Perspective Chapter: Visual Science Communication – Complexity to Comprehension of Marine Ecosystems

Abstract

In the realm of science communication, challenges occur in translating intricate concepts into easily digestible information. This paper delves into the pivotal role of visual presentations in this process, drawing from the psychology of image processing which posits that a picture can convey volumes of information more efficiently than the proverbial thousand words. We examine tools like cartoons, infographics, and other visual depictions in summarizing and synthesizing complex scenarios within marine ecosystem science. This paper offers a nuanced exploration of the power of visual science communication in bridging the gap between complexity and comprehension. Through illustrative examples, we juxtapose text with imagery, documenting the scientific message and the diverse reactions evoked. This paper recommends best practices to establish guidelines and recommendations for visual scientific communication.

1. Introduction

Some of the earliest known visual representations rendered by humans are cave paintings [1]. These visual representations of the world around our proto-human ancestors often depict wild animals. It can be argued that these capture a fair representation of the animal, at least enough information to identify the species, and often actions associated with those animals (e.g., hunting, attacking humans, etc.). While these are often referred to as artistic expressions, there is information conveyed and the audience can identify the objects and scene presented as having a real-world correlation.

Communication, defined by the Oxford English Dictionary, is “the imparting or exchanging of information” [2]. Science, defined by the same resource, is the “systematic study of the structure and behavior of the physical and natural world through observation, experimentation, and the testing of theories against the evidence obtained” [3]. Notably, visuals emerge as a science communication tool bridging intricate concepts with the audience’s understanding.

Scientists routinely engage in theories, practices, processes, and procedures. It is of critical importance to convey this work to a wide-range of audiences. In fact, many critical decisions are based off of this scientific information. To aid in the understanding of the scientific message, visuals are often employed to provide further understanding for the audience. They can provide the means by which the audience can connect to an abstract idea or concept using familiar imagery to evoke a response. The capacity of users to interpret an image that faithfully conveys the scientific message is imperative. Within this context, this paper can function as an introductory guide to visual science communication, catering to the needs of both scientists and science communicators endeavoring to engage audiences, whether well versed or unfamiliar with intricate scientific concepts.

2. Visuals: key components in communication

For the purposes of this paper, visual communication can be defined as the process by which one party conveys information to another and their ocular receptors receive this information. Visual representation of scenes includes many elements that the user perceives and processes to form a representation in the user’s mind. A scene can be distilled into visual elements that trigger recognition. These include: color, contrast, size, and movement. These elements determine where the user focuses their attention and can aid in scene recognition.

Objects in a scene can be arranged by foreground and background. Space can be defined as positive and negative space. Positive space in a scene is represented by objects. Negative space is the absence of an object. Objects can be rendered via basic geometric shapes. For example, a house can be represented as basic triangles, squares, circles, and rectangles. Text is a visual representation of unique shapes representing an alphabet. Typography can be seen as unique geometric shapes that form letters. The linguistic component married with visuals is beyond the scope of this paper. However, the receiver’s ability to process messages via the size of textual objects may have an impact on scene and object relevance. The means of communicating via visuals has evolved quite rapidly. Within the past 200 years our means of visual input has transformed from static to dynamic motion. Information dissemination has migrated from pamphlets and newspapers to digital media. As an example of this rapid shift: “Estimated Newspaper Publishers revenue dropped by 52.0%” and “estimated revenue for periodical publishing, which includes magazines fell by 40.5%” between 2002 and 2020 [4]. Visuals that were once restricted to monochromatic schemes now benefit from full chromatic high-definition viewing. Animation and video have led to virtual and augmented reality. What is in store for the rendered visual world in 10 years will likely look vastly different than what is currently available today. However, understanding how images are perceived can lay the foundation for effective visual communication.

