Graphic design and scientific research: the INGV experience

One of INGV’s primary activities is the production of resources concerning educational and outreach projects in Geophysics and natural hazard topics. This activity is aimed at transferring periodically to the public the forefront results of ongoing research through an intense and comprehensive plan of scientific dissemination. Over the past 15 years, graphic and visual communication has become an essential tool for supporting institutional and research activities. In this paper we describe successful INGV’s team experiences resulting from a close relationship and collaborative work between graphic designers and research scientists. The main goal of the projects devoted to the general public, such as the creation of a museum exhibition or the production of descriptive brochures, is to support scientist in getting their message through, making concepts fruitful and easier to understand, but also fully enjoyable, thanks to the emotional involvement that visual images may generate. Through a careful composition of signs and images, and through the use of different visual tools (colors, form, lettering) on different media (print, video, web), the graphics and editorial products together create a strong “INGV style” identity, making it easily recognizable in any educational and outreach project. A full project product package might include a logo or other artwork, organized text and pure design elements such as shapes and colors, which serve the purpose of unifying the whole set. Color is used not only to help the project logo to stand out from the international overview, but in our case also to generate a unifying return across all INGV sections. A recent and highly stimulating experience concerned the creation of edu-games, specifically designed for scientific dissemination, through a close collaboration between INGV graphic designers and their reference scientific community. The edu-games were designed as an effective combination of educational content and playful communicative aspects, leading the young players to learn while having fun.


Introduction
of issues relating to Earth Sciences and to their dissemination. In this respect we will briefly discuss the ScienzaInsieme 45 project.

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As already mentioned, special attention was given to specifically designed layouts for education and outreach projects.

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In this contest we present our experiences in the production of edu-games as part of editorial products for scientific

The partnership between graphic design and scientific research 56
The main task of Laboratorio is finding the correct relationship and cohesion between the interpretation of the scientists 57 work and graphic design using the proper images and products. Our goal is to elaborate appropriate solutions to transfer 58 purely scientific information, addressing the messages not only to the pertinent scientific community but also to the 59 general public, looking for the right compromise in the graphic work between the scientist message and the visual design.

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But what do we mean by graphic design? What is graphic design, and why it is so important for graphic composition in 61 scientific communication? Graphic design is the process of communicating visually and of solving communications 62 issues-through the correct use of typography, space, images and colors. Graphics attracts viewers, and graphic designers 63 use various methods to combine words, symbols, and images to create a visual representation of ideas and messages.

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The importance of communicating complex ideas with clarity, precision and efficiency, avoiding ambiguities and 65 confusion, was initially developed in the field of data visualization and information design (Tufte, 1983). In this field,

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graphical excellence is what gives the viewer the greatest number of ideas in the shortest time, with the least ink in the 67 smallest space (Tufte, 1983). A graphic designer may use a combination of typography, visual arts and page layout 68 techniques to produce the desired final result.

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In any case, the opted of the graph is to operate a constant mediation between the scientific concept to be represented, 78 and the visual form that can represent it more clearly.

The INGV style 81
The approach outlined above has already been used for many INGV productions, thus contributing to the creation of an 82 INGV "identity" that is strongly characterized in terms of style, a sort of brand that is highly recognized by the scientific 83 community. This identity has played an important role both in the creation of both products aimed to a specific target 84 audience and more general purpose projects. The most important among the latter is certainly the restyling of the INGV

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The INGV logo is formed by a graphic portion and by an accompanying text. For the lettering we adopted the modern 91 and clean DIN Pro Bold Consented font in gray 90%, used in small/caps, which replaces the previous Arial bold black 92 100%. The graphic part represents schematically the Earth, a globe strongly characterized by lines representing the 93 parallels and the meridians; the core element has therefore returned to a simpler sphericity, accentuated by the chromatic 94 nuance. This new core image has already entered a number of new editorial projects and has been used on the occasion 95 of several national and international events (see Figure 1). We will return to this later on. We considered very carefully the structure of a logo for the event, starting from the analysis of its keywords: -twenty 100 years, -geosciences -travel / future. An overview of the visual communication strategies used for publications dedicated 101 to geosciences revealed that the most frequently used images concerned geologic stratigraphy (i.e. rock layers), and 102 subordinately mountain ranges (i.e. www.usgs.gov; www.mdpi.com/journal/geosciences; www.agc.org.au). We hence 103 decided to develop a graphic project starting from the INGV logo and adding a horizontal sign that is reminiscent of the 104 stratigraphy and represents the separation between before and after, above and below: it also resembles an arrow 105 indicating a movement towards the future, thus obtaining a strong, yet nondidactic "symbolic" element. The yellow color 106 evokes the preciousness of gold on special occasions. We then developed the coordinated images, adapting them to the 107 various materials provided for the event (internal signage, presentations, web promotion, gadgets). The logo turned out 108 to be very versatile and easy to adapt to different types of reproduction and available spaces, while preserving its visual

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The Space Earth Technology logo was conceived to graphically summarize the content of the message: "Space-Earth-

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Technology". To this end we adopted familiar forms such as two intersecting circles, representing the Earth and the space 120 that surrounds it at first, later on moving to a more in-depth interpretation of the relationship between the Space Earth 121 Technology project and INGV, the area that allowed the project to be born and developed.

