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EXPECTATIONS
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@thayneyazzie-blog
Wolf #timepiece #wolf #illustration #drawing #howl #creative #wolfpack / #lonewolf
#duet #rockandroll #jesus #satan #illustration #drawing #bass #drums #jazz #duality #harmony #friendship #art #spiritual #god #devil #love #storytelling #philosophy #makelovenotwar #makemusicgreatagain #relationshipgoals
Shred #ukulele #suit #tie #rockandroll
The Overthinker #nature #illustration #drawing #meditation #prayer #faith #bird #eggs #surreal #abstract #art #fly
The lil' humbird that could. #art #drawing #illustration #hummingbird #pnw #nature
Commissioned piece for a friend. Faith, balance, creativity, and adventure. With all the complexities and challenges faced throughout a lifetime, I think it is easy to forget how influential our thoughts and actions can be. Not just the big stuff, but the little things - like small streams and a gentle breeze - it all adds up. Everything we do, to what we eat, to how we breathe, especially how we treat others, it's amazing how small actions impact the world.
My angels are just a little bit different than yours... #illustration #drawings #guitar #music #art #soundhealing
I wish I had a swing set hanging from my face:| Time #5 #drawing #illustration #oldmantakealookatmylife #eyebrows #teardropsonmyguitar
Time #3 #drawing #faces #trees #illustration #nature ##surprise #everythinghappensforareason #noteverythinghappensforareason #axe #apple #oldmanface
Time #2
Final Instructional Design Project
Mastery Journal Post
1) How has each course contributed to your personal and professional development as an instructional designer?
Not only have I developed exceptional skills as an instructional designer over the course of this degree program but I now have a stronger understanding of information architecture and motivational design. Over the past year, I have been introduced to theories providing understandings of the inner workings of human thought, attention, and learner engagement. Furthermore, I have been able to practice these theoretical concepts in a variety of applications through graphic design, video editing, audio engineering, and other instructional projects and media assets.
Furthermore, I have been able to utilize constructive critique practices and work in a collaborative community environment. Within this community of practice, I have been able to share ideas, learn, and incorporate feedback into my pursuit of instructional design mastery. For example, over the course of the degree program we have used the RISE model for peer review and self evaluation. This model of Reflect, Inquire, Suggest, and Elevate have provided encouragement to engage in conversation, acknowledge accomplishments, and provide honest and respectful review. Overtime, this model has helped me grow as architect of information and offered tremendous insight into a teambuilding and project centered working environment. As an instructional designer, this experience will yield valuable tools for my ability to pursue, lead, and accomplish professional objectives.
With an understanding of the five topics essential for an effective design critique (respect, honesty, objectives, conversation, & acknowledgement), I am confident in my abilities to pursue, lead, and accomplish professional objectives. Whether it’s an individual project or a team effort, the ability to analyze, inquire, and revise with the skills practiced throughout this course will prove to be very advantageous in the future. I look forward to the conversations with my peers and the design projects that will follow.
2) How well were you able to utilize the concepts and techniques you learned from the program (theories, systems design, interface styling, and the creation of multimedia content) as you designed, developed, and implemented your Final Project?
My final project consisted of a variety of media assets that were developed, designed, revised, and completed over the course of the year. Using Behance, I organized these assets into a final portfolio which included a description of the process and the purpose behind design, structure, and mediums used for each project. While each asset focuses on content catered towards an audience with specific learning objectives, all assets have several things in common - to engage, motivate, and effectively transfer knowledge to the learner.Â
During Month 11 - Media Assets, three learning modules were created and included in the final portfolio. These assets focused on gamification strategy, video instruction, and interactive design. As a student pilot working towards my certification, I was interested in designing learning materials that help beginning student pilots understand pre-flight processes necessary before flight training. In order to develop effective modules, I applied my understanding of system design theories, cognitive load theory, and several multimedia design principles such as the modality principle, etc.Â
3) Describe your most outstanding personal triumph in each course.
Month 1: Mastery
As Johann Wolfgang von Goethe states:
Everyone holds his fortune in his own hands, like a sculptor the raw material he will fashion into a figure. But it’s the same with that type of artistic activity as with all others: We are merely born with the capability to do it. The skill to mold the material into what we want must be learned and attentively cultivated. (as cited by Greene, 2012, p. 1)
From this quote, I began my journey towards mastery. In this class I created an outline for the remainder of the Instructional Design Master Program and researched a variety of individuals I found to be exceptional in their fields and inspiring to myself as an instructional designer. For this class, I wrote a paper on John Lasseter and his work with Disney and Pixar.Â
Month 2: Learner Engagement
In month 2, I explored the concept of online collaboration, specifically, designing and engaging in a community of practice. In this course, we began designing projects that would be used as a driver for discussion, feedback, and revision. One project that was particularly outstanding for me was the World War 1 interactive infographic. Following a tutorial through Lynda.com, I was able to design and customize an Adobe Illustrator file and add buttons that allowed interactive capabilities in Adobe Acrobat. Not only did this project allow me to apply theories of learner engagement and effective visual design, it also demonstrated the variety of tools and possibilities available within the Adobe Creative Cloud.
