If it would be of any use to anybody, I happen to have created a template for my own personal use that mixes and matches the two methods based on the needs of a fairly common orchestral setup. See pic below for a preview.
For the endgame of part production and condensing and so forth, it’s got three full score layouts: one for the conductor (with the condensed staves), one for the composer (with all parts separate, and where the percussion is grouped as three separate percussion players), and one for the process of combining and moving things around between the two (so this has all individual and condensed players and staves).
Like I said, it mixes and matches the two different methods. So for instance, for four horns, I like the look of Leo’s method, so that’s a divisi. However, for Clarinets, I generally use two clarinets and a bass clarinet, so that’s accomplished by having 3 solo players and 1 section player. The three solo players (2 cl., 1 bass cl.) go in the composer/parts layout, and the section player goes in the conductor score (along with the bass cl. solo player), and the instrument name is edited to show Clarinet in Bb 1/2 (where 1 and 2 are stacked vertically). (Also, for the clarinets, the automatic inclusion of the key in the name is turned off and was input manually; otherwise, the formatting of the numbering gets messed up). The percussion is accomplished by having individual instruments in the full score and kits where I wanted certain instruments on one staff; then the composer/parts score gets three percussion players, each with all their instruments grouped to them. An additional instrument is duplicated for each of these players and named “Percussion” so that if you want it this way, the beginning of the composer/parts layout and the individual player layout shows “Percussion 1,” “Percussion 2,” etc. at the beginning of the piece, then with normal instrument changes later on. This is easily changed if not wanted.
All the instruments are set to adhere to fairly common orchestral standards, so for instance, horns and timpani have no key signatures, keyboard percussion ranges are set to what’s most common, and so on. Strings are set as a system object family. Tempo text font sizes are increased by 5 points. Initial brackets are all sorted out. Etc. etc. etc.
The file is too big to attach to the forum, so here’s a direct link to it.
Download as you please, edit, share, repost, and enjoy.
P.S. I suppose in hindsight, I may not have needed to use section players for the conductor’s layout; I had originally done it so that Dorico wouldn’t automatically renumber things, but by changing the name, that’s irrelevant. Nonetheless I constructed this through a somewhat extended process of trial and error, so that’s the way it was, and I didn’t see the need to change it, though it would be easy enough to do if needed. Then again, it could be useful for adding additional players by creating additional divisi, so it’s probably fine as is. I also could’ve deleted all the additional layouts for the condensed parts, but that also didn’t occur to me at the time, and who knows why or how I or anyone else might end up using the template at some point, so those are all still there.