Ken Thomas - Instructional Designer | Annotated Resources
Instructional Design Intros & Overviews | Instructional Design Theory | eLearning | Presentation |
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Gagne, Robert; Wager, Walter; Golas, Katharine; and Keller, John M. (2004). Principles of Instructional Design (5th Ed.). Belmont, CA: Wadsworth Publishing. Gagne is considered one of the founders of the field of Instructional Design. In addition to defining the first set of taxonomies of learning, he identified the nine "conditions of learning." These instructional events and corresponding cognitive processes are:
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Dick, Walter; Carey, Lou; & Carey, James (2004). The systematic design of instruction (6th ed.). Boston: Allyn & Bacon.
"Dick & Carey," as it's frequently called, is one of the most popular texts used in graduate Instructional Design courses. It lays a foundation for Instructional Design through presenting the "Dick & Carey System Approach Model" of Instructional Design (see diagram and table below). ![]()
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Smith, Patricia L. & Ragan, Tillman J. (2005). Instructional design (3rd ed.). San Francisco: Wiley & Sons. A frequently selected text for teaching Instructional Design, "Smith & Ragan" provide an in depth overview of the theory of Instructional Design. Table of Contents: Introduction
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Kirkpatrick, Donald L.; and Kirkpatrick, James D. (2005). Evaluating training programs: The four levels (3rd Ed.). San Francisco: Berrett-Koehler Publishers. The "Kirkpatrick Model" is the single most used model / approach for evaluating training programs. The levels are:
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Gronlund, Norman E. & Brookhart, Susan M. (2009). Writing instructional objectives (8th ed.). Upper Saddle River, NJ: Pearson Education, Inc. Section One: Preparing Instructional Objectives Focusing on Intended Learning Outcomes
Writing Objectives for Knowledge, Comprehension, and Application Outcomes
Using Objectives in Achievement Testing
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Reigeluth, Charles M. (ed.). (1999). Instructional-design theories and models: A new paradigm of instructional theory (Volume 2). Mahwah, NJ: Lawrence Erlbaum Associates. One of the best collection of articles from some of the top theorists in the business. Well selected, well organized, and an excellent read for the serious student of Instructional Design. Table of Contents: Unit I Instruction: What the Discipline is Like
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Clark, Ruth; Nguyen, Frank; and Sweller, John (2006). Efficiency in Learning: Evidence-Based Guidelines to Manage Cognitive Load. Pfeiffer. This book provides an outstanding set of guidelines, each painstakingly backed by research, to achieve efficient instruction. The guidelines are based on application of cognitive load theory, and focus on minimizing unproductive contributions to cognitive load while maximizing productive sources of cognitive load. This, in turn, leads to creating an efficient learning intervention and/or environment. Cognitive Load Theory:
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Clark, Ruth. (2001). Building expertise: Cognitive methods for training and performance improvement (2nd Ed.). San Francisco: Wiley & Sons. Table of Contents:
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Clark, Ruth. (1999). Developing technical training: A structured approach for developing classroom and computer-based instructional materials (2nd Ed.). Washington, DC: International Society for Performance Improvement (ISPI). |
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Clark, Ruth and Lyons, Chopeta (2004). Graphics for learning: Proven guidelines for planning, designing, and evaluating visuals in training materials. San Francisco, CA: Pfeiffer. Ruth Clark is one of the most practical theorist working in the Instructional Design field today. Her work is backed by sound research, is always clear & well organized, and (most importantly) can be directly applied in the design and development of engaging learning products. Her partnership with Chopeta Lyons on this book paid off wonderfully. Together, they've created a wonderful resource to anyone creating visuals to support learning products. As always with Clark, the research is complete and well presented to support her ideas and guidelines; the examples accompanying the guidelines are plentiful and are also available on a CD-ROM included with the book. Key topics in the book include the functions of graphics in learning products, a systematic visual design process to use when planning your instructional graphics, using graphics to activate learning, and using appropriate graphic strategies to support specific information types. Each section contains practical guidelines, which are clearly explained and supported by research -- here is just a small sample of the guidelines taken from various chapters of the book (minus their explanations & examples):
The book is organized into the following sections & chapters: Section One: The Foundation
Section Two: How to Use Visuals to Support Psychological Learning Processes
Section Three: How to Visualize Lesson Content
Section Three: How to Visualize Lesson Content
Communicative Functions of Graphics (Carney & Levin)
Pyschological Functions of Graphics
Explanatory Graphics
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Medina, John (2008). Brain Rules: 12 Principles for Surviving and Thriving at Work, Home, and School. Pear Press: San Francisco. Dr. John Medina, the author of "Brain Rules," is a tsunami of positive energy. If you're not lucky enough to see him speak live, take the time to explore the book's website (www.brainrules.net) and view the DVD packaged with the book. His qualifications are top-notch - he's a developmental molecular biologist focused on the genes involved in human brain development and the genetics of psychiatric disorders. He currently holds joint affiliate faculty appointments at the University of Washington School of Medicine in its Department of Bioengineering, and at Seattle Pacific University, where he is the director of the Brain Center for Applied Learning Research. Here's the basic theme of the book. our schools and businesses are designed in direct opposition to how our brains work - let's challenge that and try out some new ideas - let's leverage our current understanding of the human brain to start over. This theme is covered through presentations of his 12 "Brain Rules" - each covered in depth in its own chapter of the book. Dr. Medina takes hardcore brain research and theories, and boils them down to easy-to-grasp ideas. Even though the book is written to the layperson, it is not dumbed down - it's just clearly written and supported through illustrative observations and stories. Some of his stories will have you laughing, others will leave you crying, and all will start you thinking. The last chapter will make you want to tear down our entire public school system. Here are the actual rules (also listed on the book's website):
Note: If you're like me (and I know I am), you love to see references embedded in your text - Dr. Medina intentionally reduces distraction by not including them within the book. The references are, however, meticulously listed by rule and by fact on the website (you may have to do a little digging, but they're in there). Make sure everyone you know who has a voice in our school system reads this book! |
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Alessi, Stephen M. and Trollip, Stanley R. (2001). Multimedia for learning: Methods and development (3rd Ed.). Boston: Allyn and Bacon.