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Chromatically, we chose a single color, the "iconic blue of the sky", to state the mission of the company and add an 123 emotional value to the pictogram.

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Even the chosen lettering is simple, linear, sans serif, to recall once again the modern technological aspects of the 125 company's mission and to endow the logo with further immediacy, making it easy to decipher and therefore to remember

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The main contribution of the Laboratorio on the construction of the brand of this very important infrastructure was a 135 "textual" intervention: the acronym "ERIC" was introduced in an already existing logo. For this text we adopted the same 136 color nuance used in the gestural element of the EMSO log. This solution allowed us to link the different parts with a 137 simple but extremely effective interpolation: there existed a significant risk of "untying" among the various components,  reference. The TSUMAPS-NEAM project developed the first homogeneous long-term PTHA for earthquake-induced tsunamis, that was unavailable for the coastlines of the NEAM region (NE Atlantic, the Mediterranean, and connected 145 seas) until just a few years ago. TSUMAPS-NEAM is also promoting an informed process of outreach, guideline 146 definition, and capacity-building through dedicated initiatives. The development of standardized PTHA products (hazard 147 and probability curves, maps, documentation, web-tools for their analysis) is the first step to include also tsunamis in 148 multi-hazard risk assessments.

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In designing the logo of the project, we focused on a limited number of specific elements, deliberately moving away from 150 the classic graphic representation of a tsunami: the wave. We believe that focusing on different elements allowed us to 151 achieve a more original and therefore highly recognizable creation: the stylization of the "hands" to signify the help that 152 the scientist may give to the investigation and forecast of tsunami serves this specific goal. The choice of colors was 153 focused on how to separate anthropic from natural elements; therefore, a full orange was associated with human elements, 154 while blue with was used for natural elements. The fusion of the two colors in the intertwining of the hands, which is 155 meant to represent the scientific cooperation, gives life to a transparency that increases the desired effect ( Figure 5).

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Having in mind this background, in the designing the project logo we adopted a combination of wave icons and anthropic 192 elements, which we strongly stylized and differentiated using color. For the lettering we used a rather squared sans-serif 193 font, accompanying it in the leaflet with a more versatile font from another family.

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The Laboratorio created many products for this project. In this respect, the diversification of the logo was fundamental:

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Infinity is a very ancient and very commonly used symbol, whose birth is explained in many different ways, all related 205 to the ideas of quantity, time and space. The symbol of the inverted eight -associated with alchemy, Hermeticism and 206 Gnosticism -as a variant of Ouroborus, the snake or dragon that eats its tail, represents the theory of eternal return, the 207 cyclical nature of all things. It is attributable to all that can be represented through a cycle which, after reaching its end, 208 starts again from the beginning, to infinity. It was first found in an ancient Egyptian funeral text, written in the Pharaoh 209 Tutankhamun tomb.

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Its origin in Roman times is attributable to the use of the CI letters, Roman numerals indicating "a large number".

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As a mathematical symbol (∞ -lemniscata) it was first adopted in 1655 to identify a very large number, just because those 212 two eyelets they can be endless paths.

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Starting from the study of this symbol in its perfect geometries, we chose to deform one of the two mirror parts to create 217 two communicating sets, through which the contents mix to give shape to a new entity, in a virtuous and infinite circle of

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The Laboratorio created the editorial graphic project of the Annual Report of the HPHT Lab. The report is aimed 230 essentially at an audience of professionals, and is considered an excellent combination of graphic design for disseminating 231 geoscience research knowledge, including its forefront results (Figure 11).

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The design and construction phase involved the analysis of the idea developed by the students, a study of the target 258 audience, and the evaluation of problems possibly arising from the actual production of the game. We also considered the 259 practicality of its use, striving to make it easy to handle, easily transportable and reproducible even with simple and 260 economic means.

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The centerpiece of the game is a large format billboard, designed to allow at least 20-25 players to participate 262 simultaneously. As it is not a self-explanatory game, it is necessary to emphasize its visual aspects so as to enhance 263 emotional impact on the participants. Therefore, we have chosen to stylize homogeneously the whole set, from the game 264 board to its various components, including cards, the 3D pieces along with their assembly boards, the dice and the rules, 265 using pastel colors and a playful graphics that suit the taste of the youth target audience.