Month 3: Visual Communication
This class was an amazing introduction to the power of colors, space, and visual architecture. Using a variety of images available from Full Sail's catalogue, I created a variety of Grand Canyon National Park advertisements that utilized textual designs. While this was a great opportunity to learn and apply design principles covered throughout the class, my greatest achievement came in the form of an interactive presentation in Keynote. This presentation focused on renewable energy and incorporated graphics, audio narration, and interactive design elements that were critical to the effective nature of the module.
Month 4: Corporate Training
When developing materials for instruction and training in any professional field, first and foremost, it is important to understand the audience. Asking and answering questions such as - what is their demographic? What are their interests? What are their concerns? What are their needs? - are just a few of the questions that will guide an effective training module. Furthermore, while design and content are certainly an essential component of an effective presentation or learning asset, delivery is just as critical. Confidence, clarity, and implementation of resources will establish credibility and build trust in the audience. For this month, I used this knowledge to my advantage and designed a presentation for Seaside Community located within the State of Florida. I researched the demographics of the Seaside Community and established an understanding of their needs, their lifestyle, and their interests as a whole. I planned, designed, and developed a video presentation complete with visual graphics, myself presenting, and a scripted dialogue discussing the benefits of electric cars in their community. Overall, the project was a great success and allowed me to apply the skills and knowledge gained throughout the course and previous courses.
Month 5: Instructional Design Evaluation
In order for instructional design to be truly meaningful, it is important for development and implementation based upon evidence. In other words, it is critical that instructional design is created upon “making decisions, as much as possible, based on what has been demonstrated in research and practice, rather than on speculation” (Peters, Does interface design affect learning, 2013, para. 4).
In this month, I created two projects that I am extremely proud of and took part of an additional group project that I believe was also quite effective. For the first project, I designed posters for four models of instructional design. These models were ADDIE, SAM, Rapid Prototyping, and Gradual Release.Â
The second project was an interactive infographic that displayed a variety of instructional theories including Behavioral Theory, Cognitive Information Process Theory, Schema Theory and Cognitive Load, Situated Learning Theory, and Gagne's Theory of Instruction. I worked diligently to provide content that was meaningful and descriptive of each theory. Additionally, I designed visual graphics, that when observed separately, visually represented and explained each theory of instructional design.Â
As for the group project, our class utilized models of instructional design to develop a learning module that would focus on the needs of our client, in this case, Metascape. Our worked together to develop a script and an outline for our video presentation. In the final stages of our project, I edited the video and added a variety of visual graphics that helped visually explain the content provided within the video.
Month 6: Digital Media and Learning Applications
This month provided an opportunity to discover new methods of instructional design as well as revisit earlier theories. From cognitivism theories and behaviorism theories to Papert’s premise, Piaget’s theory, and Vygotsky’s Zone of Proximal Development, I found a variety of resources that will aided me in my journey mastery.Â
Hoadley and Van Haneghan contend, “in many cases, experts have not only have knowledge, smart perception, and skills on their side, they also sometimes have “mental models” which allow them to predict or simulate how things work in the world before attempting to solve problems” (as cited in Reiser & Dempsey, 2012, p. 58). In this case, I was able to perceive an idea before designing it on paper. This process, as expressed by Hoadley and Van Haneghan, allowed me to design an instructional asset that was thought out well before the design stage. The project I designed for this class was a video presentation using Adobe Edge Animation exploring the various elements of the Marine Corps Aviation Pipeline. This video not only allowed me to learn and apply new skills of animation, it also allowed me to focus on my strengths as a designer. Furthermore, I was able to design a project that focused on a personal interest - aviation.
Month 7: Music and Audio for Instructional Design
Peters (2013) states, “sound can be helpful to support attitude change and to contextualize subjects” (Avoid background sound, para. 2). Additionally, audio is processed through a secondary channel of information processing which allows a decrease in cognitive load on the learner. When coupled with audio and visual elements, instructional modules are able to relay more information more effectively.Â
For this course, I was able to design an audio landscape and demonstrate my ability to write, record, and integrate script into an instructional asset. I truly enjoyed this course due to its content and creative projects. My greatest triumph in this course was when I retold a story from the Brother's Grimm and added my own interpretation of music, audio atmosphere, and characterization of the story. It was truly remarkable to see how these auditory elements could alter human emotion and even perception.Â
Month 8: Film Making Principles for Instructional Design
Instructional design, in a nutshell, is similar to designing a story. For example, like a story, an instructional module must have content. In additional to a content, the instructional module must be engaging and whether it's a media-based training or education module, it is important to engage the learner immediately.  Creating a hook and an emotional connection is the first step to creating an effective learning module.
For this month, I created several video presentations using iMovie and Garageband. However, my most successful presentation was a tutorial on How-To-Draw-Pegasus. For this tutorial, I was able demonstrate how to draw step by step each part of Pegasus. Additionally, I wrote a script and recorded background music that supported the content of the video with an upbeat energy.
Month 9: Game Strategies and Motivation
Simonds (2013) states, gamification is the “use of game mechanics and psychology to encourage specific behaviors with a target audience” (Can games drive productivity, para. 4). Where other instructional modules may fail short, gamified instruction may prevail. Adding rewards or elements of competition can motivate learners to commit to understanding and learner content. However, Betaout (n.d.) reminds, “the real value is in engaging and motivating your users at a deeper level” (8 Tips to create a killer gamification strategy, para. 2). Therefore, it is important to truly evaluate the learning process and the relationship between the content and the learner. For example, it would not be advantageous for a learner to be distracted by game mechanics when the initial objective is to learn. An intentional consideration of game design, information architecture, and challenge-to-rewards ratios will ultimately allow users to enter a state of flow, or as Hemley (2012) describes, “a deep focus on nothing but the activity—not even oneself or one’s emotions” (Flow theory, para. 1).