If I could only put one multimedia learning book on my bookshelf, this would be it. The "General Principles" section provides one of the best overviews I've read of Behavioral, Cognitive, and Constructivist approaches to learning (although I do think they misrepresent the Instructional Systems Design process and treat it as a purely Behavioralist approach). This section also presents an excellent overview of the learning process. The book moves on to discuss methodologies and learning sequences at an unparalleled level, including a brilliant discussion of simulations and educational games. The book closes with an overview of an approach to Design and Development that's worth reading, but far less valuable than the previous sections. Of all my design books, this one has the most dog-eared pages and underlined text; the chapter-level bibliographies alone are worth the book's price! Anyone looking to delve deep into multimedia design for learning should have this book on his or her shelf. |
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Horton, William (2000). Designing web-based training: How to teach anyone anything anywhere anytime. New York: John Wiley & Sons. This is a great primer for anyone working with online training. One of the best features of the book is the section helping convert non-online strategies into online strategies (e.g., virtual field-trip, lab, conference). William Horton Consulting |
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Allen, Michael (2003). Michael Allen's guide to e-learning: Building interactive, fun, and effective learning programs for any company. Hoboken, NJ: Wiley & Sons. Allen is one of the founding fathers of eLearning. This book (and the associated CD) provide some amazing "before and after" treatments. Although many of the examples are "game-like" and may not be appropriate for business training, they do help get the designer "out of the box." |
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Schank, Roger C. (2002). Designing world-class e-learning : How IBM, GE, Harvard Business School, and Columbia University
are succeeding at e-learning. New York: McGraw-Hill.
Provides some great screen ideas for interpersonal skills simulations and other interesting interactions (sadly these
screen captures are in black & white).
Schank's e-Learning Instructional Design Process:
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Mayer, Richard E. (2006). Multimedia learning (8th Printing) . New York: Cambridge University Press. Mayer presents a clear and cohesive argument for using words and pictures together in your training. He provides a set of solid well-thought out examples and loads of results from research and experiments. His definition of multimedia (i.e., "the presentation of material using both words and pictures") is very different from than how most multimedia designers use the term (usually requiring audio, not just "words," which Mayer presents as screen or print text). Only read the book if you need convincing (or need to convince others) that using pictures and words together leads to better instructional results than using either alone... or if you're into reading multi-modal theory & research and need to get your fix. Here are seven principles presented in the book every instructional designer should know:
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Rossett, Allison (ed.) (2002). The ASTD e-learning handbook: Best practices, strategies, and case studies for an emerging field. New York:McGraw-Hill. Although over 10 years old, this still remains an excellent collection of articles by many of today's experts in the field of e-Learning. Table of Contents: Part One – The State of E-Learning
Part Two – Developing Great E-Learning
Part Three – Managing E-Learning Success: Strategies That Turn Promises into Performance
Part Four – Is E-Learning Too Good To Be True?
