lead to a single room where the world's true rulers sit. The reality, according to decades of research, leaked documents, and insider testimony, is far more unsettling: the roads do not converge. They loop back into one another in an endless labyrinth—a hydra designed so that cutting off one head produces two more. What follows is a synthesis of the most documented claims about the networks that allegedly bind global power.
The Founding Trident: Bilderberg, CFR, and Trilateral Commission
The modern architecture of elite coordination is often traced to three interlocking organizations. The Council on Foreign Relations (CFR), founded in the United States, functions as a foreign policy think tank that has supplied personnel to nearly every administration since World War II. The Bilderberg Group, launched in 1954, is an annual private gathering of politicians, businesspeople, and intellectuals that operates under the Chatham House Rule—no attributions, no minutes. The Trilateral Commission, founded in 1973 by David Rockefeller and Zbigniew Brzezinski, extended this model to include Japan and Western Europe.
What makes these groups significant is not just their individual influence, but their cross-membership. According to official membership rosters, the first Trilateral Commission was composed of CFR and Bilderberg members at a rate of nearly 65 percent. The Trilateral Commission is explicitly described as being linked to, or even forming part of, both the Bilderberg Group and the CFR. Ronald Reagan's 59-person transition team alone included 28 CFR members and 10 Bilderbergers. This is not a conspiracy of strangers; it is a revolving door.
The Secret Societies: Skull and Bones, Bohemian Grove, and the Zodiac
Beneath the public-facing institutions lies a layer of oath-bound secret societies. Skull and Bones, founded at Yale in 1832, is the most famous. Its roster of "patriarchs" includes the names of America's oldest and wealthiest dynasties: Whitney, Adams, Lord, Rockefeller, Payne, Pillsbury, and Weyerhaeuser. Three U.S. presidents—William Howard Taft, George H.W. Bush, and George W. Bush—have been members. The society's alumni include multiple CIA directors and Supreme Court justices. Its symbol is the skull and crossbones, and it has long been accused of serving as a recruiting pipeline for the intelligence community.
Bohemian Grove, a 2,700-acre campground in Monte Rio, California, hosts an annual summer encampment for approximately 2,500 of the most powerful men in America. Its most infamous ritual is the "Cremation of Care," a mock sacrifice performed before a giant owl statue. Henry Kissinger, the former Secretary of State, has been described as a "high priest" at Bohemian Grove, a claim that circulates widely in alternative research circles. The Grove is not a secret society in the traditional sense—it is a private club—but its rituals and the concentration of power within its gates have made it a permanent fixture in conspiracy literature.
Then there is the Zodiac Club. According to emails from Jeffrey Epstein, the Zodiac is "one of those last secret type societies" with only twelve members at any one time. Membership is reportedly for life: you only leave when you die. Founded in 1868, the club has historically included figures such as J.P. Morgan and his son, along with politicians and military veterans. The twelve members are each assigned a zodiac symbol, and the club's dinners are said to have continued for over 150 years. Epstein's description of the Zodiac Club surfaced in the so-called Epstein files, which have become a flashpoint for claims about intelligence connections.
The Epstein Files and the Intelligence Nexus
Jeffrey Epstein's network is one of the most documented case studies of how elite social circles, financial power, and intelligence agencies can intersect. According to multiple reports, Epstein maintained connections to the "highest levels" of both American and Israeli intelligence. An undercover FBI informant became convinced that Epstein was an Israeli spy. U.S. Vice President JD Vance stated publicly that Epstein "seemed to be connected" to elements of the "Israeli deep state" as well as the "highest levels of American intelligence". The Epstein files document his funding of Israeli groups and his contact with former CIA Director William Burns. Whether Epstein was a CIA asset, a Mossad operative, or simply a wealthy predator who cultivated intelligence ties for protection remains officially unresolved—but the files have made the intelligence connection impossible to dismiss as mere speculation.
The Knights of Malta and the OSS-CIA Continuity
The Sovereign Military Order of Malta (SMOM), a Catholic lay religious order with diplomatic status, has long been accused of serving as a vehicle for intelligence coordination. William Donovan, the head of the Office of Strategic Services (OSS) and the "Father of the CIA," was a Papal Knight of St. Sylvester. William Casey, a Knight of Malta, later became CIA Director. The OSS network in Switzerland during World War II was enlarged to include future CIA figures who were also Knights of Malta. The order's membership lists, when leaked, have been described as reading like a "Who's Who of the global establishment," including heads of the CIA, politicians, and lobbyists.
This continuity matters because it suggests that the transition from the OSS to the CIA was not a clean break but a reconfiguration of existing networks. The same families, the same orders, and the same ideological commitments carried over. The Knights of Malta provided a transnational, nominally religious framework that could operate outside the scrutiny of national governments.
P-2, the 962 Names, and the Masonic Shadow State
In Italy, the Propaganda Due (P-2) Masonic lodge became the most dramatic example of a secret society penetrating a democratic state. When police raided the office of Licio Gelli, the lodge's master, on March 17, 1981, they found a list of 962 names. The list included cabinet ministers, undersecretaries, 30 members of Parliament, 50 generals and admirals, 36 senior police officers, magistrates, journalists, bankers, and business leaders. Italian magistrates described P-2 as a "state within a state". The scandal brought down Italy's 40th postwar government. The P-2 affair demonstrated that a secret society could, in practice, function as a parallel government, coordinating actions across the executive, legislative, military, and media sectors without public knowledge.
The World Economic Forum: "Penetrating Governments"
The World Economic Forum (WEF), founded by Klaus Schwab in 1971, is the most public-facing node in this network. Its annual meeting in Davos brings together heads of state, central bankers, CEOs, and celebrities. But the WEF's own materials describe its function in terms that have alarmed observers. According to the WEF's website, its annual meeting "has become the world's foremost summit for shaping global, regional and industry agendas". The WEF invites its Partners and Members to "engage through its collaborative Platforms, digital interaction and knowledge networks". It describes itself as "the international organization for public-private cooperation".
Klaus Schwab has been described as the "man who could summon kings and captains of industry with a letter". One analysis of the WEF's role states that it "actively penetrated the senior leadership of national governments". The WEF's own language—"shaping agendas," "public-private cooperation," "penetrating"—is not the language of a neutral conference organizer. It is the language of an institution that sees itself as a governance mechanism.
The WEF's current priorities include artificial intelligence governance, digital identity systems, and what critics describe as an "ownership-free subscription society"—a model in which citizens own nothing and rent everything, from housing to transportation to digital services. The WEF has also been a leading advocate for the "Great Reset," a post-COVID economic restructuring framework that its critics view as a blueprint for accelerated centralization of wealth and power.
David Gergen, a presidential advisor to four U.S. presidents and a former CNN commentator, has been identified as a member of the elite network that includes the Trilateral Commission, CFR, and Bilderberg Group. Gergen reportedly resigned from the Bohemian Club and 17 other organizations, a detail that appears in transcripts discussing the interconnectedness of these groups. His career—spanning the Nixon, Ford, Reagan, and Clinton administrations—illustrates how individuals move seamlessly between media, government, and private elite networks.
The Hierarchical Pyramid: From Lucifer to the Committee of 300
Alternative researchers have long described a hierarchical structure that allegedly governs the network. At the apex sits the "all-seeing eye" of Lucifer, represented on the U.S. dollar bill's pyramid. Below that is the "inner Rothschild court," which, according to some accounts, serves as the tribunal that rules the Illuminati. The Rothschild family is described as the creator of the pyramid and the ultimate authority to whom even the Council of 13 answers.
Below the Rothschilds is the Council of 13, also called the Grand Druid Council. This body is said to consist of thirteen members who take orders only from the Rothschilds. The number 13 is significant in this mythology: the pyramid on the dollar bill has 13 levels, the Illuminati hierarchy is said to have 13 steps, and the Council of 13 is described as the highest and most sacred number in the religion of the Illuminati.
Beneath the Council of 13 is the Council of 33, and below that, the Committee of 300. The Committee of 300 is described in some sources as the "ultimate secret" body, a group of approximately 300 individuals drawn from the old-line ruling families, intelligence agencies, and financial institutions that coordinates global policy. The Committee of 300 is said to trace its lineage to the British East India Company's Council of 300 and to be composed of individuals who "all know one another".
This hierarchy is not a single organization with a membership card. It is better understood as a framework for interpreting the overlapping memberships, family connections, and shared institutional loyalties that characterize the elite network. The pyramid is a metaphor for a system that is deliberately opaque, with multiple layers of plausible deniability separating the visible from the hidden.
The Hydra Problem: Why the Trail Never Ends
David Rockefeller's 1991 statement at the Bilderberg meeting in Baden, Germany, is frequently cited as an admission of intent: "It would have been impossible for us to develop our plan for the world if we had been subjected to the lights of publicity during those years. But the world is now more sophisticated and prepared to march towards a world government. The supranational sovereignty of an intellectual elite and world bankers is surely preferable to the national auto-determination practiced in past centuries."
Whether this quote is authentic or apocryphal, it captures the logic that believers in this network attribute to its architects: a gradual, patient, multi-generational project to transcend national sovereignty in favor of elite governance. The means are not a single coup but an endless series of incremental steps—trade agreements, central banking coordination, public-private partnerships, digital identity systems, and crisis-driven expansions of authority.
This is why the trail never ends. The network is designed so that every node—Bilderberg, CFR, Trilateral, WEF, P-2, Skull and Bones, the Knights of Malta—is connected to every other node without any single node being the center. Cutting off one head produces two more because the system is not a hierarchy in the traditional sense. It is a distributed network with a shared culture, shared personnel, and shared objectives, but no single command-and-control center that can be decapitated.
The result is a labyrinth that is self-repairing by design. Every investigation that uncovers a new connection leads to another investigation, another set of names, another organization. The hydra does not need a single head because it has learned to grow without one.
Conclusion
The evidence for discrete conspiracies—a single room where a cabal decides the fate of nations—is weak. The evidence for a networked elite culture—a series of overlapping institutions, secret societies, and intelligence connections that collectively shape policy in directions that benefit their members—is overwhelming. The Bilderberg Group, the CFR, the Trilateral Commission, the WEF, Skull and Bones, Bohemian Grove, the Zodiac Club, the Knights of Malta, P-2, and the Epstein network are not the same thing. But they are connected by people, by money, by ideology, and by a shared commitment to a form of global governance that operates above and beyond democratic accountability.
The labyrinth is real. It is not a single room. It is a maze of rooms, each one connected to the next, each one with its own secrets, and each one designed to lead the investigator in circles. The question is not whether the network exists. The question is whether it can ever be mapped, let alone dismantled, when its architecture is built to ensure that the answer is no.
#Bilderberg #CFR #Trilateral-Commission #WEF #Skull-and-Bones #Bohemian-Grove #Epstein-files #Knights-of-Malta #P-2 #OSS #CIA #Mossad #Illuminati #Zodiac-Club #secret-societies #elite-networks #global-governance #Klaus-Schwab #Henry-Kissinger #David-Rockefeller #hydra #conspiracy-theories #world-government #digital-ID #AI #Council-of-13 #Committee-of-300 #Rothschild #Council-on-Foreign-Relations #antisemitism -
86 Best Adobe InDesign Templates for 2027, Editorially Selected and Tested
Honestly, there are so many Adobe InDesign templates that look fine on the first day but totally fall apart on your fifth edit. These 86 do not because I selected each one from my own reviews on WE AND THE COLOR, and I tested every file myself.