3. Role of visuals in marine ecosystem science

Marine ecosystem science epitomizes a complex interdisciplinary undertaking, requiring macro and micro perspectives. We have particularly focused on marine ecosystems as that is primarily the mission area in which we work, but the concepts noted herein are more broadly applicable. Exploring the intricacies of this scientific field necessitates a detailed examination of the interactions between various organisms, their environment, and external impacts that include human activities. The scientists that undertake this endeavor embark on a mission to understand this constantly changing environment, leveraging the latest scientific research and findings.

Communicating the complexities of ecosystem science presents challenges. How does the scientist convey a complex message? The ecosystem science community has scientists that produce highly technical information. Quite often, this information needs to be conveyed to parties without this knowledge and it is imperative for them to understand not only basic and foundational concepts but more elaborate and intricate ideas. Vying for an audience’s attention in an oversaturated, information-rich world is a modern challenge. Conveying technical knowledge compounds this issue. Overly detailed messaging can lose the audiences that have limited time to perceive a concept. In contrast, an oversimplified message can render the original message at best incoherent and at worst incorrect. Therefore, collaboration between the scientist and science communicator, facilitated through listening sessions and an iterative feedback cycle, becomes essential for capturing and effectively relaying this intricate information.

Presenting the information via text alone will reach a particular audience but may miss an entirely different audience. Additionally, relying on the reader’s ability to perceive the concept may be limited by their understanding of the material. The need for alternative communication methods becomes apparent.

Visuals of marine ecosystem science can potentially reach a broader audience as they are easier to share and require less time to perceive than paragraphs of text. Written explanations that accompany graphics can further explain and potentially enhance the scientific message conveyed within the body of text. Ecosystem science presented in the following examples will illustrate the visual representation of these concepts. But first we need to understand how the image is processed by the brain.

4. Visual perception and psychological impressions

The role images play and how a scene is perceived and processed by the brain is critical to the understanding of the visual message. A few papers are presented here to start to understand visual perception by the viewer.

In “The ingredients of scenes that affect object search and perception” [5] the authors outline essential elements or “ingredients” of a scene that capture the brain’s attention [5]. Comparing studies, the authors looked at the components of a visually perceived scene that becomes stored in long term memory. The authors investigated the role of objects that compose a visual scene and the hierarchical nature of these objects. Anchor objects are typically large, stationary objects that guide the brain’s search process and expedite decision making, ultimately guiding the user to the next local objects in a scene and aiding in their search for their target goal [6]. An example used in the case of a kitchen scene is that “the table may predict the position of a chair, a glass of water, and the salt” [5]. Relevant anchors, appropriate to a scene, reduced search time and recognition [5].

In “Affective Perception: The Power is in the Picture” the authors discuss the ways emotional scenes are perceived and processed [7]. The authors discuss that images activate the neural pathways in subcortical and cortical regions and aid in recollections associated with memory. The authors present studies conducted using emotionally evocative images while monitoring reactions. These studies employed measures such as skin conduction and pupil dilation [7]. Pictures included neutral and evocative imagery, spanning categories like erotic, romantic, adventure, sports, family, food, and nature [7]. The authors identified two emotional systems engaged; the defensive system, associated with fight or flight responses, and the appetitive system, centered around actions promoting survival, such as sustenance, procreation and nurturance. In both the skin conductance and pupil dilation studies, it was observed that both pleasant and unpleasant scenes elicited strong reactions [7]. Additionally, participants were tasked with recalling a scene, through written word or brief phrase, within 5 minutes time allotment, and it was found that improved memory performance in complete recall was attributed to scenes of a pleasant and unpleasant nature, including those portraying romance or threat [7].

In “Cue dynamics underlying rapid detection of animals in natural scenes” the authors focused on the rate of visual detection of animals in a scene [8]. They considered four cues; two-dimensional boundary shape, luminance, color, and texture. Images were manipulated in order to understand the role these cues play in the brain’s ability to rapidly identify targets in a scene. While color and luminance contain information that could be useful in determination, their role is relatively minor. Instead, shape and texture played a more significant role in identifying an animal in a scene [8]. The study showed the brain was particularly efficient in extracting shape information, even more so than texture. Remarkably, 12–17 msec of exposure was sufficient for the brain to gather information relevant to the task of identification [8].