For this course, I created a video presentation on two gamified learning assessments based on a previous learning module. Implementing theories and principles gained from past coursework, I was able to design an engaging game design for the Marine Corps Aviation Pipeline. I was particularly happy with my project due to its visual appeal and schema-centered organization of content. For example, only when certain levels were completed correctly would learners advance to the next level of aircraft and experience new challenges as well as new rewards. Â
Month 10: Learning Management Systems and Organization
“In addition to understanding how communication works," Quigley (2014) suggests, "it's also important to understand how collaboration works inside of a learning management system” (Advanced LMS features, 1:18). In this month, I designed an entire online learning module for Introduction to Instructional Theory using previous course materials and the LMS, Canvas. My goal was that collaboration between students would benefit the overall learning objectives within the the course. For example, students would work together on a final project in order to understand and apply the variety of Instructional Design Models (Gradual Release, SAM, ADDIE, Rapid Prototyping, etc.) as well as the five theories of instructional design. Overall, I was extremely happy with this project because it allowed me to demonstrate the variety of design principles gained over the course of the year and apply theories that would assist in the transfer of learning.
Month 11: Media Assets Creation
As I began completing the Instructional Design Graduate program, it became clear that I wanted to pursue a career in aviation and, specifically, instructional design for aviation. During this month, I created three assets that focused on learning how to pre-flight an R22 Helicopter. It was important for me to design three assets that not only demonstrated my understanding of instructional design principles, but was also applicable in real time. For example, my R-22 pre-flight instructional video and interactive module not only accomplishes my task of completing the assignments due for this course, they are also helpful for students who are actually seeking helicopter flight training. Luckily, I had access to a helicopter as well as flight instructors who were able to observe and help improve my work. Additionally, I was able to share my project through my community of practice where instructors and peers were able to identify areas of improvement as well as technical design so that I could create the best possible version of my learning modules.
Month 12: Final Project for Instructional Design
Over the course of this month, I was able to identify my strongest instructional design pieces and organize them into an online portfolio. Throughout, I described my design processes and provided an in-depth look at the design choices and purposes behind these choices. Furthermore, I have been able to include a biography, a resume, links to my other websites as well other projects created outside of Full Sail University.
Overall, the Instructional Design Master Degree course has allowed me to further my understanding of multimedia design principles and learning theories. Additionally, I have been able to develop a professional brand that will enable me to become a valuable asset to any organization and community I am a part of. Coincidently, I have gained valuable insight into the the use of collaboration, participation, and attitude. I have truly been able to further my skill-set over the course of this year and uncovered invaluable confidence in myself as a designer, an instructor, and a student. While my education at Full Sail University comes to a completion, my education will continue and I will strive to be a leader and contributor throughout my communities of practice.Â
References
Betaout (n.d.). 8 Tips to create a killer gamification strategy [Web log post]. Retrieved from https://www.betaout.com/blog/8-tips-to-create-a-killer-gamification-strategy/
Carter, Curtis W. (2012). Instructional Audio Guidelines: Found Design Principles to Consider of Every Instructional Audio Design Effort. TechTrends, volume 56, p 54-58.
Greene, R. (2012). Mastery. New York, NY: Viking Press.
Hemley, D. (2012). 26 Elements of Gamification Marketing strategy [Web log post]. Retrieved from http://www.socialmediaexaminer.com/26-elements-of-a-gamification-marketing-strategy/
Hoadley, C., & Van Haneghan, J. (2012). The learning sciences: Where they came from and what it means for instructional designers. In R. A. Reiser, & J.V. Dempsey (Eds.), Trends and issues in instructional design and technology (3rd ed.) (pp 53-63). Boston, MA: Pearson Education Inc.
Peters, Dorian (2013). Interface design for learning: Design strategies for learning experiences. San Francisco, CA: New Riders. Retrieved from http://ce.safaribooksonline.com/book/web-design-and-development/9780133365481
Quigley, A. (2014). Learning Management Systems (LMS) Fundamentals. [Lynda.com Video Tutorial] Retrieved from Lynda.com: https://www.lynda.com/Education-LMS-tutorials/Learning-Management-System-LMS-Fundamentals/156622-2.html
Simonds, L. (2013). Small Business tips of the day. Can games drive productivity?. Retrieved from http://business.time.com/2013/07/22/can-games-drive-productivity/​
Month 11
Mastery Journal Post
1) In what ways has your identity as an instructional designer changed during the previous months? How well have you met the goals that you set for yourself in the timeline that you created in the Mastery course in your first month as a graduate student?
As I have developed my skill set and knowledge in instructional design, I believe I have grown further than I originally had anticipated as an instructional designer. While a variety of my goals included specific content to both read and explore, what I found most beneficial was the ability to create, evaluate, and re-design entire instructional projects that I could use in an instructional setting.