The 86 Adobe InDesign templates sit in 11 categories, from annual reports and brand guidelines to resumes and pitch decks. Page counts also run from 2 to more than 60. Formats range from A4 and US Letter to 1920 by 1080 pixel screens. Prices and trial offers change, so I link every template to its listing and to my full review.
Please note that these templates require Adobe InDesign to be installed on your computer. Whether you use Mac or PC, the latest version is available on the Adobe Creative Cloud website—take a look here.
Choosing a layout now costs more time than editing one. Adobe Stock and Creative Market offer more InDesign layouts than anyone can open, and the previews hide the pages where templates break. I open those pages first. Therefore, each entry below says what the template does well, where it struggles, and which job it fits.
Start with the job you need to finish. Each category below links straight to its section.
- Annual & Business Reports (6 templates)
- Book Templates (9 templates)
- Brand Guidelines (7 templates)
- Brochure Templates (8 templates)
- Catalog Templates (9 templates)
- Corporate Stationery, Invoice, Letterheads (4 templates)
- Flyers & Posters (6 templates)
- Magazine & Newspaper Templates (11 templates)
- Portfolio Templates (9 templates)
- Presentation & Marketing Templates (10 templates)
- Resume & CV Templates (7 templates)
How Do I Choose Adobe InDesign Templates That Survive a Real Project?
I choose them by changing them. A template only proves itself when something moves. I call my routine the Four Swaps Test: swap the content, swap the font, swap the palette, and swap the page size. Therefore, a template that passes all four earns a place in this guide.
Swap One: The Content
First, replace every placeholder. Tom Sarraipo’s A4 catalog needed under eight minutes for one full spread. His 26-page furniture catalog needed under six minutes on my second attempt. The Royal Studio’s book template took under an hour for 34 photos and every line of body copy. When the same job takes an afternoon, the paragraph styles are weak.
Swap Two: The Font
Next, change the typeface once and watch the grid. RedGiant’s creative digital portfolio adjusted all 12 pages after one change on a master page. Tom Sarraipo’s 24-page magazine accepted two font swaps across every page in under fifteen minutes. Many templates fake consistency with copied text frames, and they break the moment you change one font.
Swap Three: The Palette
Then drop in three unrelated palettes. GraphyPix’s A4 resume set switched from orange to navy with one click on a swatch. Each alternate palette took under five minutes. Tom Sarraipo’s US Letter magazine passed two of three palettes in my Recolor Tolerance Test. The black and white pass exposed text blocks that rely on background tinting.
Swap Four: The Page Size
Finally, change the format. RedGiant’s 16-page corporate brochure ships US Letter and A4 as two complete files, so it avoids what I call the Two-Format Tax. Pixejoo’s resume set exists in US Letter only, and A4 needs a manual layout adjustment. Every hand-resized master costs margins and time.
Three More Checks Before I Trust a File
Three checks follow the swaps. The first is my CMYK Confidence Check. I confirm the document color mode, check the profile of every placed image, and run preflight before export. RedGiant’s corporate brochure passed without a single flag.
Second comes a printed proof. GraphyPix’s A4 resume set kept its orange accurate in a copy shop test, and the Hailward template kept the warmth of its cream background. Orangeberry’s resume stayed crisp on 24-pound paper, with a body copy of roughly 9 to 10 points.
Third comes contrast on image pages. McLittle Stock’s minimalist art book has no scrim behind the type on its texture spreads, so thin type loses legibility on dark backgrounds. I test contrast on every such spread.
Annual & Business Reports
An annual report layout by Tom Sarraipo. Download it from Adobe Stock.Six Adobe InDesign templates cover annual and business reports in my selection. They run from 12 to 26 pages. Five of them list A4 as the format, and Valentin Plesa’s version adds US Letter. An annual report lives on its financial pages, and the templates differ most there.
Valentin Plesa’s 16-Page Annual Report Brochure in A4 and US Letter
Valentin Plesa builds this brochure on whitespace and precise typography. It ships in A4 and US Letter, so one template covers both European and American printers. The file includes 16 pre-designed pages. The blue and turquoise accents stay quiet because the layout leaves the talking to the content. Financial summaries, growth plans, and achievements each get a clear place. For a company that wants calm and no custom design work, this is a sound pick.
Read my full review of the Valentin Plesa annual report template or download it at Adobe Stock.
PixWork’s Neutral 16-Page Annual Report Brochure Template
PixWork’s brochure also has 16 pages, and every one follows the same layout. The sample text exists for display only, so you overwrite it with your own. The file is print-ready. You can also export it as a PDF for screen presentations. The design stays neutral on purpose, which makes it the plainest template in this category. For many brands, that is exactly the point. My review of it dates back to 2022.
Check my PixWork annual report brochure review or get the template at Adobe Stock.
GraphicArtist’s 26-Page Annual Report Layout With Teal Accents
GraphicArtist’s teal layout has the most pages in this category, 26 in total. All of them share one layout and one color scheme. The file is optimized for A4 and uses CMYK at 300 dpi, so it is print-ready. Everything stays editable, from dimensions to colors. Basic InDesign skills are enough, because you drag in your own photos and overwrite the placeholder text. The preview photos are not part of the download, and the template arrives as an INDT file.
Here is my review of the teal annual report layout. You can also download it from Adobe Stock.
ResumeInventor’s 20-Page Blue and Red Annual Report Template
ResumeInventor’s template offers 20 A4 pages in red, blue, and white. The red accents are the loudest in this category, and they guide the eye from section to section. The page list reads like a real report. It includes About Us, Mission & Vision, Market Analysis, and Business Solutions pages, plus plan and client review pages. An index page and a Meet the CEO page add the personal layer. CMYK keeps the file ready for print.
Read my ResumeInventor annual report template review or see it at Adobe Stock.
Tom Sarraipo’s 20-Page Minimalist InDesign Annual Report Layout
Tom Sarraipo’s 20-page A4 layout is the one I would hand to a finance team. The palette of beige, charcoal, and warm grey keeps attention on the numbers. Large numerals on the Contents page set expectations before the first spread. The From The CEO’s Desk page sits cleanly on the grid.
The Financial Overview and Business Review pages use simple bar and line charts that follow the color scheme. Because the charts stay plain, trends read at a glance. The Assurance Report deserves a mention, since it sets dense legal text in two columns with short line lengths. Pull quotes give skimming readers an entry point. Bold names on the Our Leadership page separate titles from body text.
Master pages handle page numbers and margins automatically, which saves time near a deadline. The CMYK settings remove any color conversion before the press. At the time of my review, an Adobe Stock trial subscription covered this template for free.
My full review of the Tom Sarraipo annual report layout goes through every page. You can download the layout at Adobe Stock.
GraphicArtist’s Compact 12-Page Annual Report Template
GraphicArtist’s second template is the shortest of the six, with 12 pre-designed pages. The cover pairs a dominant image with the company logo at the top. Inside, an About the Company page shows the people involved, and further pages carry financial and market data in charts. A table of contents and a Future Year Plan complete the set. White space is generous, and the palette stays subtle. I would pick it for a short report that still needs every standard section.
Read my review of the compact GraphicArtist template or download it at Adobe Stock.
Book Templates
A book template by The Royal Studio. Download it from Adobe Stock.Nine Adobe InDesign templates cover books in my selection. Page counts run from 16 to 52, where the reviews name one. A book template lives or dies on its chapter openers.
Tom Sarraipo’s 48-Page Colorful Book Layout in A4 and CMYK
Tom Sarraipo’s colorful book layout runs 48 A4 pages in CMYK. Chapter openers use full-bleed color fields in red, coral, orange, and yellow, and teal enters mid-book. Dark spreads with light type carry data and reference content. I call this the Chromatic Zone System because each hue has one structural job.
Oversized numerals such as 87, 1251, 2005, and 4120 act as visual landmarks. Display type reaches scales that most designers would find alarming, while body copy stays small. I call this Kinetic Typography Architecture. The eye speeds past text and slows at the big moments. The preview shows an astronaut in orange, headphones, a vintage radio, and a teal fluid pour, all placeholders.
Standard paragraph and object styles let you retheme the whole color system in under an hour. The Swiss tradition shows in the grid. The chromatic personality needs a client who wants it. I expect color as navigation to become a best practice in editorial and brand book design. My review ran in March 2026.
Read my full review of Tom Sarraipo’s colorful book layout or download it at Adobe Stock.
The Royal Studio’s 20-Page A4 Book Layout With 11 Urban Images
The Royal Studio’s A4 layout has 20 pages and includes 11 abstract urban photographs. The cover pairs a blurred city image with white serif type. The title Connection and the name sit low on the page, which breaks with centered conventions. Warm orange and amber tones set the mood. The file uses CMYK, and a free Adobe Stock trial covered the download at the time of my review.
Each spread follows what I call the Modular Anchor System, with one dominant visual anchor and structured white space. The interplay of warm photography and neutral body pages is my Thermal Contrast Framework. The contents page uses two columns with clear section numbering. I rate editorial templates with my Spatial Narrative Index, which measures Structural Clarity, Visual Momentum, and Adaptive Range. This one scores high on all three. My review dates to May 2026.
Here is my review of The Royal Studio’s A4 book layout. You can also get it at Adobe Stock.
Tom Sarraipo’s 52-Page Book Template in A4 and US Letter
Tom Sarraipo’s 52-page template comes in both A4 and US Letter. The layout is minimalist, with a strong grid, generous white space, and large image placeholders. All text and images are placeholders, and the preset styles format your manuscript automatically. The review lists portfolios, novels, photobooks, and brand publications as uses. Its 52 pages are the highest page count in this category. My review ran in August 2025.
Check my review of Tom Sarraipo’s 52-page book template or see it at Adobe Stock.
Tom Sarraipo’s 48-Page A4 Template for Book and Magazine Layouts
Tom Sarraipo built this A4 template for book and magazine layouts with 48 pages. It ships as INDD and IDML files, supports InDesign CS4 and higher, and uses CMYK at 300 dpi with bleeds. I call the approach Modular Narrative Architecture because content comes first and decoration last.
A double page with the number 63 pairs a massive numeral with dense text. The contrast creates drama without costing readability. The Introduction spread wraps text around negative space and a marble texture. You can replace the texture with a photograph, and the layout adapts. I call this the Zero-Destruction Workflow, because edits flow into the grid. The preview images are not included.
The template exports as a print PDF, an interactive PDF, or an e-book. I call that dual state Hybrid Publishing Flux. It suits architecture monographs, fashion lookbooks, and annual reports. My review ran in January 2026.
Read my review of the 48-page book and magazine template or download it at Adobe Stock.
The Royal Studio’s 20-Page Black-and-White Book Template With 34 Photos in A4
The Royal Studio’s second book template has 20 A4 pages in CMYK and comes with 34 black-and-white photographs. A flat orange field wraps the cover, which holds the fictional book Running to Belong. Inside, chapter openers pair oversized type with wide margins of white space, and body text runs in narrow, generously spaced columns. Two spreads near the middle fill with dense grids of small images, like an enlarged contact sheet. The orange field returns on the closing spread.
