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Katherine Johnson’s mathematical calculations helped guide some of America’s most important early space missions while she confronted the racial and gender barriers faced by Black women in twentieth-century America.
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This is a personal recollection on the Move fire on May 13, 1985
 | This article relies on a single source. (September 2025) |
In graphic design and advertising, a comprehensive layout or comprehensive, usually shortened to comp,[1] is the page layout of a proposed design as initially presented by the designer to a client, showing the relative positions of text and illustrations before the final content of those elements has been decided upon. The comp thus serves as a draft of the final layout, and (if approved) is used as guide for further design changes and, ultimately, production.
Traditionally, the four stages of an illustration or other commercial art creation (e.g., advertisement) are:
For traditional media (such as paint), the division between layout and comp is more clear-cut than for computer-generated art. For traditional media, the distinction between layout and comp is typically one of refinement and presentation. Layouts and comps are often done on different substrates because of this (e.g., tracing paper for a layout vs. calendered bond paper or illustration board for a comp). In this case, a layout done on tracing paper could be laid over other media (e.g., a photo) to see how it would eventually appear after finish render, and to ascertain overall feasibility, and the comp could be done on opaque bond paper or illustration board as a presentation piece for a client's approval.
With computer-generated art, the distinction between layout and comp has become blurred. Since computer-generated art can evolve as one file over time, finely segmented milestones in the development process have less meaning. With computer-generated art, even the sketch stage is often skipped. This has led to a two-stage process; comp and finish. The definitions of each milestone are roughly the same as with traditional media. Even in the age of rapid desktop publishing software, comps may be developed using hand-rendering techniques and materials to avoid investing too much time on the computer before client approval of the idea, depending on the complexity of the production task. If there is any three-dimensionality to the design (for example, the design is of a box or of a two sided piece) a "physical comp" is preferred to a computerized sketch because fundamental physical relationships (for example, position and show-through of die-cuts, or inadvertently designing Möbius strips) can be missed in a two-dimensional sketch. A hand-rendered comp may be useful in helping the client refrain from "nitpicking" the production quality and focus on the design idea.
In the overall creation process there is also a distinction between finish render and final render. Finish rendering refers to the process, and final rendering refers to the schedule. The first finish rendering may not be the final rendering; the first finish rendering could be the first of many renderings, with each subsequent finish rendering needing refinement before the final version is created.
The illustration element may incorporate stock photography, clip art, or other found material that gives an idea of what should be visually communicated, before entering any negotiations concerning the rights to use a specific image for the purpose. Picture agencies may encourage such use free of charge, in the hope that the comp image (sometimes referred to as a "positional" image) will end up being used in the final product. For this reason, it is sometimes mistakenly believed that "comp" is short for "complimentary," as it is in some other promotional contexts.
The word "comp" can also be used as a verb. For example, an artist may "comp something up"; that is, they will create a comp. "Comp" may also stand for "composition" or "composite layout".
As you navigate the design process, follow these steps during layout production... Sketch thumbnails... Develop rough layouts... Create a comprehensive layout... Finalize the layout for use.
Source: Wikipedia. Article content is retrieved live through the MediaWiki API.