In “Diagnostic Colors Mediate Scene Recognition” the authors looked at color cues to aid in scene and object recognition and identification [9]. They employed the L*a*b* color space to enhance control over the diagnosis of scene colors “and the conditions under which stimuli are visually presented” ([9], p. 180). Lab “separates luminance (L*) on a first dimension from Chroma (a*b*) on the two remaining dimensions. This enables a formal transformation of colors which has little effect on luminance information. Second, a*b* represents colors along two color-opponent dimensions: a* extends from green to red and b* from blue to yellow.” ([9], p. 180). By utilizing L*a*b* the authors manipulated the a* and b* axes, creating a new image with altered color while preserving luminance. ([9], p. 180). For instance, “if a* represents the green-to-red spectrum and b* represents the blue-to-yellow-spectrum, a swap of two axes (L*b*a*) would change the color of a beach from yellow to red.” ([9], p. 180). Additionally, inverting values along the a* and b* axes is another operation. ([9], p. 180). “For example, an inversion of b* would create a blue beach” ([9], p. 180). Through a series of experiments, using combinations of swap and invert operations of L*a*b*, they found that color recognition of scenes is aided when the color cues are relevant to a scene. Colors associated with scenes stored in memory influence the recognition process ([9], p. 199). Normal colors, expected in the physical world, added to scenes without color, assisted in the correct naming of a scene while abnormal colors, through swapping and inversion of (a*b*), interfered. In non-diagnostic scenes, color had no observable effect ([9], p. 199). The authors concluded that appropriate color associated with memory aided in scene recognition.

In “Combination of texture and color cues in visual segmentation”, the authors looked at detection and identification of object edges [10]. Multiple cues can be used to aid in the partitioning of a scene between foreground and background [10]. These can include contrast, light, color, texture, motion and depth [10]. The authors looked at color and texture and the combination of these cues in detection. They found that processing of each cue is not independent and that there is a synergistic effect when combining cues, leading to higher performance than if each cue was independent. The larger the differences the easier it is to distinguish these edges [10]. The authors found through experiments with color and texture cues that segmentation was better when both cues were present and aligned than in conflict and misaligned.

In “The universal and automatic association between brightness and positivity” the authors examined color brightness and its universal association with positivity [11]. High overall brightness and its association with positivity was strong and quick [11].

Images can also be an effective tool in conveying information and visual scientific information is already recognizable to the general public. In “Visual science Literacy: Images and Public Understanding of Science in the Digital age” the authors tested empirical indicators of visual science literacy in surveys [12]. They included scientific images like a DNA Double Helix, Albert Einstein, in vitro fertilization, and the Earth from the Moon. They found respondents fared better recognizing these images than textual questions on the same subjects [12]. Visual literacy demonstrated here is the ability to read and comprehend information presented through pictures and graphic images. Complex scientific messages can benefit from information presented through visual means to build understanding and literacy.

The salient summation of this brief survey of the psychology of image processing and handling is that there are more considerations in developing visuals than most non-graphic experts realize. There are a few, well-documented tips, “tricks” or practices that can aid in the elicitation of intended responses, and that combining a range of visual stimuli considerations can lead to truly impactful imagery and associated messaging, which can help convey a wide range of information. Thus, we can use the results from these studies to support effective visual design to engage the audience. In particular, shape definition, anchor objects, visual cue distinction, color and brightness, the appropriate combination of color and texture cues, and positive imagery all can aid in scene recognition, understanding and memory recall.

5. Scientific messages

Marine ecosystem science, with its complexity, nuance and evolving nature has in recent years employed various visual aids in the pursuit of information conveyance to various audiences. These images can be found in policy documents, research papers, displays and presentations at science conferences, and websites reaching diverse audiences. Various visual tools are used to convey ecosystem science. These include cartoons, infographics, graphics, motion, static, and interactive tools.