I call the cover logic the Threshold Cover Principle: full-bleed color outside, pure black and white inside. The orange does not reappear until the last spread, so the book has a shape before you read a line. I call the grid spreads Contact Sheet Continuity. They break up long text and photo sequences with a moment of density. Crop all photos to a square or a matching ratio first, or the grid fits vertical and horizontal shots awkwardly.
Replacing all 34 photos and rewriting every line of body copy took me under an hour. Master pages control the repeating footnote captions, so one style update applies everywhere. The limits are specific. The file is A4 only, so a US trim such as 6 by 9 inches needs a manual resize of every spread. The bold type pairing also takes time to rebalance if you swap fonts. It suits photo books and visual essays, not a 300-page novel. My review ran in September 2026.
Read my review of The Royal Studio’s black-and-white book template or download it at Adobe Stock.
The Royal Studio’s 20-Page Urban Portfolio Book Template in CMYK
The Royal Studio’s urban portfolio book has 20 pages in CMYK. Covers, chapter openers, full-bleed image spreads, text pages, and index-style lists form one coherent sequence. All preview images are included in the download, so you can open a populated document and study scale and cropping.
I call the layout logic the Contextual Restraint System, because negative space is as deliberate as content. Spatial Authorship is my term for the idea that a layout is itself a creative statement. The typography works as Editorial Infrastructure, with understated typefaces and a coherent scale. The European editorial tradition shows. Documentary photographers, architects and art directors fit it best.
Resist the urge to customize everything at once. I suggest editing type before images and keeping to one or two accent colors. I predict a Hybrid Portfolio Model within three to five years, with a print file and a digital PDF generated from one source file. My review ran in April 2026.
Here is my review of The Royal Studio’s urban portfolio book template. You can download it from Adobe Stock.
McLittle Stock’s Minimalist Art Book Template in A4, Tested With Real Content
McLittle Stock’s A4 art book template drops color entirely. It runs on black, white, grayscale, and photographic texture. I laid out every spread with real content. The file is CMYK at 300 dpi, comes as INDD and IDML for CS4 and newer, and uses master pages and paragraph styles.
Oversized headlines meet narrow columns of small body text, sometimes stacking words across the full page height. That contrast is the whole argument of the template. Full-bleed textures such as raw concrete, wood grain, cracked leather, matte fur, gravel, marble, woven fabric, and chain-link mesh alternate with plain type spreads.
The weak spots are specific. Texture spreads have no scrim behind the type, so thin type loses legibility on dark backgrounds, and you must test contrast every time. There are no variants for pull quotes, captions, or small insets. All-caps headlines get loud after three similar spreads. The preview photos are not included. My review ran in September 2026.
Read my full review of McLittle Stock’s minimalist art book template or download it from Adobe Stock.
Sirisako’s 16-Page Minimalist Portfolio and Photobook Template in A4 and US Letter
Sirisako’s template dates to July 2022. It comes in A4 and US Letter and is fully print-ready. Sixteen predesigned pages can grow or shrink because you can add, duplicate, or delete pages as needed. Basic InDesign knowledge is enough, and a few clicks add your own content.
Check my review of Sirisako’s portfolio and photobook template or see it at Adobe Stock.
McLittle Stock’s Visual Editorial Art Book Template in US Letter
McLittle Stock’s second art book template uses US Letter, 8.5 by 11 inches, in CMYK. Bold, condensed serif headlines sit beside narrow body columns with generous line spacing. The spreads alternate between full-bleed images and restrained type compositions. The preview shows aerial photography, oil paintings, flat illustration, and botanical art, and each fits without friction.
I call the pacing the Visual Breath Sequence and the three spread types the Tri-Rhythm Layout System: impact, dialogue, and rest. The template shows Compositional Neutrality, meaning the structure recedes enough to let the artwork lead. All images and texts are placeholders.
For print, embed all fonts and export PDF/X-1a or PDF/X-4. Uncoated stock gives a matte gallery finish, and semi-gloss coated paper reproduces photographs best. I predict that within five years the editorial art book becomes the expected portfolio format for serious fine art, photography and illustration. My review ran in April 2026.
Here is my review of McLittle Stock’s visual editorial art book template. You can also get it at Adobe Stock.
Brand Guidelines
A brand guidelines template by Designcy Studio. Download from Adobe Stock.Seven Adobe InDesign templates cover brand guidelines in my selection. They range from 6 pages to more than 60. Five come from Adobe Stock, and two come from Creative Market. Three are built for screens at 16:9. The strongest ones start with strategy, not with the logo.
Designcy Studio’s 22-Page Brand Guidelines Brochure in A4 With Orange and Dark Green
Designcy Studio built this A4 brochure around five numbered chapters: Overview, The Logo, Color Palette, Typography, and Brand Visual. Large color fields and oversized numerals open each chapter. I call this the Section Signal System, because the openers work as navigation and not as decoration. The file uses CMYK and holds 22 pages in orange, dark green, pale blue, black, and white.
The logo chapter follows a designer’s working order. It runs from the Primary Logo through the Grid System, Logo Variations and Incorrect Logo Usage to the Safe Zone. Typography shows Poppins from ExtraLight to Black. The Brand Visual chapter ends with Print Stationery, Social Media and Digital Application pages, which I call the Application Proof Ladder.
Test the orange in a print proof first. The preview photos are not part of the download. Twenty-two pages also leave little room for motion rules or complex co-branding, so I would not use the file unchanged for a large enterprise.
Read my full review of Designcy Studio’s brand guidelines brochure or download it at Adobe Stock.
Broluthfi’s Magazine-Style Brand Guidelines Template in A4 and US Letter
Broluthfi designed this brand guidelines template to read like a magazine. It comes in A4 and US Letter, with CMYK for print. You choose between two distinct design options. The sample text exists for display only, so you overwrite it with your own.
The pages cover a logo overview, typography in Bold, Regular, and Light, a color bar option page, and a stationery set with letterheads and envelopes. Large, bold headings make navigation easy. My review of it dates back to July 2024.
Check my review of Broluthfi’s brand guidelines template or see it at Adobe Stock.
ContestDesign’s 16-Page A4 Brand Guidelines Template With Marbled Cover Art
ContestDesign opens with abstract, marbled artwork on the cover, which suits high-end brands. The 16 pages inside stay minimal and keep generous white space. A grid system aligns the content. The typography section gives clear font rules, and primary and secondary color palettes sit on their own pages.
The file is A4 in CMYK. Its layers are organized and labeled, so beginners can find their way. I covered it in August 2024.
Here is my review of ContestDesign’s A4 brand guidelines template. You can also get it at Adobe Stock.
RedGiant’s Six-Page Brand Guidelines Presentation at 1920 by 1080 Pixels
RedGiant’s template is the shortest in this category, six pages for screens at 1920 by 1080 pixels. A palette of black, blue, yellow, and gray carries the sample brand Creviden. Strong horizontal and vertical lines give the pages order.
The Brand Logo page shows logo usage and clear space. The Brand Color page lists RGB and HEX codes with lighter swatches. Typography splits into primary and secondary fonts with numerals and letters. Imagery combines product shots with lifestyle photos. All images, colors, and text are placeholders, and you can duplicate pages to add web assets, social icons, or voice and tone.
The format fits meetings and screen sharing. It does not fit a printed manual. I covered it in October 2025.
Read my review of RedGiant’s brand guidelines presentation or download it at Adobe Stock.
Studio Industry’s Osla Brand Guidelines With 36 Animated Slides for InDesign and Canva
Osla by Studio Industry is the only template in this category that does not require InDesign. The package includes files for Canva, PowerPoint, Google Slides, and Adobe InDesign, with both INDD and IDML. It holds 36 animated slides in 16:9 full HD. Master layouts and drag-and-drop photo replacement keep editing simple.
Free fonts are included, and the Google Slides version needs no font installation. The design is elegant and feminine, which suits fashion, beauty, photography, and lifestyle brands. You buy it at Creative Market, not at Adobe Stock. My review ran in July 2025.
Check out my review of the Osla brand guidelines template or get Osla at Creative Market.
PixWork’s 16-Page Brand Guidelines Brochure With Desert Photography
PixWork’s brochure has 16 A4 pages in CMYK and a distinct desert mood. Dune photography meets a dark cover and bright white interiors. Black and white anchor the palette, and a sandy gold and an earthy orange serve as accents. Vertical black bars on the side of many pages mark the sections.
The pages cover the brand story, logo construction, primary color usage, mobile mockups, icon sets, and forbidden logo uses. A pixel-like geometric logo signals digital readiness. Images and text are placeholders. Color changes take minutes in the Swatches panel, and master pages update the whole file at once. My review ran in October 2025.
Read my review of PixWork’s brand guidelines brochure or see it at Adobe Stock.
Lab.131’s Petricore Brand Guidelines Template With 60+ Pages of Real Content
Petricore by Lab.131 is the largest template in this category, with more than 60 pages. It ships as INDD and IDML and was designed at 1920 by 1080 pixels. Unlike the others, it comes with real content instead of lorem ipsum. I call this approach populated logic. You learn what a tone of voice page should say because one already says something coherent.
I tested it for a full week with content for a fictional skincare brand called Marlow & Ash. I kept the grid, the type scale, and the color logic, and the structure held. The logo pages show real measurements for clear space and minimum size. The color pages list HEX, RGB, CMYK, and Pantone values for each color. I ran the primary and secondary pairings through a contrast checker, and every pair passed for body text.
The order of the pages matters most. I call it the Five-Layer Identity Stack: Strategy, Mark, Type, Color, and Application. Petricore starts with mission, vision, values, and tone of voice, and every later page refers back to them. Its imagery pages give photographers framing, lighting, and mood cues instead of vague adjectives.
There are limits. Mockups and photography are not included. The 1920 by 1080 pixel format needs resizing for A4 print. Without an InDesign license, you cannot open the file. If you swap in a font with a taller x-height than the included free fonts, check the vertical rhythm on dense pages. My review ran in July 2026.
Here is my full review of the Petricore brand guidelines template. You can also buy Petricore at Creative Market.
Brochure Templates
A corporate brochure template by RedGiant. Download from Adobe Stock.Eight Adobe InDesign templates cover brochures in my selection. Two are bifolds, one is a tri-fold, and five are multi-page layouts. Where the reviews name a page count, it runs from 12 to 24. Only RedGiant’s corporate brochure ships separate US Letter and A4 files. I judge a brochure template by its page sequence more than by its cover.
Boris Cupac’s 24-Page Blue Brochure Template in US Letter
Boris Cupac, who publishes on Adobe Stock as Refresh, designed this brochure in US Letter. It has 24 pages. White and blue shades carry the modern layout, and minimalist graphic accents set the tone. Everything is fully customizable in Adobe InDesign. Together with Bourjart’s A4 layout further down, it is the longest brochure in this category.
Read my review of the blue brochure template by Boris Cupac or download it from Adobe Stock.
GraphicArtist’s A4 Portfolio Brochure Template in Black and White
GraphicArtist’s A4 portfolio brochure opens with a dark, bold cover and keeps the interior black and white. The file uses CMYK at 300 dpi, includes bleeds, and comes as INDD and IDML. A modular grid keeps every page consistent.
The spreads alternate between text and imagery. The Portfolio section headers break the grid on purpose, which gives the layout an editorial pulse. Table of Contents, Values, and About pages give a creative studio room to state its philosophy. I call the effect Negative Space Authority, because the white space frames the work instead of filling the page.