As Ross (2013) states, “a personal brand is the sum total of all experiences” (Understanding personal branding, 0:07). In regards to my growth, I believe I my learning goals as well as learning experiences obtained outside of school have contributed to my overall success in my journey to mastery. For example, during this year I was able to teach in a classroom as well as become a student in aviation. Both these experiences helped achieve a greater understanding of the learning environments created throughout the Instructional Design course. When I set goals in the Mastery course, I had no intention of becoming a student pilot and centering a majority of my instructional design work on beginning flight and aviation. However, I was able to fully incorporate both Full Sail University and my own personal endeavors into a completely challenging and rewarding learning experience. Overall, I have obtained the goals I had set early on and have far past accelerated what I thought I was capable of doing.
2) What media assets have you created during the previous months that will best demonstrate your areas of expertise and support your personal brand? Describe your uniqueness and value and list your areas of expertise.
In previous months, I have created a variety of assets that I believe would demonstrate my areas of expertise as well as support my personal brand. I believe my expertise to be able to create learning materials that are able to break down content into manageable chunks while engaging the learner. Additionally, I believe a strong aspect of my brand is the ability to be creative under pressure as well as build completely unique and intriguing projects from the ground up. Over the past year, I have worked hard to develop projects from original sketches, designs, and even original music.
Throughout all of my media projects that included sound and background music, I wrote and engineered all of the tracks. While I could have used music from a free source website, I felt compelled as a musician to include original music. For example in Month 6 and Month 7, I recording a variety of instruments including drums, guitar, and piano, in order to fully compliment the content being covered in the video. In terms of personal branding, I believe this skill would be highly beneficial to a company looking for unique and original content to include in their material.
However, an example of one of my best materials was created during Month 2, learner engagement. In this month, I created an Instructional Design interactive infographic that provided five learning theories in addition to 4 models of instructional design. For this project, I worked diligently to develop graphics that explained each theory as detailed as possible with as little use of text. Additionally, I organized the content into separate informational windows with an extra information panel for each theory. Not only did this design help provide more content, it helped reduced cognitive load on the learner. As an instructional designer, I believe one of the most important skills to obtain is the ability to transfer written content into visual representation.
3) How will you continue to develop your personal brand as a means of achieving mastery in the future?
As Ross (2013) states, “experiences online and offline together drive a personal brand” (Understanding personal branding, 0:41). In other words, personality is an important element to create and develop in both physical and virtual environments. As I continue my journey towards mastery as an instructional designer, it would be advantageous to continuously develop relationships with others as well as establish a positive online presence.
Another powerful suggestion from Ross’s (2013) tutorial, is to create authority. While there are many ways to do this, “one of the easiest ways to start moving from being an expert to gaining authority status is to author content” (Ross, 2013, Three keys to a personal brand, 0:29). As I begin to seriously develop my personal branding as an instructional designer, I believe writing content would be extremely advantageous. Furthermore, I believe one of the best opportunities to develop authorship for content would be to work for a company that credit and use the written content.
References
Thomas Ross, L. (2013, November 4).Personal branding basics [Lynda.com online course]. Retrieved from https://www.lynda.com/Business-Skills-tutorials/Personal-Branding-Basics/126618-2.html
Learning Management Systems
Mastery Journal Post
1) Should instructional designers be required to be industry certified to practice in the profession? Why or why not?
Dempsey and Van Eck state, “certification in certain minimum instructional design and e-learning skills would at least suggest that an individual instructional designer has a basic level of competence in the field” (as cited in Reiser & Dempsey, 2012, p. 287). In regards to the profession of instructional design, it appears that a certification as well as continued education would not only benefit the instructional designer but the company hiring the instructional designer as well.
“An undergraduate degree in instructional design might be all that is necessary to work in many jobs, such as those in e-learning,” Dempsey and Van Eck contend, however, “many instructional design master’s programs fill half of the curriculum with introductory-level courses" (as cited in Reiser in Dempsey, 2012, p. 287). Therefore, an industry certified instructional designer might offer more in their field and demonstrate professional experience as well as applicable knowledge. As Dempsey and Van Eck state, “standards and certification are one of the hallmarks of a rigorous profession, and we should get serious about these discussions” (as cited in Reiser & Dempsey, 2012, p. 287). Furthermore, Pederson (2014) offers insight into the hiring process as he states, “I can tell you, I’d rather hire a lightly experienced—certified—developer, than a degreed student with no meaningful work experience” (Which is more important: college degree or certification, para. 7).
However, instructional design is a field of every expanding opportunities and technologies. While a required certification would demonstrate immediate recognition of skills and abilities, it may not entirely reflect on the knowledge and experience of an instructional designer. As Dempsey and Van Eck state, “organizations need the help of instructional designers that have a good theoretical background and a designer’s grasp of the use of e-learning technologies,” (as cited in Reiser and Dempsey, 2012, p. 287). Therefore, while a certification would certainly increase the legitimacy of an instructional designer, I believe the ability to practice the profession depends on a case-by-case basis and relies on the needs of an organization what the individual instructional designer has to offer.
2) Explain why continuing education in instructional design and technology is important, and how you plan to continue to develop your technical skills to remain competitive in the field.
Continuing education in any profession is important. However, as an instructional designer, it is important to recognize that “E-learning environments are more complex and more demanding of skilled instructional designers than ever before,” (Dempsey & Van Eck, as cited in Reiser & Dempsey, 2012, p. 287). Additionally, developments in technology are continuously demanding instructional designers continue to educate themselves on tools, online environments, and social paradigms.