In this section we explore examples of visuals that have been produced for marine ecosystem science. The focus here is on what message was conveyed and what visual cues were used to represent the material. The use of shape, object recognition and relationships are all at play here.

5.1 Cartoons and comics

In the illustrated world of “Science Comics: Coral Reefs - Cities of the Ocean” the author explores the intricate realm of coral reefs, employing a vibrant visual narrative to convey complex concepts [13]. Panels, adorned with a blue gradient background, serve as a canvas for the diverse makeup and classifications of coral reefs. A central character, a fish with a narrative voice, guides the viewer through the vivid scenes. The use of shapes and texture becomes a visual language to distinguish different coral groups. The life cycles of coral unfold, transitioning from small to large, with stages such as egg, larva, settled larva, polyp, polyp with base, and finally, adulthood. Texture is strategically introduced as the lifecycle nears adulthood, providing clarity in distinguishing early stages.

When breaking down coral groups and types, a blue background is employed, and the main shape is a vivid representation of the described coral. Inset images with zoomed-in views elucidate the intricate structures from macro to micro perspectives. Shapes are used to define the organisms inhabiting these coral reefs, creating a visually immersive experience.

Complex concepts, such as the symbiotic relationship between coral and the algae Zooxanthellae, are clearly portrayed. Here, the green bean-shaped algae affects different coral examples, each represented by distinct shapes and colors. The distribution of coral reefs is displayed on a globe, with many dots highlighting regions like the Greater Caribbean and Indo-Pacific. The representation of deep-sea coral cleverly utilizes contrasting colors against a darker blue background.

Science Comics: Coral Reefs - Cities of the Ocean: Chapter Four [13]. delves into the global ecosystem, exploring human impacts, interactions, and dependencies on the marine environment [13]. Illustrations depict the water cycle with recognizable scenes of land, rivers, and oceans. Bright red arrows in rotating patterns illustrate the processes of evaporation, condensation, precipitation, runoff, and infiltration. This grounded depiction communicates the intricate natural water recycling process employing a recognizable scene, with a focus on human-induced impacts on runoff.

This work not only educates the user on coral reefs but does so with a visually engaging and accessible approach, making science not just informative but a compelling journey through these underworld cities.

At the 4th International Symposium “Effects of Climate Change on the World’s Oceans”, held in 2018 at a gathering of around 650 scientists from across the globe, we employed a cartoonist to render illustrations in real time [14]. These illustrations are collected in the graphic novel, titled “A graphic novel from the 4th International Symposium on the Effects of Climate Change on the World’s Oceans [14].” These images span multiple ecosystem concepts as participants sought to understand and advance their understanding of climate ecosystem impacts as well as opportunities for solutions and positive reports from current action. Rendered through lively comics, complex concepts and issues unique to ecosystems are communicated here using minimal text.

In Figure 1 [15], the utilization of cartoons simplifies the portrayal of the intricate yet fundamental concepts of an ecosystem and climate-related impacts. The vibrant colors and well-defined shapes set the stage for conveying increased temperature changes in the oceans and subsequent shifting of species. The fish, although not species-specific, are displayed with varying changes in shape and color and are sufficient for the user to recognize these as two different types of fish. The inclusion of a plate and wine glass grounds the scene, providing context and recognition for the viewer.

Figure 1.

Temperature changes represented by a restaurant scene with fish. Developed by Bas Kohler as Adapted from [15].

In Figure 2 [15], the cartoon captures the nuances of changes in carbon cycling. The contrast between clearly defined clouds, representing carbon released into the atmosphere and the lighter background draws attention to the intricate balances of this vital process. The transition of gray-colored carbon to the deeper blue of the ocean creates a visual focal point, symbolizing the transfer of carbon to marine environments. The smaller outlined shapes within the deeper blue background represent photosynthetic organisms affected by these conditions, while the bright, yellow sun stands out sharply against the backdrop. This visual narrative communicates the delicacy of the carbon-cycle and its interconnected components.