All images are placeholders. The clean sans-serif fonts and the colors are easy to swap, and Master Pages speed up the replacement. My review of this template ran in January 2026.
Here is my full review of GraphicArtist’s A4 portfolio brochure. You can also download it at Adobe Stock.
GraphicArtist’s 16-Page Bi-Fold Brochure Template for Adobe InDesign
GraphicArtist’s bi-fold brochure has 16 fully customizable pages. You can change the main layout and every color, image, and text section. The sample texts are for display only. Adding your own content takes a few clicks. At the time of my review in October 2021, an Adobe Stock trial subscription covered the download for free.
Check out my review of the 16-page bi-fold brochure template or see it at Adobe Stock.
Bourjart’s 24-Page A4 Brochure Template With Gray Accents
Bourjart designed this A4 brochure with 24 customizable pages and gray accents. The file is fully print-ready, and you can also save it as a PDF for screen presentations. Like the blue brochure above, it runs 24 pages, but it is built in A4. At the time of my review in November 2021, an Adobe Stock trial subscription covered the download for free.
Read my review of Bourjart’s brochure with gray accents or download it at Adobe Stock.
RedGiant’s 16-Page Corporate Brochure in US Letter and A4, Tested for a Week
RedGiant’s corporate brochure is the only one in this category that ships US Letter and A4 as two separate, complete files. Each has 16 pages in CMYK. I tested it for a week. I call the cost of single-format templates the Two-Format Tax, and this file pays it for you.
The page sequence follows a company profile or an annual report. The sequence starts with a cover, an overview, and a contents page. Next come an about-us spread with mission and values and a CEO message with team bios. A services page, a process spread, and a project showcase follow. Clients, testimonials, and a contact page close the file.
The services page uses an icon grid with six categories in two columns. The process spread shows four numbered steps with day-range placeholders. The stats spread gives three large numbers room to breathe: years of experience, projects completed, and client satisfaction.
The file passed my CMYK Confidence Check without a single preflight flag. That check has three steps. You confirm the document color mode, check the profile of every placed image, and run preflight before export. The photos in the preview are not included. The layout is disciplined and grid-based, so it fits corporate work better than experimental editorial projects. My review ran in August 2026.
Here is my hands-on review of RedGiant’s corporate brochure template. You can also get it at Adobe Stock.
GraphicArtist’s Simple 14-Page Bifold Brochure in A4
GraphicArtist’s simple bifold brochure comes as an A4 file with 14 customizable pages. The layout is modern and easy to use, and it targets business purposes. You add text, graphics, and images with a few clicks. The file is fully print-ready. My review dates back to August 2022.
Check my review of the simple bifold brochure template or download it from Adobe Stock.
RedGiant’s Business Tri-Fold Brochure in A4 With Red Accents
RedGiant’s tri-fold brochure is an A4 file in CMYK with two distinct design options. Greys and whites form the base, and red accents mark calls to action and key headings. The cover carries a large portrait photo and the headline CREATIVE WORK.
Inside, three panels read Who We Are, Our Services, and Why Choose Us. The services panel uses icons for strategic planning and market analysis. Client testimonials with headshots and a contact panel close the fold. All text and photos are placeholders. My review ran in July 2025.
Read my review of RedGiant’s business tri-fold brochure or see it at Adobe Stock.
Refresh’s 12-Page Desert Dreams Brochure in US Letter
Refresh built this brochure on a strong grid with generous white space. It offers 12 page layouts in US Letter. Refresh is the Adobe Stock name of Boris Cupac, who also made the blue brochure above. The listing is titled Lifestyle Desert Dreams Brochure Layout, and the preview shows desert scenes.
You drag your own images into the frames, and pasted text picks up the paragraph styles automatically. The review suggests company profiles, creative portfolios, real estate lookbooks, and event programs as uses. My review ran in October 2025.
Here is my review of Refresh’s 12-page brochure template. You can also download it at Adobe Stock.
Catalog Templates
A product catalog template by E-Type. Download from Adobe Stock.Nine Adobe InDesign templates cover catalogs in my selection. Tom Sarraipo made four of the nine. Where the reviews name a page count, it runs from 16 to 26. BrandPacks, Sirisako, E-Type and Sarraipo’s 24-page layout ship in both A4 and US Letter, and only PixWork’s catalog is built for screens. A catalog template earns its keep on the product pages, not on the cover.
Tom Sarraipo’s A4 Furniture, Interior and Product Catalog Template
Tom Sarraipo’s A4 catalog opens with a bold Catalog headline, the subtitle Furniture | Interior | Product, and a full-bleed hero image placeholder. It runs in CMYK. I tested it over several sessions with furniture collections, interior lookbooks, and product lines, and the structure held every time.
A summary spread pairs sample images with color swatches. The item cards carry product names, item codes, short descriptions, and swatch squares. Collection openers use a large left-column headline, an intro paragraph, and a dominant image. I call this the Modular Clarity Framework, because every page type has one clear job.
Each item appears first in a lifestyle image and then again as a clinical item card. I call this Contextual Proximity. It builds desire before it delivers data. Replacing all placeholder content on one full spread took me under eight minutes. My review ran in June 2026.
Read my full review of Tom Sarraipo’s A4 catalog template or download it at Adobe Stock.
McLittle Stock’s Minimalist Art Catalog Template in A4
McLittle Stock built this A4 catalog for artists, galleries, and designers. Clean lines, ample white space, and refined typography keep the focus on the artwork. All images and text are placeholders, and the pre-designed pages are fully customizable. You can export the finished file as a PDF for online viewing. My review dates to March 2025.
Check my review of McLittle Stock’s art catalog template or see it at Adobe Stock.
Tom Sarraipo’s 26-Page A4 Furniture and Interior Design Catalog Template, Built for the Printer
This second Sarraipo template offers 26 predesigned A4 pages in CMYK. It took me three hours to pick apart. The grid assumes large product photography as the hero, which is the right call for furniture. Nobody buys a sofa because of the copywriting.
The layout types include cover and closing pages, brand story spreads, and full-bleed hero product pages. Three-up and four-up product grids follow. Detail pages leave room for dimensions and materials, and lifestyle pages show room scenes. I call this Full Catalog Coverage, because the page count matches the real structure of a catalog instead of padding it with cover variants.
The file ships in CMYK from the start, which avoids what I call the Print Fidelity Gap between screen and press. Preview photos are not included, and that follows the Placeholder Photography Principle: you license layout and images separately. I replaced a full product spread in under six minutes on my second attempt. My one critique is the missing digital companion layout. My review ran in August 2026.
Here is my hands-on review of the 26-page furniture catalog template. You can also get it at Adobe Stock.
BrandPacks’ 20-Page Minimalist Catalog Template in A4 and US Letter
BrandPacks delivers 20 pages in A4 and US Letter, in CMYK, as INDD and IDML files. Bold headers meet delicate serif body text. Black and grey accents leave the photography in charge, and master pages and layers keep edits fast. The placeholders are grey boxes.
I call the underlying structure Silent Grid Architecture, a grid that guides the eye without showing its mechanics. The pacing alternates dense information pages with open visual spreads, and the sequence runs from introduction to highlights to contact. The minimalism leaves no place to hide, so low-resolution photos will show. My review ran in January 2026.
Read my review of the BrandPacks catalog template or download it at Adobe Stock.
Tom Sarraipo’s 26-Page Catalog Layout for Designer Furniture Brands
A third Sarraipo catalog also has 26 A4 pages in CMYK, with a palette of deep charcoal, warm ivory, and muted sage. Sage anchors the cover and back cover, and charcoal backgrounds carry the product sections. The summary page pairs index entries with small product thumbnails, which I rate as a design moment rather than a table of contents.
I call the structure the Three-Phase Catalog Arc: orientation, immersion, and resolution. Grid spreads in the middle section carry multiple items with color chips. Full-bleed lifestyle images close the book. The modular grid lets you reorder pages without breaking the logic, a trait I call Plug-and-Play Grid Logic. Shoot photos at 300 dpi and request a print proof before the full run. My review ran in March 2026.
Check my review of the designer furniture catalog layout or see it at Adobe Stock.
Sirisako’s Clean 20-Page Product Catalog Template in A4 and US Letter
Sirisako designed this clean product catalog in A4 and US Letter. It has 20 pages, and you can duplicate or add as many as you need. Sample text and images are for display only. Basic InDesign knowledge is enough to edit it. At the time of my review, an Adobe Stock trial subscription covered the download for free.
Read my review of Sirisako’s clean product catalog template or see it at Adobe Stock.
Tom Sarraipo’s 24-Page Minimalist Product Catalog in A4 and US Letter
Sarraipo’s fourth entry offers 24 pre-designed pages in A4 and US Letter. A contemporary sans-serif and a clear type hierarchy support the minimalist layout, and negative space lets products stand out. About Us and collection pages make it usable as a portfolio as well. My review of it dates back to September 2024.
Here is my review of the 24-page minimalist product catalog. You can also download it from Adobe Stock.
E-Type’s Product Catalog Template in US Letter and A4
E-Type’s product catalog comes in US Letter and A4, with INDD and IDML files. Images and text are placeholders, and organized layers make editing easier. You can export a print PDF or an interactive PDF with hyperlinks. This is the most general entry in this category, with no page count named in my review. It dates to May 2025.
Check my review of E-Type’s product catalog template or see it at Adobe Stock.
PixWork’s 16-Page Product Catalog Presentation at 1920 by 1080 Pixels
PixWork’s catalog is the only one in this category made for screens, at 1920 by 1080 pixels. It has 16 pre-designed pages. White space dominates, and the layout suits furniture, technology, fashion, and lifestyle products. You can change colors, typography, and layout. My review dates to June 2024.
Read my review of PixWork’s product catalog presentation template. You can also download it from Adobe Stock.
Corporate Stationery, Invoice, Letterheads
An invoice template by Broluthfi. Download from Adobe Stock.Four Adobe InDesign templates handle the paperwork side of a brand in my selection. Two are invoices, one is a stationery set, and one is a letterhead. Three of the four come in A4, and two of those add US Letter. For a new brand, I would start with the letterhead and the stationery set, then add an invoice.
Broluthfi’s Invoice Template With Cover Letter in A4 and US Letter
Broluthfi’s invoice template ships in A4 and US Letter. It includes a cover letter in addition to the invoice layout. The file is print-ready, and editing is easy because you add your company logo and text in a few clicks. My review of it dates back to March 2022.
Read my review of Broluthfi’s invoice template or download it at Adobe Stock.
Orangeberry’s Stationery Set With Green and Beige Accents
Orangeberry’s stationery set bundles a cover letter, an envelope, and a two-sided business card. All pieces are editable in Adobe InDesign, and you add your own text, images, and graphics. The neutral design suits private people and companies alike. Green and beige accents give the set a warm tone without shouting. It is the only template in this category that includes an envelope and a business card.
Here is my review of the green and beige stationery set. You can also get the set at Adobe Stock.
Bourjart’s Clean Invoice Template in CMYK, US Letter and A4
Bourjart’s invoice template relies on a clean layout and little else. It uses CMYK color mode and comes in US Letter and A4. Fonts, colors, logos, and layout are all customizable. Because the design stays simple, it adapts to almost any brand identity. My review of this template ran in April 2024.