As an instructional designer, it would be advantageous to work in an instructional field where online communities are developed, maintained, and implemented within an organization. Additionally, it would be beneficial to continually research instructional design trends and remain active in the world of technology as well as human psychology. For example, Vaughan (2015) states, “brain science is an important and evolving field and is having an impact on instructional design trends” (Science of learning, para. 1).
It is also important to "recognize how learners interact with courseware differently when they are on the go" (Vaughan, 2015, Nano Learning vs. mini e-learning, para. 2). In an ever advancing technological society, it is crucial to stay up to date on technology and social trends. As for my own technical abilities, I intend to continue learning new multimedia technologies and continuously develop projects that are interactive, visually engaging, and informative.
3) Considering how quickly eLearning theories and practices have evolved, and in anticipating more changes in the future, how will you ensure that you as an instructional design professional will keep abreast of future changes?
Dempsey and Van Eck state, “whether of not we reach the stage of anointment that fields such as computer science have attained depends not only on our ability to more firmly establish our competence and professional identity but also how we adapt to change” (as cited in Reiser & Dempsey, 2012, p. 287). Therefore, it is important not only to keep up to date on the latest technologies, but to also keep up to date on what kinds of technologies and systems are being used by schools, students, and clients. One strategy to remedy this, is data. Vaughan (2015) states, “although many IDs have not been involved with numbers and reports, the reality is that technology-enabled data analysis is important and we need to be aware of what kinds of data our clients are seeking, and what kinds of data clients have that can inform instructional design" (Big data, para. 1).
Another emerging component of instructional design is learner engagement and motivation; particularly, gamification. “Gamification offers tremendous opportunity for our industry," Vaughan (2015) states, so in order "to keep up, IDs need to become more adept in this area and develop the skills to think like game designers, which requires different skills than e-learning” (Gamification and flow, para. 1). Therefore, as an instructional designer, it is crucial for myself to consider not only the perspectives of learners, but, more importantly, new learners. As a designer of information, it is essential to design for the audience not just the content. Considering theoretical components such as human psychology and cognitive load while continuously incorporating new media will increasingly support my role as an instructional designer in an ever changing and evolving culture.
Luckily, there are many resources out there to continue my educational journey towards instructional design mastery. “Articles and books will give us fresh ideas, and clients and projects will give us the opportunity to get hands-on. These trends will mature and show their value as we discover the audiences and environments in which they can thrive” (Vaughan, 2015, 2015 Instructional Design Trends: sharpen the strew, para. 1).
References
Dempsey, J., & Van Eck, R. (2012). E-Learning and Instructional Design. In R. A. Reiser, & J.V. Dempsey (Eds.), Trends and issues in instructional design and technology (3rd ed.) (pp 281-289). Boston, MA: Pearson Education Inc.
Pederson, J. (2014). Which is more important: College degree or certification. Retrieved from JT Pederson: http://www.jtpedersen.net/2014/02/26/which-is-more-valuable-college-degree-or-certification/
Vaughan, S. (2015). How to put instructional design trends to action. Retrieved from E-Learning Industry: https://elearningindustry.com/2015-instructional-design-trends-compass-calling-ids-action
Games and Motivation
A most recent trend that has captured the attention of learners and instructional designers alike is the implementation of gamification strategies in learning materials. Throughout this month, we have explored current gaming techniques and gamification strategies that, when effectively implemented, can profoundly impact the way our students learn through games. “Among the most alluring of these rhetorics for educators," Shute, Rieber, and Van Ecke state, "is the idea that play leads to something productive (i.e. play as progress)” (as cited in Reiser & Dempsey, 2012, p. 323).
Using tools and skills obtained from my previous coursework, I designed two video presentations that outline two games, one game utilizing technology (video game) and one game without technology (board game), in order to assess and effectively evaluate a marine recruit's understanding of the Marine Corp Aviation Pipeline and basic aviation knowledge. While both games were quite different, the intention behind my gamification strategies was to induce flow so that the learner would be able to interact with the learning material as well as understand the learning content without being distracted by the game mechanics. As Shute, Rieber, and Van Ecke contend,  “Activities that induce flow have clear goals, coupled with clear and consistent feedback about whether a person is reaching these goals” (as cited in Reiser & Dempsey, 2012, p. 323).
Utilizing iMovie, Adobe Edge Animate, Illustrator, Photoshop, and Garageband, I recorded audio narration, developed musical backgrounds, and created a variety of illustrations, simulated game footage, and animated graphics in order to effectively describe and demonstrate the game architecture, player goals, rewards, and the mechanics of my games. Having the ability to record audio, capture video, and develop engaging learning presentations, as obtained through my year's coursework, has allowed me to apply my knowledge of instructional design as well as explore my own creativity. As Shute, Rieber, and Van Eck suggest, “Bringing love, work, and play into harmony with each other at points throughout one’s life is an important goal and one that parents and teachers should work to facilitate” (as cited in Reiser & Dempsey, 2012, p. 323).
Thank you,
Thayne
References
Shute, V., Rieber, L. & Van Eck, R. (2012). Games...and...Learning. In R.A. Reiser & J.V. Dempsey (Eds.), Trends and issues in instructional design and technology (pp. 321 - 332). Boston, MA: Pearson Education.
Instructional Video and Design
1) Boling and Smith describe two different views of the design process –scientific/process- centric versus exploratory/artistic. How do each of these views relate to your experience in planning, designing and producing an instructional video?