Figure 2.

Changes in carbon cycling depicted by a colorful marine environment. Developed by Bas Kohler Kohler as Adapted from [15].

In Figure 3 [15], the cartoon communicates the measurements of risk. The two human figures, portrayed through approximations of shape, stand sharply defined against a backdrop of serene blue. Unbeknownst to them, these figures are anchored in their position, unmoving. The looming presence of a large wave to the side serves as a potential metaphor for the impending danger. The graphic employs movement through sharply curved lines and juxtaposition of smaller, equally curved shapes constructing the large wave. In deliberate contrast, other objects in the illustration feature straighter lines, emphasizing the dynamic nature of the impending hazard. This visual narrative conveys the sense of risk and inherent uncertainty associated with it, inviting the viewer to contemplate the challenges faced by the unsuspecting figures.

Figure 3.

Measurements of Risk shown with two figures unaware of a looming wave. Developed by Bas Kohler Kohler as Adapted from [15].

Finally, in Figure 4 [15], the visual portrays the utilization of big ocean data. Scale takes center stage here, dominating over half of the composition with the vastness of the ocean depicted through robust curved shapes. Notably, the waves lack traditional color; instead, the waves are filled with a cascade of 1 s and 0 s, symbolic of computer code and more generically data. The infusion of computer code not only imparts a textural quality to the waves but also underscores the vast data collected from the natural realm in the oceans. This texture difference provides an emphasized contrast between foreground and background. Within this expansive oceanic scene, two figures find themselves engulfed by the much larger, undulating shape, conveying the overwhelming and sheer size of ocean data. The absence of color in the waves and the incorporation of binary code contribute to a visual narrative that challenges both the figures within the scene and the viewer to comprehend the magnitude of information represented by big ocean data. It is a stark reminder of the intricacy involved in harnessing and understanding the vast depths of our oceans through data.

Figure 4.

Big ocean data consumes the entire scene with two figures pulled in. Developed by Bas Kohler as Adapted from [15].

5.2 Logos and identifying marks

In the domain of science communication, logos play a vital role as they can accompany programs and create a unified identity for conferences.

The logo (Figure 5) for the Atlantis model [17], an ecosystem decision support tool, utilizes a circular framework that symbolizes biological, geochemical, and physical processes. The logo was originally designed for the first Atlantis summit in 2015 [16] as way to convey to the broader international community a quick depiction of the scale and scope of the model, which is quite comprehensive. The blue gradient background, shifting from sky to 1 s and 0 s, represents computer code. While a solid blue background signifies the ocean. Distinct solid shapes ranging in size, encompass various elements, including diverse fish species, a seabird, human activities like a vessel and platform, and marine life such as kelp and plankton. These elements, offset in brown, are set against a recognizable ocean backdrop. The gradual complexity revealed in the scene is deliberately structured for optimal readability and comprehension. A version rendered in grayscale highlights the emphasis on shape and texture. Regardless of the color used, shape and texture play a more significant role in identification of the objects in the scene. The familiarity of the shapes allows the viewer the ability to comprehend the imagery and recognize these elements. It also conveys the width of issues being considered simultaneously in a rapid manner This logo has been slightly modified and is also used for NOAA’s monthly Ecosystem-Based Management/Ecosystem-Based Fisheries Management seminar series [18].

Figure 5.

Logo for the Atlantis Ecosystem Model. Various marine life as well as human activities are depicted on an ocean background while 1 s and 0 s form the sky. Full Color and Black and white versions display the effect of contrast between the foreground and background. Developed by Avi Litwack as Adapted from [16].

The logo (Figure 6) crafted for the 4th International Conference on the Effects of Climate Change on the World’s Oceans (noted above, [14, 15]) helped convey the need for change in the ocean. This conference brought together global experts seeking a deeper understanding of climate change and its impacts on oceans. This logo, prominently featured on posters, signage as well as printed and digital materials [14], employs two shades of blue to symbolize water. The dynamic movement of the ocean is represented by organic shapes that vary in size, wrapping around to create a cohesive wave image. The curvature and variety of these shapes convey the fluidity and movement of the ocean, encapsulating the primary focus of the conference on the profound effects of climate change on our world’s oceans.