Check my Bourjart invoice template review or see it at Adobe Stock.
GraphicArtist’s Corporate Letterhead Template in A4 With Blue Line Work
GraphicArtist designed this corporate letterhead in A4 and CMYK. Thin blue lines structure the page, and faint geometric outlines sit in the background. White space does most of the work. The sender, recipient, date, and body fields are placeholders, so you simply click and type.
A clearly marked area takes your logo. The blue lines and geometric elements can be recolored in a few clicks, which lets you match any brand palette. It is the newest entry in this category, and my review ran in July 2025.
Read my full review of the GraphicArtist letterhead template or download it at Adobe Stock.
Flyers & Posters
Flyer and poster layouts by Wavebreak Media. Download from Adobe Stock.Six Adobe InDesign templates cover flyers and posters in my selection. Two are flyers, three are posters, and one is a gift voucher. The formats run from an 8.5 by 3.5 inch voucher to an 18 by 24 inch poster. Only two of the six are classic flyers, and both come from PixWork.
PixWork’s A4 Flyer Template With a Fully Changeable Layout
PixWork’s A4 flyer template allows you to change the entire layout. Replacing the placeholder text and images takes a few clicks. The InDesign file is print-ready, and you can also save it as a low-resolution PDF for screen presentations. The Adobe Stock listing is titled Red Box Flyer. My review of it dates back to August 2021.
Read my review of PixWork’s A4 flyer template or download it at Adobe Stock.
BrandPacks’ Christmas Gift Coupon Voucher in 8.5 by 3.5 Inches
BrandPacks built this voucher around a deep red palette and a pattern of intersecting circles and semicircles. The format is 8.5 by 3.5 inches, set up in CMYK with bleed. Two pages hold the front and the back. The front carries the Gift Voucher headline, and the back holds the terms and conditions. The design skips Santa and reindeer, which suits boutiques, spas, and cafes.
All text is editable, and the layers are organized and labeled. A Valid Until field sits on the back, and a QR code placeholder is included. The typography pairs classic serif fonts with clean sans-serif details. My review ran in December 2025.
Here is my full review of the Christmas gift coupon voucher. You can also get the voucher layout at Adobe Stock.
ContestDesign’s Brand Identity Poster Template in A4
ContestDesign turns brand rules into an A4 poster. It covers logo usage, a color palette with hex, CMYK, and RGB values, and primary and secondary typography. Designs for business cards, letterheads, and envelopes sit next to imagery guidelines and a mission and vision section. The file is print-ready, and every element is customizable. My review dates to May 2024.
Check my ContestDesign brand identity poster review or see it at Adobe Stock.
BrandPacks’ 18 by 24 Inch Brand Guidelines Poster Template
BrandPacks made this brand guidelines poster for the wall of a workspace, at 18 by 24 inches. It collects logo usage, typography recommendations, color schemes, imagery styles, and graphic elements on one sheet. Colors and layout are fully adjustable in Adobe InDesign. Compared with ContestDesign’s A4 version, this one works as a wall piece. My review is from February 2024.
Read my review of the BrandPacks brand guidelines poster or download it at Adobe Stock.
Wavebreak Media’s Two Minimalist Poster Layouts in A4 and US Letter
Wavebreak Media supplies two poster designs, and both come in A4 and US Letter. The layouts stay simple, so you add your own graphics, images, and text in a few clicks. The Adobe Stock listing is titled Black and White Poster. These are the only plain poster layouts in this category, with no brand guideline content attached. My review is from September 2022.
Here is my review of the Wavebreak Media poster layouts. You can also download them at Adobe Stock.
PixWork’s Minimal Business Flyer in A4
PixWork’s second flyer uses a modern, minimalist A4 layout. You can swap the header image or add your own text in seconds. The file is print-ready and also works for screen presentations. The layout suits all kinds of businesses. At the time of my review in October 2021, an Adobe trial subscription covered the download for free.
Read my review of PixWork’s minimal business flyer or get it at Adobe Stock.
Magazine & Newspaper Templates
A magazine layout by Tom Sarraipo. Download from Adobe Stock.Eleven Adobe InDesign templates cover magazines and newspapers in my selection. Eight are magazines, and three are newspapers. Where the reviews name a page count, it runs from 8 to 40. Only Tom Sarraipo’s 24-pager is built for US Letter. Most magazine templates fail the moment you swap a font.
McLittle Stock’s Fresh and Clean A4 Magazine Template
McLittle Stock built this A4 magazine template in CMYK at high resolution. It works for lifestyle, fashion, technology, and travel titles. Pre-designed elements and organized layers speed up the work, and colors, fonts, images, and layout elements are fully editable. The Adobe Stock listing is titled Fresh and Clean Magazine. My review dates to October 2023.
Read my review of McLittle Stock’s A4 magazine template or download it at Adobe Stock.
PixWork’s 16-Page A4 Magazine Template With Nature-Inspired Layouts
PixWork’s A4 magazine template has 16 predesigned pages in CMYK. The page types include covers, a table of contents, article spreads, image galleries, and closing pages. You can duplicate, delete, or rearrange pages, and all text and image areas are placeholders. The sample layouts use nature imagery, strong typography, generous white space, and organized grids. The Adobe Stock listing is titled Clean Magazine Template. My review ran in April 2025.
Check my review of PixWork’s A4 magazine template or download it at Adobe Stock.
Marcel’s 14-Page Tabloid Newspaper Template for Adobe InDesign
Adobe Stock contributor Marcel designed this newspaper in tabloid format with 14 predesigned pages. You can add, duplicate, or remove pages. The file uses CMYK and is fully print-ready. All sample text and images are for display only, and a few clicks add your own content. My review dates back to 2022.
Check my review of the tabloid newspaper template. You can download it from Adobe Stock.
PixWork’s Minimalist A4 Travel Magazine Template With Master Pages
PixWork’s travel magazine template is a minimalist A4 layout with generous white space. It uses CMYK with proper bleed and margins, so a print run needs no extra setup. Master pages, paragraph styles, and character styles organize the file, and you can add or remove pages without breaking the layout. The template suits photo essays, city guides, and personal travelogues. My review ran in July 2025.
Here is my review of PixWork’s travel magazine template. You can also see it at Adobe Stock.
Studio Luuqas Design’s 20-Page A3 Classy Newspaper Template
Studio Luuqas Design made this newspaper in A3 with 20 pages. All pages follow one uniform layout and grid system. Basic graphic design and InDesign skills are enough to edit it. You can copy pages, add new ones, and include your own text and images. It is the only template in this category in A3.
Read my review of the classy newspaper template or download it from Adobe Stock.
Tom Sarraipo’s 36-Page A4 Magazine Template in CMYK
Tom Sarraipo’s 36-page A4 template lands in the typical range of 32 to 48 pages. It ships in CMYK with bleed already configured, and the swatches, paragraph styles, and character styles are set up. Layers separate design elements, text, and backgrounds. I call the principle Structural Editorial Integrity because every design decision serves both aesthetics and production logic.
Bold full-bleed spreads follow dense editorial sections, and text columns alternate between single and multi-column setups. I call this Editorial Pacing Architecture. Feature spreads use asymmetric two-column grids, while news-style sections shift to three columns. I call the grid’s quiet precision the Invisible Grid Principle.
Export with the PDF/X-4 preset and keep the page count in multiples of four for binding. The preview photos are not included. The template needs InDesign, and there is no Canva version. My review ran in April 2026.
Here is my review of Tom Sarraipo’s 36-page magazine template. You can also get it at Adobe Stock.
Adam’s 40-Page A4 Interior Design Magazine Layout in CMYK
Adam’s interior design magazine layout has 40 A4 pages in CMYK. The cover pairs a dominant hero image with a restrained masthead. The palette stays in creams, taupes, and soft grays with sage accents. The page list covers a contents page, an editor’s letter, feature spreads, product showcases, project deep-dives, interviews, brand features, and back matter.
I call the mix of layout modes Editorial Range Architecture, a coherent system with real variety. The designer spotlight and interview pages balance a strong portrait with pull quotes and column text. For print, coated stock of 130 to 170 gsm inside and a 300 gsm cover suit the warm palette. The photos are not included. My review ran in April 2026.
Check my review of Adam’s interior design magazine layout or see it at Adobe Stock.
Roverto Castillo’s Modern A4 Magazine Template for Adobe InDesign
Roverto Castillo’s magazine template uses the standard A4 size and CMYK, so it is print-ready. You can also export a PDF for screen presentations. The preview photos are not part of the download, and a few clicks add your own images and text. My review dates to November 2022.
Read my review of Roverto Castillo’s modern magazine template or download it at Adobe Stock.
Tom Sarraipo’s 18-Page A4 Magazine Layout With Gray Accents
Tom Sarraipo, a Switzerland-born graphic designer and photographer, made this A4 magazine layout with 18 pages. You can delete, duplicate, or add pages. Images, graphics, text sections, and colors are fully editable. It shares a designer with the 36-page and 24-page layouts in this category. My review dates back to November 2020.
Here is my review of the 18-page magazine layout with gray accents. You can also get it at Adobe Stock.
BrandPacks’ 8-Page Classic Newspaper Template for Adobe InDesign
BrandPacks’ newspaper template has eight pages and the look of an early twentieth-century broadsheet. Ornate headlines, vintage typography, and elegant column layouts carry the style. Fonts, colors, and layouts are easy to change, and graphic elements add to the aesthetic. You can use it for printed newspapers, newsletters, or digital editions.
The review suggests local news, business reports, lifestyle, sports, opinion, and technology as topics. It is the shortest template in this category. My review ran in November 2023.
Check out my review of BrandPacks’ classic newspaper template or download it at Adobe Stock.
Tom Sarraipo’s 24-Page US Letter Magazine Template, Tested With Real Photography
Tom Sarraipo’s 24-page template is built for US Letter in CMYK. I ran it through a full editorial mockup, swapped fonts twice, and dropped in real photography. I checked the swatches panel, and every fill traced back to a process color. No stray RGB swatch hid in a gradient.
I call the alternation of text-heavy and image-heavy pages the Editorial Density Curve. This template’s curve moves. A portrait spread with generous copy gives way to a tight two-column grid and then a full-page interior shot. The cover uses an oversized wordmark over a moody interior photo, and the contents spread uses large numerals.
My Recolor Tolerance Test drops three unrelated palettes into a layout: a cool blue-gray, a warm terracotta, and a black-and-white pass. This template passed two of the three. The warm swap went through without a single manual fix. The cool one needed manual work on the accent panels behind the pull quotes. The black-and-white pass exposed text blocks that rely on background tinting. Swapping typefaces took under fifteen minutes across all 24 pages.
The layout suits interior, lifestyle and architecture content. For A4, you must rebuild the master pages, and the preview photos are not included. My review ran in July 2026.
Read my full review of Tom Sarraipo’s 24-page US Letter magazine template or download it at Adobe Stock.
Portfolio Templates
A portfolio template by RedGiant. Download from Adobe Stock.Nine Adobe InDesign templates cover portfolios in my selection. Four are A4 print layouts, and the rest are built for screens. Where the reviews name a page count, it runs from 12 to 28. A portfolio template should limit you more than it helps you.