In graphic design and advertising, a comprehensive layout or comprehensive, usually shortened to comp, is the page layout of a proposed design as initially presented by the designer to a client, showing the relative positions of text and illustrations before the final content of those elements has been decided upon. The comp thus serves as a draft of the final layout, and (if approved) is used as guide for further design changes and, ultimately, production. Traditionally, the four stages of an illustration or other commercial art creation (e.g., advertisement) are: Sketch — the initial idea roughly "sketched out" in order to quickly transfer the idea on to a physical substrate Layout — the idea laid out in relative position for further development Comp — the idea created in such a way as to closely mimic the final creation, usually as a step toward approval by decision-makers Finish — the idea rendered in the appropriate medium for sale, display, or reproduction For traditional media (such as paint), the division between layout and comp is more clear-cut than for computer-generated art. For traditional media, the distinction between layout and comp is typically one of refinement and presentation. Layouts and comps are often done on different substrates because of this (e.g., tracing paper for a layout vs. calendered bond paper or illustration board for a comp). In this case, a layout done on tracing paper could be laid over other media (e.g., a photo) to see how it would eventually appear after finish render, and to ascertain overall feasibility, and the comp could be done on opaque bond paper or illustration board as a presentation piece for a client's approval. With computer-generated art, the distinction between layout and comp has become blurred. Since computer-generated art can evolve as one file over time, finely segmented milestones in the development process have less meaning. With computer-generated art, even the sketch stage is often skipped. This has led to a two-stage process; comp and finish. The definitions of each milestone are roughly the same as with traditional media. Even in the age of rapid desktop publishing software, comps may be developed using hand-rendering techniques and materials to avoid investing too much time on the computer before client approval of the idea, depending on the complexity of the production task. If there is any three-dimensionality to the design (for example, the design is of a box or of a two sided piece) a "physical comp" is preferred to a computerized sketch because fundamental physical relationships (for example, position and show-through of die-cuts, or inadvertently designing Möbius strips) can be missed in a two-dimensional sketch. A hand-rendered comp may be useful in helping the client refrain from "nitpicking" the production quality and focus on the design idea. In the overall creation process there is also a distinction between finish render and final render. Finish rendering refers to the process, and final rendering refers to the schedule. The first finish rendering may not be the final rendering; the first finish rendering could be the first of many renderings, with each subsequent finish rendering needing refinement before the final version is created. The illustration element may incorporate stock photography, clip art, or other found material that gives an idea of what should be visually communicated, before entering any negotiations concerning the rights to use a specific image for the purpose. Picture agencies may encourage such use free of charge, in the hope that the comp image (sometimes referred to as a "positional" image) will end up being used in the final product. For this reason, it is sometimes mistakenly believed that "comp" is short for "complimentary," as it is in some other promotional contexts. The word "comp" can also be used as a verb. For example, an artist may "comp something up"; that is, they will create a comp. "Comp" may also stand for "composition" or "composite layout".
In general terms, a layout is a structured arrangement of items within certain limits, or a plan for such arrangement. Specifically, layout may refer to: Page layout, the arrangement of visual elements on a page Comprehensive layout (comp), a proposed page layout presented by a designer to their client Layout (computing), the process of calculating the position of objects in space Layout engine, another name for web browser engine, the core software that displays content in a web browser Automobile layout, a description of the locations of the engine and drive wheels on a vehicle Integrated circuit layout, the representation of an integrated circuit in geometric shapes Keyboard layout, an arrangement of the keys on a typographic keyboard Model railroad layout, a diorama with tracks for operating scaled-down trains Layout (dominoes), the tableau in a domino game Layout or marking out, the transfer of a design onto a workpiece in manufacturing Plant layout study, an engineering study to analyze physical configurations for a manufacturing plant Layout, a specific version of the splits, a position in which the legs are extended in opposite directions Process layout, a floor plan of a plant that arranges equipment according to its function Product layout, a floor plan of a plant in which work stations and equipment are ordered by assembly sequence
Comprehensive may refer to: Comprehensive layout, the page layout of a proposed design as initially presented by the designer to a client. Comprehensive school, a state school that does not select its intake on the basis of academic achievement or aptitude. Comprehensive examination, an exam taken in some countries by graduates.
In graphic design, page layout is the arrangement of visual elements on a page. It generally involves organizational principles of composition to achieve specific communication objectives. The high-level page layout involves deciding on the overall arrangement of text and images, and possibly on the size or shape of the medium. These decisions require intelligence, sentience, and creativity on the part of the designer, and they are informed by culture, psychology, and what the document authors and editors wish to communicate and emphasize. Low-level pagination and typesetting are more mechanical processes. Given certain parameters such as boundaries of text areas, the typeface, and font size, text justification can be performed in a straightforward way. Until desktop publishing became dominant, these processes were still done by people, but in modern publishing, they are almost always automated. The result might be published as-is (for example, a residential phone book interior) or it might be adjusted by a graphic designer (as for a highly polished, expensive publication). Beginning from early illuminated pages in hand-copied books of the Middle Ages and proceeding down to intricate modern magazine and catalog layouts, proper page design has long been a consideration in printed material. With print media, elements usually consist of type (text), images (pictures), and occasionally place-holder graphics for elements that are not printed with ink such as die/laser cutting, foil stamping or blind embossing. The term page furniture may be used for items on a page other than the main text and images, such as headlines, bylines or image captions.
Before the 1921 destruction of Tulsa’s Greenwood District, Black residents had created a remarkable center of business and community life. The district included stores, professional offices, entertainment venues and homes owned by Black citizens. Understanding Greenwood means learning what was built—not only what was burned.
MORE →Joe Louis.