While planning, designing and producing my instructional video, it was paramount to set goals and obtain a specific process to achieve them. As Boling and Smith (2012) concur, “designing is viewed as action toward concrete, although not comprehensibly describable, goals within a complex conceptual space” (as cited in Reiser & Dempsey, 2012, p. 360). While scientific methods are certainly drawn upon such as step by step processes and research based information, technology and the tools available throughout our project allowed for an exploratory approach. For example, each student could have made an instructional video on the same topic. However, our approach (narrative style, script, film techniques, audio accompaniment, etc.) provides unique and unlimited ways of producing instructional video.
As for my own project, a linear, scientific processes such as step by step instruction was critical to developing the necessary elements of drawing a Pegasus. Additional, scientific and technical methods were integral during post-production. Adjusting contrast/brightness, automating volume, editing footage, etc. follow rules that, while not entirely empirical, are crucial for a professional production. Furthermore, I was also able to be highly artistic in ways that I incorporated story, voice, pacing, and visual aesthetics.
In the end, however, both process centric and exploratory design methods were critical in the development of instructional video. As Boling and Smith (2012) suggest, “We believe that instructional design is not a science and does not need to cast itself as a science to retain legitimacy, but that it can position itself within the design tradition and still draw upon scientific principles and processes as needed” (as cited in Reiser & Dempsey, 2012, p. 359)
2) Referring to Dewey’s explanation of aesthetics, explain the ideal aesthetic experience for the learner when watching an instructional video.
Dewey states that aesthetic experiences are “those that are immersive, infused with meaning, and felt as coherent and complete” (as cited in Reiser & Dempsey, 2012, p. 361). In other words, aesthetics captures the attention of the learner and provides a well-crafted and purposeful instruction. As Boling and Smith express, “instructional designers are designers of materials, but they are also designers of experience” (as cited in Reiser & Dempsey, 2012, p. 361). However, it is critical to not that while some instruction videos are visually attractive as well as professionally produced, they may still require further development in order to be deemed successful.
While instructional designers are designers of experience, Boling and Smith remind us that “these qualities of experiences [should be] seen as a critical driver for learning, not as a decorative gloss that might add appeal to a design” (as cited in Reiser & Dempsey, 2012, p. 363). Therefore, the added production should improve learning, not inhibit or distract the learner from the intended goals of instruction.
As for my own project this month, it was important to add aesthetics that improved my instructional video without disrupting the learning process. Aesthetic elements I added to my video included music in both the opening sequence as well as the ending sequence, transition effects, title sequences, and story. These elements were used in order to immerse the learner in the material as well as help develop an overall coherent production. A well-produced and well-edited training video not only engages the learner but also develops confidence in legitimacy of the learning material.
3) Considering the implications of emerging views on the nature of design, what changes do you think may occur in the instructional design field regarding instructional videos in the future? How will you prepare for these changes?
Boling and Smith state, “no single perspective is emerging to replace reliance on process models as the core of designing within the [instructional design] field” (as cited in Riser & Dempsey, 2012, p. 362). With this in mind, I believe that instructional design will face the same dilemmas today, as it did in previous years, as it will in the future. These dilemmas include paradigm shifts, cultural influences, available resources, and technological development. Additionally, these elements may induce a variety of design restraints yet to be considered and explored. Therefore, it seems appropriate to continuously keep an open mind and recognize the inevitability of uncertainties. Wim Groeneboom concludes, “in the end, I would say that dealing with uncertainties is the core of our design profession” (as cited in Reiser & Dempsey, 2012, p. 363).
It is imperative to recognize the pace in which technology has evolved over the years and consider what might be available in the coming years in regards to instructional design and video. While it might be difficult to fully prepare for such innovations and advancements in technology, it is reasonable to assume that upcoming students, professors, and future training professionals will be highly affected. More importantly, the influence of future technology on learners will ultimately influence the instructional designer’s development of instructional materials. For example, if 3-dimensional virtual reality technology became the norm for future entertainment, it would be likely to assume 2-dimensional video would no longer be as effective.
Furthermore, instructional design principles and all processes related are just as unpredictable and, therefore, should be regarded as a fundamental foundation in which we build new processes and develop new systems in order to fit an ever developing paradigm. Boling and Smith state, “we can use the principles we develop as what they are-tools for design-rather than as universal truths” (as cited in Reiser & Dempsey, 2012, p. 363).
Boling, E. and Smith, K.M. (2012). The changing nature of design. In R.A. Reiser & J.V. Dempsey (Eds.), Trends and issues in instructional design and technology (358-366). Boston, MA: Pearson
Mastery Journal Post
1) Write a complete description of the fully guided lesson that utilizes instructional audio and authentic problems as the basis for providing students with practice and feedback on each task.
Major and Minor Guitar Scales for Beginner/Intermediate Guitar Players
A fully guided lesson teaching minor/major guitar scales would begin with the fundamentals of building a scale starting with the initial/root note. By introducing basic concepts first, the learner will be able to add additional knowledge to their short-memory as the lesson progresses. As Clark contends, “people have to fist learn how to do something, step by step, in order to learn how to adapt what they have learned to new situations” (as cited in Reiser & Dempsey, 2012, p. 369).
