Converting PageMaker to InDesign

Carl Shank • January 15, 2021

How to Convert PageMaker Files to InDesign Files

To some users with  legacy PageMaker files, converting  them  to Adobe InDesign files has been a challenge. Adobe Systems Incorporated stopped shipping or updating PageMaker files for a number of years. They moved on to InDesign programming and layout. Aldus PageMaker 3 for Macintosh and Windows was shipped in 1988. Aldus PageMaker 4 for Macintosh was released in 1990, with the Windows version in 1991, and offered new word-processing capabilities, expanded typographic controls, and enhanced features for handling long documents.


Aldus PageMaker 5.0 was released in January 1993. Aldus was purchased by Adobe Systems who took over the upgrades and further enhancements. Adobe PageMaker 6.0 was released in 1995, and Adobe PageMaker 6.5 was released in 1996.


Support for versions 4.0, 5.0, 6.0, and 6.5 is no longer offered through the official Adobe support system. This poses substantial problems for users who have works authored in these legacy versions.


The final version made available is PageMaker 7.0, released in 2001, though updates have been released for the two supported platforms since.


The Macintosh version runs only in Mac OS 9 or earlier; there is no native support for Mac OS X, and it does not run at all on Intel-based Macs. It does not run well under Classic, and Adobe recommends that customers use an older Macintosh capable of booting into Mac OS 9. The Windows version supports Windows XP and a few other Windows versions.


As Adobe migrated users to its new InDesign format released in 2001, versions 1 through CS6 had their fair share of adoption issues and compatibility problems. Newer versions of InDesign can read older InDesign versions, but they are not backwards compatible. InDesign CS6 can read only PageMaker 6.5 files. Consequently, users who now have InDesign CC series cannot read older PageMaker files at all. Thus, the need for this service.


What We Can Do For You

PageMaker 3 – 5 to InDesign ($15 per file) (Macintosh)

Specify the InDesign format to what you want to transfer your files. We offer InDesign CS – CS6 and InDesign CC. To transfer these older PM files to newer InDesign files (InDesign CS6 and beyond) requires first transferring them to PageMaker 6.5 files. Our goal is to keep your formatting and fonts in place. If we cannot do this, we will let you know before the transfer takes place.


PageMaker 6.x to InDesign ($15 per file) (Macintosh)

Specify the InDesign format to what you want to transfer your files. We offer InDesign CS – CS6 and InDesign CC. Our goal is to keep your formatting and fonts in place. If we cannot do this, we will let you know before the transfer takes place.


PageMaker 6.5 or 7 to InDesign CS ($15 per file) (Windows)

We also offer a Windows based transfer system for PageMaker 6 or later files to InDesign CS. 


We own the legal rights to the use of this software. All of the software used has a valid Adobe serial number. We have been using this software since its inception to the Macintosh or Windows platforms.

Successful Layout & Design

Type After Gutenberg: A Historical Sketch

By Carl Shank • November 8, 2025
What Happened to Type After Gutenberg? A Brief Historical Sketch from 1460-1640 At the end of the 15th century, German printing was at the forefront of a revolutionary transformation in Europe, driven by the invention of the movable-type printing press by Johannes Gutenberg in the mid-15th century. This development had a profound impact on culture, education, and the dissemination of knowledge. By the end of the century, Germany had become one of the key centers of printing in Europe, particularly in cities like Mainz, Nuremberg, and Augsburg. Books printed before 1501 are referred to as incunabula. German printers produced a significant portion of the incunabula, with many focusing on religious texts such as the Bible, liturgical works, and theological treatises. Secular works, including classical texts, legal documents, and scientific works, also gained prominence towards the end of the century. German printers played a key role in developing early typefaces. One of the most popular was Blackletter (also called Gothic script or Fraktur), which dominated printed works in Germany during this period. The dense and elaborate script was particularly suited to religious and formal texts. By 1500, there were over 1,000 printers operating in various German cities, making Germany a leading hub for the printing industry. Notable printing centers included: Mainz—The birthplace of Gutenberg’s press; Nuremberg — An important center for both printing and intellectual activity; and, Augsburg—A commercial and printing hub. What is often lost in typographical history in the years closely following Gutenberg are the important printers and typographers in Germany, Italy, Switzerland, France, the Netherlands, Spain, England, Austria, Sweden, Holland, Denmark, Scotland, Mexico, Ireland and the United States who furthered the cause of typography and printed works. This Blog serves as a historical sketch of a number of these important people.

Theology of Type (3): The Twentieth Century (Part 2)

By Carl Shank • November 1, 2025
SWISS TYPE BEAUTY DESIGNERS LIKE JAN TSCHICHOLD were foundational to many of the Swiss design principles. This style evolved from Constructivist, De Stijl and Bauhaus design principles, particularly the ideas of grid systems, sans-serif type and minimalism. Emerging in Switzerland during the 1940s and 1950s, this typography, also known as the International Typographic Style, directly responded to the type chaos of Dada and the stylization of Art Deco. The Swiss style emphasized readability, visual harmony and universality. Clarity, objectivity and functionality were key components. Contributors included Max Miedinger, creator of the Helvetica typeface and Adrian Frutiger, creator of the Univers typeface, both in 1957. The Journey of Helvetica We all use Helvetica. In fact, some say it has been overused through modern years. Helvetica derives its powerful simplicity and display qualities from the 1896 typeface Akzidenz-Grotesk. “The design originates from Royal Grotesk light by Ferdinand Theinhardt who also supplied the regular, medium and bold weights. Throughout the years, Berthold has expanded this extremely popular and versatile family. AG Super was developed in 1968 by Günter Gerhard Lange and is an excellent choice for headlines. In 2001, Günter Gerhard Lange added more weights for Berthold including Super Italic and Extra Bold italic.”[1] “Helvetica is a twentieth-century Swiss revision of a late nineteenth­ century German Realist face. The first weights were drawn in 1956 by Max Miedinger, based on the Berthold Foundry’s old Odd-job Sans-serif, or Akzidenz Grotesk, as it is called in German. The heavy, unmodulated line and tiny aperture evoke an image of uncultivated strength, force and persistence. The very light weights issued in recent years have done much to reduce Helvetica’s coarseness but little to increase its readability.”[2]
Show More