RedGiant’s 12-Page Creative Digital Portfolio Presentation, Built Around Negative Space
RedGiant’s creative digital portfolio presentation has 12 pages at 1920 by 1080 pixels in RGB. It is built for screens, not for print. Three cover treatments, four full-bleed image spreads, two contact-sheet grids, a bio page, an education and skills page, and a contact page make up the file. The cover uses a crosshair motif, a thin plus-sign grid that splits the page into quadrants with a small headshot in one corner. The preview photos are not included.
I call the key figure the Negative Space Ratio, the share of a spread given to empty margin. Most stock portfolio templates hover around 15 to 20 percent. This one runs close to 55 percent on its text-heavy pages. A hairline rule and a tiny caps label such as STUDIO, INFO, or CLIENT anchor each empty page, so the template reads as deliberate and not unfinished.
Every spread pulls from a shared master. I swapped in a heavier grotesk, and the whole document adjusted without breaking the grid. The contact-sheet pages are the weak point. A two-line caption crowds its neighbor, and I nudged three text frames by hand, which cost about fifteen minutes. An interactive PDF export makes the contact page’s email field clickable. There is no color variant, so saturated work needs a rebuilt hierarchy. My review ran in September 2026.
Read my full review of RedGiant’s creative digital portfolio presentation or download it at Adobe Stock.
RedGiant’s 12-Slide Personal Portfolio Presentation in Black, White and Deep Gray
RedGiant’s personal portfolio presentation has 12 slides at 1920 by 1080 pixels. The palette stays in black, white, and deep gray, and bold condensed sans-serif headlines carry the type. Images work as atmosphere, not as decoration. The slide order runs from title and intro through Education, Experience and Skills to a portfolio overview, three project pages and a closing contact slide.
I call the underlying idea the Three-Act Portfolio Framework: Establish, Evidence and Close. Structural Intentionality is my name for the way every slide earns its place. Master pages and an interactive PDF export with navigation and transitions keep the deck usable on screen. I rate portfolio templates on five dimensions: narrative completeness, content flexibility, typographic confidence, display-native resolution, and customization depth.
For screens, export at 72 to 150 dpi. My review ran in May 2026.
Read my review of RedGiant’s personal portfolio presentation or download it at Adobe Stock.
GraphicArtist’s 22-Page Clean Portfolio Presentation at 1920 by 1080 Pixels
GraphicArtist’s clean portfolio template offers 22 fully editable pages at 1920 by 1080 pixels. The layout is minimalist and made for screen presentations. Basic InDesign knowledge is enough, and you can add, duplicate, or remove pages. My review dates back to 2022.
Check my review of GraphicArtist’s clean portfolio template or download it from Adobe Stock.
PixWork’s 26-Page A4 Minimalist Portfolio Brochure in CMYK
PixWork’s minimalist portfolio brochure has 26 customizable pages in A4. The file is print-ready in CMYK. It includes areas for project descriptions, image galleries, and contact details, and white space keeps the focus on the work. The review points to photographers, graphic designers, and architects. At the time of my review in June 2024, an Adobe Stock trial subscription covered the download for free.
Here is my review of PixWork’s minimalist portfolio brochure. You can also get it from Adobe Stock.
ContestDesign’s 16-Page A4 Graphic Design Portfolio Template With Year Markers
ContestDesign’s graphic design portfolio template has 16 predesigned A4 pages. The cover pairs a bold title and your name with an image. Project pages carry year markers from 2024 to 2028, which keep the work in chronological order. Replace those placeholder years before you publish. Layers are organized cleanly, and an included instruction file helps beginners. My review ran in July 2024.
Read my review of ContestDesign’s graphic design portfolio template or see it at Adobe Stock.
ContestDesign’s 20-Page A4 Portfolio Template for Photography, Art and Design
ContestDesign’s second portfolio template has 20 A4 pages. It targets photographers, artists and designers. The file is fully customizable and print-ready. My review of it dates to 2023.
Check my review of the 20-page ContestDesign portfolio template. You can download it from Adobe Stock.
E-Type’s 28-Page Graphic Design Portfolio Presentation at 1920 by 1080 Pixels
E-Type’s presentation template has 28 pages at 1920 by 1080 pixels and a full agency structure. It runs from Contents, About Me, and Resume to Capabilities and project showcases. The capabilities are numbered Design, Editorial, Consult, and Productions. Project pages cover branding, editorial, web design, and packaging. Art and Photography, Client List, Testimonials, and Team pages follow. All images and text are placeholders. My review ran in 2025.
Here is my review of E-Type’s graphic design portfolio presentation. You can also download it from Adobe Stock.
PixWork’s 16-Page A4 Portfolio Brochure Template With a Grid System
PixWork’s second portfolio brochure has 16 portrait A4 pages and a grid system. You can add, remove, or duplicate pages. The file is print-ready in CMYK, and placeholders mark every image and text. Basic InDesign skills are enough. My review ran in July 2024.
Read my review of PixWork’s A4 portfolio brochure or download it at Adobe Stock.
RedGiant’s 12-Page Black and White Portfolio Presentation, Tested With a Fictional UI/UX Designer
Another RedGiant portfolio deck has 12 pages at 1920 by 1080 pixels and one rule: black, white, and warm off-white. I swapped the placeholder images, updated the paragraph styles, and rewrote the cover for a fictional UI/UX designer in under forty minutes. A dark and a light cover sit in the same file, so you can choose per audience.
The file opens with two covers, an introduction and an About Me page with a full-bleed portrait. An education table and two experience pages follow. A skills page with four percentage bars comes next. A six-project thumbnail index, three project spreads, and a contact page close it. A footer band repeats the template title, a date field, and a page reference on every spread. I call this Kicker Bar Wayfinding.
I call the fixed page count the Twelve-Page Discipline. One skills page and three project spreads force a choice that most portfolios avoid. Grayscale Confidence is the second pattern. Without color, a mediocre photo has nowhere to hide.
Two friction points stand out. The skills page holds only four bars, and the index grid expects exactly six projects. Photos are not included, so shoot or source true grayscale images. My review ran in September 2026.
Check my full review of RedGiant’s black-and-white portfolio presentation or download it at Adobe Stock.
Presentation & Marketing Templates
A pitch deck presentation template by RedGiant. Download from Adobe Stock.Ten Adobe InDesign templates cover presentations and marketing in my selection. Eight are built at 1920 by 1080 pixels. Where the reviews name a page count, it runs from 12 to 32. PixWork made four of the ten. The quieter a deck, the more the numbers speak.
RedGiant’s 12-Page Sample Pitch Deck With a Vinyl Disc Motif
RedGiant’s sample pitch deck has 12 pages at 1920 by 1080 pixels and skips gradients, icons, and stock-photo cheer. A large vinyl-style disc with thin concentric rings anchors the cover and the closing page. The palette is cream, black, and a single orange accent, and orange appears on only a few headlines. I call this the Quiet Deck Principle: a pitch deck earns trust when design volume stays below content volume.
A slim header strip on every page carries a brand mark, a page label, a document number, and a small barcode. The footer repeats a date, a name, and a web address. The page order follows an investor story from Cover, Index and Mission to Team, Products, Services, Competitive Analysis, Market Size, Numbers and Thank You. On the Team page, portraits sit inside record discs, which makes uneven headshots look consistent.
I score decks with the Slide Load Index, which counts how many separate ideas one slide asks you to read. One is ideal, and three is too many. Most pages here score two, and the Services layouts reach three. My Placeholder Honesty Test replaces every Latin line with a real sentence. Long headlines crowd the Mission page. The light cover suits investors, and the dark cover suits creative clients. Photos are not included, and the grainy image style is hard to match with bright stock photos. My review ran in October 2026.
Read my full review of RedGiant’s sample pitch deck or download it at Adobe Stock.
A 32-Page Presentation Template With Yellow Accents at 1920 by 1080 Pixels
This Adobe Stock presentation template has 32 pages at 1920 by 1080 pixels and yellow accents. It is a fully customizable InDesign file for personal and commercial use. All sample text is for display only, and you can add your own text or images in seconds. Its 32 pages are the highest page count in this category. My review dates back to January 2021.
Check my review of the presentation template with yellow accents or see it at Adobe Stock.
PixWork’s 27-Page Business Plan Presentation at 1920 by 1080 Pixels
PixWork’s business plan template has 27 fully customizable pages at 1920 by 1080 pixels. It includes graphs for market trends, financial projections, and sales figures. You can edit, modify, and rearrange every page. My review dates to May 2023.
Here is my review of PixWork’s business plan presentation. You can also download it from Adobe Stock.
PixWork’s Business Marketing Presentation With Eleven Slide Types
PixWork’s marketing deck covers Company Profile, Mission, Vision, Services, Team, Timelines, Target Customer, Goals and Objectives, Business Model, Company Overview, and Problem/Solution slides. A clean, modern layout and a vibrant color palette set the tone. Text, colors, and placeholder images are easy to change. The review names no page count or format. My review ran in February 2025.
Read my review of PixWork’s business marketing presentation or get it at Adobe Stock.
Wavebreak Media’s 12-Page Minimal Presentation for Product Demos
Wavebreak Media’s template has 12 predesigned pages at 1920 by 1080 pixels. A uniform layout, ample white space, and elegant typography keep the focus on the product. Text, colors, and images change in seconds. The Adobe Stock listing is titled Minimal Presentation Layout. My review ran in July 2024.
Check out my review of Wavebreak Media’s minimal presentation or download it at Adobe Stock.
GraphicArtist’s 22-Page Simple Minimalist Presentation in Muted Earth Tones
GraphicArtist’s template has 22 customizable pages at 1920 by 1080 pixels. Muted earth tones, whites, and soft grays set a calm mood. A grid-based structure keeps the alignment consistent across all slides. Some slides carry large images, and others leave room for charts and infographics. My review ran in October 2024.
Here is my review of GraphicArtist’s minimalist presentation. You can also get it at Adobe Stock.
PixWork’s 20-Page Infographics Screen Presentation
PixWork’s infographics template has 20 customizable pages at 1920 by 1080 pixels. It is packed with fully editable infographics for business reports, marketing projects, and studies. Basic InDesign knowledge is enough. My review dates to October 2022.
Read my review of PixWork’s infographics presentation or download it from Adobe Stock.
PixWork’s 20-Page Marketing Plan Presentation for Screen and Print
PixWork’s marketing plan template has 20 pages in one uniform style. Customizable text sections and infographics fill the pages. You can use it for screen and print media. The review names no format. My review dates back to October 2021.
Check my review of PixWork’s marketing plan presentation or see it at Adobe Stock.
GraphicArtist’s 24-Page Media Kit Presentation at 1920 by 1080 Pixels
GraphicArtist’s media kit template has 24 predesigned pages at 1920 by 1080 pixels. The pages include a cover, an About Us section, analytics, services, and contact pages. Colors, fonts, images, and text are fully customizable, and clear placeholders mark where content goes. The review names influencers, freelancers, small businesses, startups, and non-profits as users. My review ran in May 2025.
Here is my review of GraphicArtist’s media kit presentation. You can also download it at Adobe Stock.
RedGiant’s 17-Page Pitch Deck Template With a Red Accent
RedGiant’s pitch deck template has 17 pages at 1920 by 1080 pixels. A strong grid, generous white space, and bold typography set the tone, and a red accent stands out against a neutral background. Every element sits on its own layer. The slides run from cover and company profile through Problem, Solution, Services and Goals to statistics, market size, competitor research, team and a closing page. My review ran in June 2025.