In this case, students will be introduced to the major scale in the key of C major. An audio interactive instruction will play the note of middle “C” and then ask the learners to identify the same note on their own guitar. Learners  will also be equipped with chart of the guitar neck identifies the intended note to be played.  When the student plays the correct note, a bell or positive-like sound will signal will be played. By playing with the audio narration, learners will have instant feedback on whether or not they are playing the notes correctly. Once the correct note is played, the audio instruction will move to the next note in the scale and ask the learner to follow along. These steps will be repeated for every note in the scale until the learner reaches the octave able the original note.
After a lesson is given, a quiz will be administered to the learner in which they will be instructed to play each note of the intended scale starting with the root, i.e. C, and moving up to the octave, i.e. C again. The interactive element will work similar to a digital tuner and listen the notes performed by the learner and if performed correctly, a specific sound will play signifying the correct note, but if performed incorrectly, a different sound will play signaling an incorrect note has been played. Of course, each note in the scale must be played in the correct order. This process will be repeated for every scale,and for every Key. Once the student accurately performs each lesson, they will move on to the next stage of instruction.
As Clark suggests, “provide an accurate and complete demonstration of how and when to perform a task” (as cited in Reiser & Dempsey, 2012, p. 368). After completion of the lessons above, a scale identification evaluation will be administered. The interactive instruction will play a set of notes as well as provide the names for each note, it's intended scale, and then ask the student to identify the key. The student will then play their answer in the form of one note (the root) and if they answer incorrectly, a buzzer sound will play and they will be asked to play again.  However, if they play the correct answer, the student will be rewarded with an instrumental music track. They will have the opportunity to practice performing the scale over the musical track which will help strengthen their understanding of the scale. If designed properly, this reward of this will lead to more learning.
2) Write a complete description of the lesson that would be in keeping 
 with the principles described by Hannafin.
Major and Minor Guitar Scales for Beginner/Intermediate Guitar Players
Alternately, Hannafin (as cited in Reiser & Dempsey, 2012) suggests a more constructivist approach. Instead of a directly guiding the learner through instructional material, the design of the instruction should “guide optimally according to individual knowledge, skill and understanding as needs emerge” (Hannafin, as cited in Reiser & Dempsey, 2012, p. 372).
In the case of my guitar scales lesson, I will begin with a variety of instrumental music choices the learner can pick from. The interactive media (a software program, or website) will allow the learner to pick which type of scale they would like to learn and practice. When the learner choses a key and scale, a scale diagram will appear indicating what notes on the guitar neck can be played for the particular track. However, there is no initial feedback for the learner if correct notes or incorrect notes are played. Instead, the learner will have the freedom to explore on their own accord and play scales that aren't specifically identified in the lesson. For example, as students play along with the variety of instrumental music tracks, they are encouraged to try different scale combinations that are complimentary of the students own musical style. As Hannafin states, “guided learning paradumgs value and promote outcomes and processes that differ from those of direct, full guided instruction” (as cited in Reiser & Dempsey, 2012, p. 373).
This lesson is solely designed to allow the learner to explore on their own. Instead of a correct or incorrect feedback indicator, this instruction only requires that each lesson be completed. If a student needs to replay a certain lesson, they are allowed to do so as many times as they wish. However, requiring the students to complete all the lessons (i.e. play all the different musical keys as well as scales) will ultimately lead the student to developing greater knowledge of the guitar neck as well as improve on their own abilities. This method of minimal guided instruction is great for guitar players of all skill levels because it allows learners improve their own skill set without having to follow step for step a certain procedure. As Hannafin contends, “individuals can and do pursue learning goals from pretty much anywhere, anytime, and in almost any form” (as cited in Reiser & Dempsey, 2012, p. 375).
3) Assuming 
 that the learners have adequate prior knowledge and would benefit from 
 the instruction but are not familiar with the subject matter being taught, identify and explain how the instructional media (e.g., text, visual images, animation, instructional audio, and video) would cause the likely results 
 you described.
Beginning guitar players are usually pretty familiar with chords, rhythm, and progressions used in various songs. However, scales are a crucial component in developing understanding as well as creativity in the art of music. Assuming the learners used in this pilot test are capable of playing chords, notes, and keeping rhythm, I would guess that both instructional methods, along with the interactive multimedia, would successfully develop the goal to teach musical scales. Both instructional materials provide charts and diagrams that outline the specific notes for each scale of a particular key and allow the learner to play and listen to the notes in each key. However, there are some differences to be considered.
For one, the first method provides an audio performance of each scale and utilizes an interactive method of listening and providing feedback to the learner as they play the scales themselves. This approach is beneficial for students who otherwise might have difficulty learning or practicing scales on their own. However, students who are quick to learn might become uninterested in the learning material. But either way, it is important to understand that this method follows Clark’s argument - “when minimal to moderate levels of guidance are compared with fully guided instructional treatments, full guidance is nearly always more effective” (as cited in Reiser & Dempsey, 2012, p. 369). Therefore, this method of instruction will yield most effective results because it pertains to the lowest knowledge level and then develops skills upon what is learned.
My second instructional method, on the contrary, provides more leeway for learners to explore the material with little guidance. As Hannafin declares, “minimally guided approaches have proven effective” (as cited in Reiser & Dempsey, 2012, p. 373). Unlike guided instructional approaches, this second method offers the learner to play along with a rhythm track while using a scale chart as a guide. While the chart is essential for both methods, in this particular setting the interactive media does not issue a negative response for wrong or experimental notes that differentiate from the chart. Therefore, it is my belief, this method of learning will prove highly beneficial for motivated and creative guitar players while the first method might actually hinder these kinds of learners.