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The sinuous forms we used to represent the volcano refer directly to classical iconography, however deprived of the 267 didactic aspect and of any scientific reference, but aimed to highlight the playful character of the instrument. We have 268 chosen to characterize the various parts of the game through icons, deliberately winking at social ones, to seek a familiar 269 connection in the visual baggage of today's kids, which would make the involvement in the activity even more fluid. Even precisely to have the graces and to exhibit very elaborate and pronounced ascendants descendants, thus recalling 274 handwriting and creating a more "artistic and emotional" perspective. This, however, is done at the expenses of 275 readability, which we supported through explanatory texts written with a simpler font (Rotis serif). We assigned great 276 importance also to the use of the black color, aiming to make the entire game appear more "for adults" before the eyes of pre-teens to avoid making them feel treated as young children: a very childish appearance could indeed have created a 278 preconception in adolescent participants, thus reducing the effectiveness of the message and they ability to appropriate 279 the information (Figure 13).

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Over the past few years the game was successfully presented in different Italian events:

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In occasion of the Open day 2019 at INGV, we have collected 59 questionnaires compiled by participants ranging in age 292 between 9 and 11. The questionnaire investigated the general activities impact, including the Escape Volcano game.

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Almost all, 93%, found the game very interesting. Very easy to understand, very helpful and very well organized 294 for the 63%, 74% and 71%., respectively, Only one participant found the experience difficult to understand.

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This game as simple as it is addicting. Children and adolescents in the age range 11 to 16 years will always be able to 317 play smoothly under the guidance of an instructor.

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First all participants divide themselves up into teams made up of a minimum of two players. The team with the youngest 319 player will start, rolling the dice. Each roll determines which card or token must be drawn, and consequently the actions 320 to be carried out:

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Major tectonic plates are 15 in total. Players will have to draw a plate from a basket and place it correctly on the board.

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If the team misses the plate, it is put back into play. Guessing the plate immediately yields 3 points (Figure 15).

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Acchiappa la Placca is a new game that has been tested less extensively than "Escape volcano", but that can be easily

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The latest product created by the Laboratorio within the edu-games is the GEO-Trivial. We all know that games have the 347 power to ignite imagination and place you in someone else's shoes or situation, often forcing you into making decisions 348 from perspectives other than your own. This makes them potentially powerful tools for communicating, through their use 349 in outreach, research dissemination, and education at all levels, but also as a method for training practitioners, decision 350 makers and the general public into building environmental resilience.

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In creating Geo Trivial we essentially revisited the classic Trivial, thus producing a real scientific game but also a tool to 352 learn more about the amazing world of geosciences while having fun. This new game belongs to a INGV editorial project 353 (Games in Geosciences) dedicated to education and outreach (see Figure 16: notice that this activity is still in progress).

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The game was presented at the Virtual EGU congress and, because of the immediate interest by the researchers, we  Celebrating the 50 th anniversary of Plate Tectonics Theory, one of the most important scientific acquisitions of the 363 twentieth century, this exhibition aimed to tell its fundamental steps, along with the discoveries and intuitions that built 364 its intellectual and disciplinary credibility. Its enunciation followed a golden age for the discoveries in the Earth Sciences, 365 helped the scientific community to accept the basic ideas underlying the drift of the continents, and laid the foundations 366 for a change in our perception of the dynamics of our planet. By bringing together results from various disciplines, the 367 theory has unveiled many aspects of how the Earth works, transforming the Earth Sciences forever.

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Based on this background, the study of the logo has focused on the Earth and its complexity: the geometric elements may 369 remind you a puzzle, something that is continuously formed and destroyed just like the Earth, a planet that is always on 370 the move.

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The exhibition was set up at the prestigious premises of Palazzo Ducale in Genoa, which, precisely because of their

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In the frame of an interactive journey, visitors discover how the different elements that make up a building react to 390 earthquake shocks, and what is the potential role of the ground on which our houses are built.

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Our graphic project started from the choice of a sort of "vintage" style, that would result in a modern but not too minimalist 392 appearance. Our goal was to create a communication style that is familiar and intimate, rather than cold, institutional and 393 authoritarian, so that the message could be conveyed in an empathetic and welcoming fashion and that the main concepts 394 could be perceived more willingly.

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The dominant color is orange, that was chosen as a sort of "communicative compromise"; unlike red, which is generally 396 evocative of an emergency, orange recalls cheerfulness, sociability, vitality and renewal. It therefore seemed perfect for  reference for all companies that operate in the Space sector, but also and above all for all those companies that populate the New Space market: universities, research centers, SMEs, and innovative enterprises.

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We have chosen to characterize our exhibition space by focusing strongly on a single visual element: an image of a 410 volcanic eruption from space. This central element was then differentiated on the scientific products, flyers and gadgets 411 created specifically for this event (Figures 21 and 22).

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The authors wish to thanks all colleagues who supported and sponsored their activities over the years. Their continuing 442 support has made it possible to achieve the results shown here. We are especially indebted with Angela Chesi and Sabrina 443 Palone, two colleagues who shared this trip with us for quite a few years. We also thanks Gianluca Valensise for the 444 constructive revision which improved significantly the manuscript.