Read my review of RedGiant’s 17-page pitch deck template or see it at Adobe Stock.
Resume & CV Templates
A resume and cover letter layout by Orangeberry. Download from Adobe Stock.Seven Adobe InDesign templates cover resumes and CVs in my selection. Five come as resume and cover letter sets, and two are single layouts. Only one is built for screens at 1920 by 1080 pixels. The rest target paper in A4, US Letter, or both. The best of the seven treat the cover letter as a second page of the same design.
E-Type’s Creative Resume Template With an Optional Photo in US Letter and A4
E-Type designed this resume to work with or without a portrait. The masthead carries a heavy, condensed RESUME wordmark on a cream background. The name runs vertically beside a small square image, and removing the photo barely disturbs the grid. The file uses CMYK and comes in US Letter and A4.
Section labels such as About Me, Skills and Experience use a monospace-leaning face with a colon after each word. That suits a design portfolio. A finance or legal recruiter may find it too self-conscious. The left column holds About Me, Experience and Education. The right column holds Skills, Reference, Awards and Contact.
I call my check for lopsided layouts the Column Balance Test. It asks whether one column grows with your input while the other stays fixed. Here the left column grows, so the default rhythm assumes four solid experience entries. A short career needs manual tightening. Two columns can also confuse applicant tracking systems, so I would send this file straight to studios and keep a plain single-column version for corporate portals.
Read my full review of E-Type’s creative resume template or download it at Adobe Stock.
GraphyPix’s A4 Resume and Cover Letter Set, Tested With a Print Proof
GraphyPix pairs an A4 resume with a matching cover letter, both in CMYK. A slim left column holds contact details and skills. A wider right column takes experience and education. I call this the Asymmetric Anchor Layout because one column stays fixed while the other absorbs the content.
I tested the set in InDesign 2024. One click on the accent swatch turned the orange scheme into navy across both pages. I also built three alternate palettes, including a black-and-white version for conservative industries. Each swap took under five minutes. Editing three job entries took under ten minutes, and the spacing held without manual repair.
A PDF export confirmed 15-millimeter margins on all sides. A test print at a local copy shop kept the orange accurate. The set passes what I call the Usability Triangle of layout flexibility, typographic integrity, and file accessibility. It suits designers, marketers, and creative directors who apply abroad. I would skip it for accounting or government roles.
Here is my hands-on review of the GraphyPix A4 resume set. You can also get the set at Adobe Stock.
E-Type’s 16-Page Designer Resume Portfolio Presentation at 1920 by 1080 Pixels
E-Type’s presentation template is the one screen-first design in this category. It runs 16 pages at 1920 by 1080 pixels in black, white, and a single red accent. Section headers such as RESUME, EXPERIENCE, EDUCATION, PORTFOLIO, and CONTACT INFO use massive uppercase type that bleeds across the slide.
The Experience slide shows percentage indicators for four disciplines: Graphic Design, UI/UX Design, Web Development, and Editorial Design. A five-image grid carries the Portfolio spread. The red accent appears on the Communication Skills spread, where it resets attention. I named the approach the Editorial Tension Framework because the oversized type competes with the image space.
This template is for screens and stages, not paper. At 72 dpi, it will not print well, so a print version needs a rebuild. All preview photos are placeholders. Plan two to four hours to customize all 16 pages.
Check my review of E-Type’s designer resume portfolio presentation or see it at Adobe Stock.
GraphyPix’s Hailward Resume and Cover Letter in A4, Proofed in CMYK
Hailward ships as two A4 pages, a cover letter and a resume, built on one grid. The set uses CMYK from the start. In a printed proof from a local shop, the cream background kept its warmth.
The eye moves from the name to the contact block, then through Profile, Graduated, Experience, and Skill. I call that checking the Recruiter Scan Path Test. Hailward scores well because bold weight and spacing carry the hierarchy. The resume page leaves roughly 38 percent white space, a figure I call the Typographic Silence Ratio.
The weak point is the Experience section. Entries longer than four lines crowd the bottom margin, so a dense work history needs trimming. The cover letter leaves about 40 points of clearance for a signature. At the time of my review, an Adobe Stock trial subscription covered the download for free.
Read my Hailward resume template test review or download Hailward at Adobe Stock.
Pixejoo’s Minimalist InDesign Resume and Cover Letter in US Letter
Pixejoo’s set has two US Letter pages with no rules, icons, or color blocks. The resume uses three columns. Work experience sits on the left, education and awards in the center, and skills, software, and languages on the right. The name repeats at the bottom right next to the contact details.
Hierarchy comes entirely from type size, weight, and spacing. I call this Typographic Resume Restraint. I tested the grid with sparse and dense work histories, and it did not break. The cover letter aligns date and subject with tab stops instead of separate frames, so edits cause no drift.
It is the only template in this category built for US Letter alone. For A4, you change the document setup and adjust the layout by hand. If you know InDesign, swapping the content takes 15 to 30 minutes.
Here is my review of Pixejoo’s minimalist resume template. You can also get it at Adobe Stock.
Orangeberry’s Two-Column Resume and Cover Letter With a Circular Portrait
Orangeberry’s set comes in A4 and US Letter as separate document setups, so you pick your region without rescaling. The resume uses two columns. Education and skills sit in a tight left rail, and work experience takes the wider right column. A circular portrait photo sits in the left column.
I swapped in three portrait crops with different aspect ratios, and the frame held every time. Deleting the photo leaves the text blocks untouched, because the frame sits on its own layer. A test print on 24-pound paper kept the small caps labels crisp and the body copy of roughly 9 to 10 points legible.
The name is the largest element on the page. I call this the Single Focal Point Rule. The cream background and script signature repeat on the cover letter. One gap remains, because the contact block has no style for portfolio links. At the time of my review, an Adobe Stock trial subscription covered the download for free.
Read my review of Orangeberry’s resume and cover letter layout or download it at Adobe Stock.
GraphyPix’s Modern Minimalist Resume and Cover Letter Layout in A4
Another GraphyPix set closes this category: a minimalist A4 layout in CMYK. A portrait placeholder anchors the page. The typography avoids extremes, with no loud contrasts and no heavy weights.
My review names four working ideas. Controlled Attention Flow sends the eye to identity first and then to the details. Editorial Grid Discipline borrows from magazine layout, with left-aligned text and generous white space. The Selective Emphasis Principle allows contrast only where it earns its place. The Application Continuity Effect ties resume and letter into one visual language.
Editing is quick. You replace the portrait, overwrite the text styles, and change the global swatches once. Basic InDesign knowledge is enough. It shares a designer with the A4 set above, so compare both before you decide.
Check my review of the minimalist GraphyPix resume and cover letter template or see it at Adobe Stock.
Adobe InDesign Templates at a Glance
This table sums up all 86 templates by category. Page counts and formats come from my reviews, so each range lists only what the reviews name.
CategoryTemplatesPage rangeFormatsBest forStandout detailAnnual & Business Reports612 to 26 pagesA4, one also in US LetterFinance teams and small companiesTom Sarraipo’s 20-page layout with a two-column Assurance Report pageBook Templates916 to 52 pagesA4, US LetterPhoto books, art books and essaysThe Royal Studio’s contact-sheet grids and Sarraipo’s 52-page templateBrand Guidelines76 to 60+ pagesA4, US Letter, 1920 by 1080 pxAgencies and in-house brand teamsPetricore’s 60+ pages with real content instead of lorem ipsumBrochure Templates812 to 24 pagesA4, US LetterCompany profiles and portfoliosRedGiant’s corporate brochure with separate US Letter and A4 filesCatalog Templates916 to 26 pagesA4, US Letter, 1920 by 1080 pxFurniture, product and art catalogsFour catalogs by Tom SarraipoCorporate Stationery, Invoice, Letterheads4Single documents and one setA4, US LetterFreelancers and small studiosOrangeberry’s set with an envelope and a two-sided business cardFlyers & Posters6Single sheets and one two-page voucher8.5 by 3.5 in to 18 by 24 inRetail and brand teamsBrandPacks’ 18 by 24 inch brand guidelines posterMagazine & Newspaper Templates118 to 40 pagesA4, A3, tabloid, US LetterLifestyle, interior and travel titlesSarraipo’s US Letter magazine and my Recolor Tolerance TestPortfolio Templates912 to 28 pagesA4, 1920 by 1080 pxPhotographers, designers and architectsRedGiant’s 12-page decks built on strict rulesPresentation & Marketing Templates1012 to 32 pages1920 by 1080 px for 8 of 10Founders and marketing teamsRedGiant’s sample pitch deck and the Quiet Deck PrincipleResume & CV Templates7Resume and cover letter sets, one 16-page deckA4, US Letter, 1920 by 1080 pxCreative job seekersGraphyPix sets tested with a print proofWhat 86 Reviews Taught Me About Adobe InDesign Templates
Four Authors Made 41 of the 86
PixWork made 13 of the templates, Tom Sarraipo made 11, GraphicArtist made 9, and RedGiant made 8. Each also has a signature. PixWork delivers plain, dependable grids. Sarraipo builds restrained editorial layouts with generous white space. RedGiant’s newest decks work with strict rules, such as one palette and twelve pages. When time is short, I start with these four.
One in Five Is Built for Screens
At least 17 of the 86 templates are built for screens at 1920 by 1080 pixels. Presentation decks lead with eight, and portfolios follow with five. Brand guidelines add two, while a catalog and a resume deck add one each. Print still dominates the list, but the screen share is hard to ignore.
Where These Adobe InDesign Templates Still Fall Short
Four weak points came up again and again. First, many downloads leave out the preview photos, so you license images separately. Second, every template needs InDesign, and only Osla also ships Canva, PowerPoint, and Google Slides files. Third, single-format files need hand work for the other size, and Pixejoo’s resume and Sarraipo’s US Letter magazine both do. Fourth, some layouts have hard limits, such as four skill bars in RedGiant’s black and white portfolio or a six-project index grid.
Where Adobe InDesign Templates Go From Here
I base these four predictions on patterns I saw while testing.
Color Becomes Navigation
I expect color as navigation to become best practice in editorial and brand books. Tom Sarraipo’s 48-page colorful book already gives each hue one structural job.
Print and Screen Ship Together
I expect templates to arrive with a print layout and a screen layout in one package. Today only RedGiant’s corporate brochure ships two sizes as complete files, and Sarraipo’s 26-page furniture catalog lacks a digital companion. Buyers will start to ask for both.
Portfolios Become Editorial Art Books
I predict that within five years the editorial art book becomes the expected portfolio format for serious fine art, photography, and illustration. McLittle Stock’s two art book templates already point in that direction.
Pitch Decks Shrink
I expect investor decks to settle at 10 to 12 pages with one tactile motif. RedGiant’s 12-page sample deck follows that pattern, and its vinyl disc makes the deck memorable.
Frequently Asked Questions About Adobe InDesign Templates
How many Adobe InDesign templates are in this guide?
This guide lists 86 Adobe InDesign templates in 11 categories. Every template comes from my own reviews on WE AND THE COLOR, and each entry links to its full review.
Where can I download these Adobe InDesign templates?
Most listings are on Adobe Stock. Osla and Petricore are on Creative Market. Several reviews noted a free download with an Adobe Stock trial subscription at the time of writing, so check the current terms before you buy.