Figure 6.

Logo for the 4th International Conference on the Effects of Climate Change, shapes are formed to create ocean waves. Developed by Avi Litwack as Adapted from [14, 15].

5.3 Diagrams and figures

In relaying ecosystem science, diagrams and figures can provide more information and begin to introduce more complex concepts. Geographic maps, infographics and guides are rendered to further illustrate advanced ideas and build on existing understanding.

Figure 7 [19], depicts a horizontally oriented visual diagram. On the right side, a legend features climate impacts, each accompanied by an icon and descriptive text. Meanwhile, the bulk of the image showcases a large shape outlining the United States and its coastlines, serving as the primary anchor object. Within this shape, familiar imagery such as ships, a child fishing, and a school of fish occupies prominent spaces. Each region is marked with an icon representing climate impacts specific to that area. A dark blue background provides contrast, and above it, colorful and sharply contrasting icons employ recognizable shapes to vividly depict the described impacts. For instance, temperature increases are symbolized by a thermometer shape, wildfires are represented by flame shapes, and fishing impacts incorporate the outline of a boat. The use of familiar real-world objects enhances the conveyance of advanced concepts, and the strategic application of shapes, color contrast, and realistic imagery engages the viewer. Moreover, these icons can seamlessly transfer to other climate-related visuals, fostering continuity in visual communication.

Figure 7.

Infographic of current and expected climate-related impacts on marine ecosystems. Utilizing a map of the United States, each icon represents a climate related impact to the respective region. Developed by Avi Litwack as Adapted from [19].

In the subsequent two figures (Figures 8 and 9), the concept of Ecosystem-Based Fisheries Management (EBFM) is visually expressed. EBFM is a holistic approach to ecosystem management, considering multiple factors in managing a species. Unlike focusing on a single species in isolation, EBFM looks at the comprehensive picture, encompassing predators, prey, human activities, and other species, among various factors.

Figure 8.

Infographic for Ecosystem Based Fisheries Management. Depicted here are four segments illustrating different ecosystem management approach. Icons represent each component in that management’s approach. Developed by Avi Litwack as Adapted from [20, 21, 22].

Figure 9.

Alternate Infographic for Ecosystem Based Fisheries Management. Depicted here; each management approach builds on the next, utilizing components from the previous approach. Developed by Avi Litwack as Adapted from [20, 21, 22].

Figure 8 [20, 21, 22], “Ecosystem-Based Fisheries Management (EBFM)” unfolds against a blue background with four segments, each delineating different ecosystem approaches. The “Single Species” segment outlines a solitary species with minimal texture, sharply contrasting against a blue backdrop. In the “Ecosystem Approach to Fisheries Management” (EAFM) segment, recognizable icons representing climate, habitat, and ecology are enclosed within circles. This section introduces additional elements, including the sky, kelp, water, and a larger predator, but is still focused on a single fish stock. The EBFM segment then shows the multispecies nature EBM of the approach that also needs to include all the elements introduced in EAFM. The “Ecosystem-based Management (EBM) segments builds upon these approaches, incorporating new species and icons such as energy (depicted as a wind farm turbine), eco-tourism (symbolized by a human in scuba gear), and sanctuaries (represented by the shape of a whale’s tail). An implied hierarchy of focus and factors considered is built into the diagram. To the right of each segment, a book shape signifies the respective management plan for each approach.

In Figure 9, an alternate approach to Figure 8 [20, 21, 22], continuity is maintained with the presence of the same icons against a backdrop featuring a strong contrast between gray and blue. Arrows visually guide the viewer through each management approach, illustrating progression and movement. These recognizable images serve as familiar shapes, representing essential components in the comprehensive ecosystem management process.