4) What research validates your assumptions regarding the likely results 
of your study?
As Kirschner, Sweller, and Clark (2006) conclude “when given adequate information and there is no evidence that presenting… (learners) with partial information enhances their ability to construct a representation more than giving them full information” (p. 78). Thus, full-guided instruction provides a stronger foundation for learners of all experience levels. While a minimally guided instruction may be highly beneficial for specific learners, it is not necessarily accessible or effective for every learner. For example, my two instructions are intended for the sole purpose of learning scales on the guitar. While the first instruction breaks down each scale note by note, the second instruction assumes the learner is capable of reading, interpreting, and applying an illustrated scale chart/diagram on their own. As stated earlier, this minimally guided form of instruction is geared towards independent and motivated learners, where fully-guided instruction is intended for most learners, especially beginners. Â
References
Clark, R.E. & Hannafin, M.J. (2012). Debate about the benefits of different levels of instructional guidance. In R.A. Reiser & J.V. Dempsey (Eds.), Trends and issues in instructional design and technology (53 - 63). Boston, MA: Pearson Education.
Kirschner, P. A., Sweller, J., & Clark, R. E. (2006). Why Minimal Guidance During Instruction Does Not Work: An Analysis of the Failure of Constructivist, Discovery, Problem-Based, Experiential, and Inquiry-Based Teaching. Educational Psychologist, 41(2), 75-86.
Mastery Journal Post
Digital Media and Learning Applications
This month I designed a variety of animated infographics with careful consideration of the learning methods, design methods, as well as the functional architectures involved throughout my development of these projects. Dempsey and Van Eck state, functional architectures are the “various functional entities and components involved in an instructional system and the collaborations and interactions among them” (as cited in Reiser & Dempsey, 2012, p. 283). For my particular project the functional architecture elements included motion graphics, interactive capabilities, self-paced animated sequences, and readable content. It was my intention to develop a learning module that both engaged the learner and allowed the learner to control the pace of the instruction.
Designing an instructional module for the Marine Corps Aviation Pipeline allowed me to practice skills already acquired throughout the master degree program as well as apply new knowledge and concepts obtained within this particular course. Utilizing Adobe Edge and Adobe Muse, I created an interactive animation that allowed prospective recruits, or trainees, to learn about the primary and intermediate aircrafts required as prerequisites for the advanced level aircraft. The opening menu sequence provides three advanced aircrafts to choose from; an F-18 Fighter Jet, MV-22B Wasp, and a C-130 Cargo Jet. When an option is selected, an animated graphic of the primary aircraft appears along with information on the aircraft. The user has the ability to click “continue” when they are ready to move on to the intermediate aircraft and, eventually, the advanced aircraft. Additionally, the entire instructional module includes detailed graphics of each object as well as moving objects that provide the appearance of each aircraft flying through the sky with respect to its speed, size, and relative properties compared to other aircraft. As Dempsey and Van Eck suggest, “we should be selecting technics to create rich, flexible environments” (as cited in Reiser & Dempsey, 2012, p. 285) in order truly engage the learner.
After reviewing the project and reading Dempsey and Van Eck’s section on Functional Architectures (as cited in Reiser & Dempsey, 2012, pp. 283-286), it was revealed to me the notion of “Technics vs. Trucks” and whether or not the methods (what is being learned) were made effective by the medium used; in this case, the animated interactive elements. As Clark (1983) contends, “the logical assumption is that learning is “delivered” to learners and that the delivery vehicle is not particularly important” (p. 446). However, as the instructional designer, it is my intended objective that the medium, including the entirety of the animated and interactive graphic, provides an environment aimed to “attain specific learning outcomes” (Dempsey & Van Eck, as cited in Reiser & Dempsey, 2012, p. 284).  These learning outcomes include understanding the major differences between specific aircraft within the Marine Corp Aviation Pipeline. With the technological mediums available, I designed learning objects as part of my learning methods in order to achieve my instructional goal. As Kozma (1991) states, “within a particular design, the medium enables and constrains the method; the method draws on and instantiates the capabilities of the medium” (p. 205).
 As I continue my journey as an instructional designer, it is my sole objective that instructional materials serve the needs of the client and, especially, the learner. However, I will continually seek out newer technologies, methods, and instructional design strategies vital to remain effective in an evolving technologically driven society. As Dempsey and Van Eck remind us, it is “necessary to understand and embrace changes in the functional architectures of instructional design, not just the technologies themselves, if we are to continue to play a meaningful role in the future of learning” (Dempsey & Van Eck, as cited in Reiser & Dempsey, 2012, p. 283).
References
Clark, R. E. (1983). Reconsidering research on learning from media. Review of Educational Research (pp. 445-459).
Dempsey, J. V. & Van Eck, R. N. (2012). E-Learning and Instructional Design. In R. A. Reiser, & J. V. Dempsey (Eds.), Trends and issues in instructional design and technology (3rd ed.) (pp. 281-287). Boston, MA: Pearson.Â
Kozma, R. B. (1991). Learning with media. Review of Educational Research (pp. 179-211).