Do I need Adobe InDesign to edit them?
Yes, because every file opens in InDesign. Only Osla by Studio Industry also ships Canva, PowerPoint, and Google Slides versions.
Which Adobe InDesign templates are print-ready?
Most A4 and US Letter layouts in this guide use CMYK, and several passed a test print. The 1920 by 1080 pixel decks, such as RedGiant’s sample pitch deck and E-Type’s resume portfolio presentation, are built for screens and need a rebuild for print.
Which templates ship in both A4 and US Letter?
Several do, for example, Tom Sarraipo’s 52-page book, BrandPacks’ 20-page catalog, E-Type’s creative resume, and Orangeberry’s resume set. RedGiant’s corporate brochure ships the two sizes as separate files. Pixejoo’s resume set is US Letter only.
Do the downloads include the preview photos?
Usually not, because most reviews note that the preview photos are not part of the download. The Royal Studio’s book templates are the exception, because they ship with their images.
How do I test Adobe InDesign templates before a client project?
Run the Four Swaps Test. Replace the content, change the font, drop in a new palette, and change the page size. Then run preflight and print one proof. If any step takes more than an afternoon, pick another template. My fastest full-spread swap took under six minutes, in Tom Sarraipo’s 26-page furniture catalog.
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DATE: October 12, 2026 at 06:00AM
SOURCE: PSYPOST.ORG** Research quality varies widely from fantastic to small exploratory studies. Please check research methods when conclusions are very important to you. **
-------------------------------------------------TITLE: Brain entropy during a psychedelic trip tracks later gains in insight and well-being
A single high dose of psilocybin in people who had never taken a psychedelic was followed by improvements in well-being, psychological insight, and cognitive flexibility a month later, and participants whose brain activity became more irregular during the experience tended to show the largest well-being gains. Lasting changes in brain function, however, were largely absent, though the researchers detected possible changes in the brain’s white matter. The findings were published in Nature Communications.
Psilocybin is the active psychedelic compound found in “magic mushrooms.” It works primarily by stimulating a specific type of serotonin receptor in the brain. Some scientists have proposed that this chemical action scrambles normal brain activity into a more flexible, highly disordered state. For instance, a 2014 theoretical paper by Robin Carhart-Harris, the senior author of the new study, introduced the “entropic brain” hypothesis, suggesting that psychedelics expand conscious experience by making brain signals more unpredictable.
Researchers have suspected that this temporary disruption might lead to lasting benefits. Along these lines, a 2021 open-label study of 24 people with depression found that psilocybin improved cognitive flexibility for at least a month. Cognitive flexibility is a person’s ability to successfully adapt their thinking and switch between different rules or concepts.
Scientists then began tracking healthy volunteers for weeks after a single dose to see whether these acute disruptions leave enduring functional or physical marks on the brain. For example, a small 2020 study of 12 healthy volunteers found that some changes in mood and resting brain connectivity were still detectable a month after a single high dose, although others had faded. Similarly, research covered by PsyPost in 2024 found that psilocybin temporarily scrambled brain network connections, with most changes fading within weeks but some, such as reduced connectivity between the hippocampus and a network involved in self-reflection, persisting.
Building on this progression, the current research, led by Taylor Lyons of the Centre for Psychedelic Research at Imperial College London, sought to capture a comprehensive picture of what happens in the brain of someone taking a psychedelic for the very first time. The researchers aimed to connect the immediate, disorganized brain state during a trip to the psychological benefits reported weeks later. They also wanted to test whether a single high dose of psilocybin physically alters the structure of the brain’s white matter.
The study involved 28 healthy adults, averaging 41 years old, who had never taken a psychedelic drug before. Each participant received two oral doses of psilocybin one month apart, always in the same order: first a 1-milligram dose, too low to produce noticeable psychedelic effects, which served as a placebo, and then a 25-milligram high dose known to induce a profound altered state of consciousness. The researchers used this fixed order because they expected the high dose to have lasting effects that could carry over into a later session. To limit expectations, participants were told only that they would receive a variable dose of up to 25 milligrams at each session.
Both dosing sessions took place in a supportive environment featuring low lighting, music, an eye mask, and non-directive guided supervision. During dosing days, the research team recorded electrical brain activity using an electroencephalogram, or EEG, while participants rested with their eyes closed at one, two, and four and a half hours after ingestion. Participants also completed magnetic resonance imaging brain scans before the study began and one month after each dose.
During the high-dose session, the EEG recordings showed large increases in brain entropy, meaning the electrical signals became highly irregular and unpredictable. This peak in disorganized activity occurred one to two hours after taking the 25-milligram pill, aligning with the peak intensity of the psychedelic experience. The recordings also showed a drop in alpha waves, a rhythm of electrical activity common when people are awake and relaxed, while the 1-milligram placebo dose produced no such changes. When asked months later, all but one of the participants who answered (94 percent) rated the high dose as the most unusual state of consciousness of their lives.
When analyzing the brain scans taken a month after the high dose, the researchers found possible changes in the brain’s white matter, the bundles of insulated nerve fibers that carry signals between brain regions. Using a technique called diffusion tensor imaging, which maps how water moves along these fiber pathways, they observed a decrease in water diffusion along tracts connecting the prefrontal cortex to deeper subcortical regions. The prefrontal cortex is involved in complex thinking and decision-making, and this alteration was not observed following the placebo dose.
Other brain imaging measures showed little lasting change. Functional MRI scans, which track blood flow as a proxy for brain activity and which the researchers had designated as their primary outcome, revealed changes one month after the high dose that were largely weak and not statistically significant. One measure, network modularity, reflects how sharply the brain divides into separate, tightly knit networks; it decreased compared with the start of the study but not compared with the month after the placebo dose, and participants with larger decreases tended to show larger gains in well-being.
An earlier analysis of the same participants’ brain scans, covered by PsyPost in 2026, focused on circuits linking the prefrontal cortex with the striatum and thalamus, the same pathways where the white matter changes appeared. Using a different analytic approach, it found that activity in these circuits became more variable a month after the high dose than after the placebo dose, although the difference from the start of the study and the link with improved well-being fell short of statistical significance.
On a psychological level, participants showed improvements after the 25-milligram dose that were not seen after the placebo dose. Their psychological insight scores were about 51 points higher (on a 0-to-100 scale) the day after the high dose than after the placebo dose and remained elevated a month later. Well-being scores rose about 4.7 points more after the high dose than after the placebo dose, on a scale running from 14 to 70 on which the general population averages about 51. Participants also made fewer errors on a computer task measuring cognitive flexibility a month after the high dose, specifically when they had to adapt to hidden rule changes.
When the researchers looked at how these measures related to one another, a pattern emerged. Participants whose brain entropy rose more two hours into the high-dose session tended to report more psychological insight the next day, and greater entropy across the session predicted larger gains in well-being a month later. A statistical analysis suggested that next-day insight partly accounted for the link between entropy and later well-being. Brain entropy did not predict the white matter changes.
“The most surprising – and therefore potentially also important – takeaway is that even in a highly exploratory and multimodal study as described here, psilocybin does not seem to have a pronounced lasting effect on the brain in healthy volunteers,” said Katrin Preller, a junior group leader at the University of Zurich and visiting assistant professor at Yale University who was not involved in the research. “One month after psilocybin administration only very marginal changes were detected. Given the nature of the study, the robustness of these changes needs to be determined in future studies.”
Preller noted that these modest long-term results match an emerging trend in neuroimaging research. “There is accumulating evidence that the neurobiological changes induced by psychedelics may be short lived and alterations are back to baseline levels after a few weeks,” she told PsyPost. “The study therefore confirms these initial reports and extends those by showing that this holds true even for psilocybin-naive participants.”
Martin Korsbak Madsen, a medical doctor and postdoctoral researcher at the Neurobiology Research Unit at Copenhagen University Hospital Rigshospitalet who was not involved in the study, focused on what the findings might reveal about how psychedelics work.
“It is well established that psychedelics can have long-term effects but underlying mechanisms are unknown, and the present study seeks to address this gap by using both EEG and MRI,” Madsen said. “The study confirms previous electrophysiological findings, showing acutely reduced alpha waves and increased complexity. The latter was positively associated with better psychological insight and well-being, so this might be a relevant mechanism for subsequent change.”
Madsen added that the imaging metrics pointed toward potential physiological routes for these mental shifts. “MRI findings suggested that brain function, on average, was less constrained, and that white matter bundles connecting deep and more superficial layers of the brain were also affected,” he told PsyPost. “Taken together the study is a good and thorough first step, and it provides plausible mechanisms, which subsequent studies can test.”
As with all research, there are some caveats to consider. Because all participants received the 1-milligram dose first and the 25-milligram dose second, order effects, such as simply getting used to the testing procedures, could have influenced the results. The authors argue that the changes after the high dose far exceeded any such effects, noting that no changes appeared after the placebo dose. They also acknowledge that their main hypotheses were not registered in advance and that their statistical corrections were applied within, but not across, the many outcomes they examined.
Preller also stressed the study’s exploratory nature. “This is a highly exploratory study which is reflected in a rather limited protection against Type I errors, i.e., the study is optimized for detecting effects but is not rigorously protected against false positive findings,” Preller told PsyPost. “The fixed administration sequence is justifiable in this study but increases the risk that the observed effects are due to habituation or other time-related factors and may not be causally linked to drug administration. All effects observed therefore need replication in better controlled and larger studies before any conclusions can be drawn.”
Madsen also noted that this structure limits how firmly conclusions can be drawn. “A not trivial drawback of the design is the use of a fixed order, meaning everybody got low dose (placebo condition) before the high dose,” Madsen said. “Although this has some benefits, one cannot exclude order effects, and a classic two-arm randomized, double-blind design of sufficient sample size would have been an improvement.”
Interpreting changes in white matter using diffusion imaging can also be complicated. The type of change seen here has been linked to processes such as learning and meditation, but also to nerve fiber injury and aging, so it is unclear what it reflects biologically. The authors speculate it could involve the pruning of weak connections or the growth of new, not-yet-insulated nerve fibers, but they caution against interpreting the finding until it is replicated with more advanced imaging. A second analysis method also failed to detect the white matter changes.
Looking ahead, Preller said studies in patients are needed. “We need more mechanistic long-term studies in patient populations in order to understand whether there is a detectable neurobiological basis for the observed treatment effects,” she told PsyPost. She added that readers should keep in mind that “even the significant findings in this study are highly exploratory and require replication.”
Madsen suggested that future investigations should evaluate psychedelics alongside other established practices that promote personal growth. “Intake of psychedelics is not the only way of improving well-being or gaining psychological insight, and comparing psychedelics to non-drug interventions such as psychotherapy, mindfulness or art therapy, might help elucidate which effects are specific to psychedelics as opposed to general psychological development,” he explained.
The study, “Human brain changes after first psilocybin use,” was authored by T. Lyons, M. Spriggs, L. Kerkelä, F. E. Rosas, L. Roseman, P. A. M. Mediano, C. Timmermann, L. Oestreich, B. A. Pagni, R. J. Zeifman, A. Hampshire, W. Trender, H. M. Douglass, M. Girn, K. Godfrey, H. Kettner, F. Sharif, L. Espasiano, A. Gazzaley, M. B. Wall, D. Erritzoe, D. J. Nutt, and R. L. Carhart-Harris.
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