5.4 Portals to more

The National Marine Ecosystem Status (NAMES) website [23] serves as a comprehensive resource, offering a snapshot of major U.S. marine and Great Lakes ecosystem indicators. These indicators are used to track the status and trends of eight U.S. marine and Great Lakes ecosystem regions. The website provides users with the opportunity to explore key indicators. Figure 10 [23] shows a key graphic that acts as a portal to these indicators, depicting a coastal scene with a cityscape and boats in white against a blue background. Marine life is rendered in sharp black on a darker blue backdrop. Each indicator is thoughtfully crafted with sharp outlines and recognizable shapes, some of which were previously featured in EBFM figures. Users can interact with the website by selecting an icon, which redirects them to a dedicated page with a larger icon, descriptors, and additional information about the chosen indicator. These recognizable objects serve as essential tools, conveying the concept of indicators and ensuring continuity throughout the site. The use of bright colors, sharp contrasting shapes, and recognizable imagery collectively create a portal that engages users and facilitates access to valuable indicator information.

Figure 10.

Infographic for NAMES: Explore by Indicators displays icons representing Biological, Broad-scale Climate Indicies and Human Dimension components against a coastal scene with a cityscape. Developed by Avi Litwack as Adapted from [23].

In the concluding example (Figure 11) [24] the image attempts to depict the intricate concept of time, and prediction for each key idea that is represented as a distinct solid shape. For instance, a black swan event, symbolizing unpredictability, is rendered as a dark swan on a solid background. Economic outlook is depicted by bar and graph shapes, accompanied by the familiar dollar sign, universally associated with economic language. The concept of location is conveyed through a solid fish shape, transitioning to opacity to illustrate movement. Above these shapes and labels, the notation “T + 1” is featured, and each icon is now intricately rendered using small dots. This representation signifies the utilization of model to predict future states of these phenomena, where these dots symbolize the attempt to predict the future of the depicted examples. The use of symbolic shapes and visual elements helps convey the complexity of these concepts, offering a visual narrative that aids in understanding the interplay between time, prediction, and modeling.

Figure 11.

Infographic for Marine Ecosystem Predictions. “The four main elements of a suite of predictions for marine ecosystems. T + 1 refers to the next time step, with various, possible future conditions.” [24]. Icons represent each element. Future conditions are rendered using small dots. Developed by Avi Litwack as Adapted from [24].

6. Marine ecosystem science through visual science communication

Visuals have taken a pivotal role in marine ecosystem science communication. Examples shown here demonstrate many of the elements previously discussed in the visual perception and psychological impressions section. Large objects that anchor a scene can include an ocean-scape for marine communication or a city scene to relay human activities. Accompanying objects that connect to the scene ground the viewer and provide a path to further exploration of the scene.

The use of sharp contrasts such as white on black or a lighter color on darker color can aid in scene recognition. The additional use of appropriate texture can provide additional aid in object recognition as demonstrated with species of fish. Using bright and vibrant colors provide a pleasing picture for the user to consider while exploring the scene.

Object definition appears to be the most effective way for viewer recognition. Overutilization of colors or textures to render an object could detract from the shape outlined, impede the recognition of objects in a scene, and disconnect the viewer from the visual narrative.

These tactics serve a pivotal means to render scientific concepts more accessible and available to a large audience.

7. Recommendations

Based on the observations and findings explored in this paper using marine ecosystem-related examples, combined with the experience of the authors working together on many of these graphics over a period of years, we recommend the following as guidelines for effective visual scientific communications:

• Conduct a listening session with the scientist to capture the concept relayed.

  • Listening is a fundamental aspect of effective communication. Engage in thorough discussions with the scientist to ensure accurate understanding.

• Represent concepts with recognizable imagery that the audience can relate to.

  • Utilize universally understood symbols, such as waves for the ocean and fish for species in the ocean, to create a familiar association and provide connection to the concept for the audience.

• Use a large immovable object to anchor a scene and ground the image.

  • Employing a sizable and unchanging element, like a region of land adjoining water to convey a coastline, provides stability and context to the visual representation.

• Accompanying objects varying in size should be connected and relate to the anchor object.

  • Establish a cohesive visual narrative by varying the size of accompanying elements like fish, sea birds, and marine mammals, ensuring they are logically connected to the anchor object.

• Use bright vibrant colors and tones to elicit pleasant recall in the viewer.

  • The strategic use of a limited color palette can enhance viewer engagement, creating a visually appealing experience and fostering positive recall.

  • Alternatively, using darker colors and tones could elicit an unpleasant recall and add a sense of urgency.

• Define shapes with strong contrast.

  • Utilize high-contrast combinations, such as dark objects on a light background or vice versa, to facilitate rapid recognition of shapes and enhance overall comprehension.

• Use texture judiciously, to help define shapes that are appropriate for the subject matter.

  • Carefully integrate texture to enhance the visual experience, ensuring it aligns with the subject matter without overwhelming the viewer and hindering the object recognition.

• Build on concepts that have been previously introduced with imagery.

  • Continuity is paramount. Repeatedly employing familiar imagery, such as a thermometer for temperature change, establishes associations and aids in reinforcing key concepts.

• Iterate through these steps with the scientist to ensure that the message conveyed is not obscured.

  • Collaboration with the scientist is essential to maintain clarity and accuracy throughout the visual communication process. Regular iterations and feedback sessions are key to achieving this goal.

• Recognize the impact of future advancements in visual technology.

  • Acknowledge the evolving landscape of visual technology and anticipate the need to adapt and build upon existing methodologies for continued effectiveness in scientific communication.

Following this methodology to approach visual scientific communication is foundational to employing effective and logical strategies. This serves as a guide, ensuring that the representation of scientific concepts is not only accurate but also resonates with the audience. Moreover, the iterative process, involving collaboration with the scientist and soliciting feedback, safeguards against potential obscurities or misinterpretations of the message. Looking towards the future, this methodology positions itself as a flexible framework that can adapt to emerging tools and techniques. The responsibility of conveying scientific information visually is significant, and this methodology equips communicators to meet this responsibility with foresight and effectiveness.

8. Conclusion

In the vast realm of scientific discourse, leveraging visuals becomes a powerful conduit for meaningful comprehension. Crafting scenes that resonate with the viewer’s recognition establishes a vital point of reference, serving as a gateway to understanding. The strategic use of familiar objects aids in scene identification, while subsequent supporting objects guide the viewer through the scene. Use of appropriate textures and contrast cues further distinguish objects. Employing bright or warm colors can make a scene more visually pleasing and welcoming to the audience.

Our outlined methodology for visual science communication stands as a guide, offering a structured approach to enhancing the effectiveness of conveying scientific concepts. It serves not only as a set of principles but as a foundational framework fostering new understanding and paving the way for more advanced science communication practices. As our comprehension of how users perceive visual information continues to deepen, the journey towards refinement of our communication methods gains momentum. Building upon the principles elucidated in this methodology unlocks the potential for more nuanced and sophisticated approaches to science communication.

In this ever-evolving landscape, our commitment to understanding and adapting, coupled with the impactful use of visual communication, can illuminate the intricacies of scientific understanding and deepen our knowledge of this world.

Acknowledgments

The authors would like to acknowledge and thank IntechOpen editor Dr. Adam I. Attwood for the invitation to contribute a chapter to the book “Comics and Graphic Novels - International Perspectives, Education, and Culture.” We thank our reviewers: Peg Brady, Corinne Burns, Janne Haugen, and John Thibodeau. We thank the Office of Science and Technology Communications Team for providing outstanding support in developing communication products. Special thanks go to NMFS colleagues that have consistently collaborated with us over the years to produce many visual products: Roger Griffis, Jay Peterson, Rebecca Shufford, Stephanie Oakes, Ellen Spooner, John Thibodeau, Laura Oremland, Peg Brady, Haley Randall, Lee Benaka, and Mark Chandler.