Part Five – E-Learning for the E-Learning Professional: Developing the People Who Will Lead the Field
Part Six – E-Learning at Work: Case Studies
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Mayer, Richard (ed). (2005). The Cambridge handbook of multimedia learning. New York: Cambridge University Press. This is the single best collection of articles from today's leading researchers in multimedia learning available. The book provides an excellent sampling of research associated with how people learn through the combination of words (text and/or audio) and images (still illustrations or photos, animations, and/or video) available. Anyone working in multimedia learning will benefit from gaining a firm understanding of the principles presented throughout this book. Mayer provides the following definitions to ground the readings:
The book is divided into five parts:
Here are abstracts from some of the articles: Implications of Cognitive Load Theory for Multimedia Learning – John Sweller Working memory is limited and has no logical “central executive” available to organize new information. When building onto existing schema, instruction should relate to the existing schema. When presenting new concepts, instruction should be organized to support the development of a new successful schema. Cognitive Theory of Multimedia Learning – Richard E. Mayer A fundamental hypothesis underlying research on multimedia learning is that multimedia instructional messages that are designed in light of how the human mind works are more likely to lead to meaningful learning than those that are not. The cognitive theory of multimedia learning (CTML) is based on three cognitive science principles of learning: the human information processing system includes dual channels for visual/pictorial and auditory/verbal processing (i.e., dual-channel assumption); each channel has limited capacity for processing (i.e., limited capacity assumption); and active learning entails carrying out a coordinated set of cognitive processes during learning (i.e., active processing assumption). The Four-Component Instructional Design Model: Multimedia Principles in Environments for Complex Learning – Jeroen J. G. van Merrienboer & Liesbeth Kester The Four-Component Instructional Design (4C-ID) model claims that four components are necessary to realize complex learning: The Multimedia Principle – J.D. Fletcher & Sigmund Tobias The multimedia principle states that people learn better from words and pictures than from words alone. Effectiveness of combining imagery with text varies with the content to be learned, the conditions under which performance is measured, and individual differences in spatial ability, prior knowledge, and general learning ability. The Split-Attention Principle in Multimedia Learning – Paul Ayres & John Sweller The split-attention principle states that when designing instruction, including multimedia instruction, it is important to avoid formats that require learners to split their attention between, and mentally integrate, multiple sources of information. Instead, materials should be formatted so that disparate sources of information are physically and temporally integrated thus obviating the need for learners to engage in mental integration. By eliminating the need to mentally integrate multiple sources of information, extraneous working memory load is reduced, freeing resources for learning. The Modality Principle in Multimedia Learning – Renae Low & John Sweller The capacity limitations of working memory are a major impediment when students are required to learn new material. Furthermore, those limitations are relatively inflexible. However, presenting some information in visual mode and other information in auditory mode can expand effective working memory capacity, reducing the effects of excessive cognitive load. The Redundancy Principle in Multimedia Learning – John Sweller The redundancy principle suggests that redundant information interferes with rather than facilitates learning. Redundancy occurs when the same information is presented in multiple forms or is unnecessarily elaborated. Instructional designs that eliminate redundant material can be superior to those that include redundancy. Principles for Managing Essential Processing in Multimedia Learning: Segmenting, Pretraining, and Modality Principles – Richard Mayer When a concise narrated animation containing complicated material is presented at a fast rate, the result can be a form of cognitive overload called essential overload. Essential overload occurs when the amount of essential cognitive processing (similar to intrinsic cognitive load) required to understand the multimedia instructional message exceeds the learner’s cognitive capacity. Principles for Reducing Extraneous Processing in Multimedia Learning: Coherence, Signaling, Redundancy, Spatial Contiguity, and Temporal Contiguity Principles – Richard Mayer Extraneous overload occurs when essential cognitive processing (required to understand the essential material in a multimedia message) and extraneous cognitive processing (required to process extraneous material or to overcome confusing layout in a multimedia message) exceeds the learner’s cognitive capacity.Principles of Multimedia Learning Based on Social Cues: Personalization, Voice, and Image Principles – Richard Mayer Social cues may prime social responses in learners that lead to deeper cognitive processing during learning and hence better test performance. The personalization principle is that people learn more deeply when the words in a multimedia presentation are in conversational style rather than formal style. The voice principle is that people learn more deeply when the words in a multimedia message are spoken in a standard-accented human voice rather than in a machine voice or foreign-accented human voice. The image principle is that people do not necessarily learn more deeply from a multimedia presentation when the speaker’s image is on the screen rather than not on the screen. The Guided Discovery Principle in Multimedia Learning – Ton de Jong Inquiry or scientific discovery learning environments are environments in which a domain is not directly offered to learners but in which learners have to induce the domain from experiences or examples. Because this is a difficult task he discovery process needs to be combined with guidance (e.g., scaffolding, cognitive tools) for the learner. The most effective way to provide this guidance is to integrate it in the learning environment. Guidance may be directed at one or more of the discovery learning processes. With adequate guidance discovery learning can be an effective learning approach in which mainly “intuitive” or “deep” conceptual knowledge can be acquired. The Collaboration Principle in Multimedia Learning – David Jonassen, Chwee Beng Lee, Chia-Chi Yang, & James Laffey Based on sociocultural and social cognitive theory, computer support for collaborative learning has emerged as a new research and development subdiscipline of computer-mediated communication. The Self-Explanation Principle in Multimedia Learning – Marguerite Roy & Michelene Chi Learning in multimedia environments is hard because it requires learners to actively comprehend and integrate information across diverse sources and modalities. Self-explanation is an effective learning strategy that helps learners develop deep understanding of complex phenomena and could be used to support learning from multimedia. |
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Clark, Ruth; and Mayer, Richard (2007). e-Learning and the Science of Instruction: Proven Guidelines for Consumers and Designers of Multimedia Learning (2nd ed.). Pfieffer: San Francisco. Great book! It’s easy to read & follow along with. Most chapters in the book contain an outline, a preview of the content, a Design Dilemma & resolution, research based principles, graphic examples, and a short summary of what to look for when developing or selecting an e-Learning course. Clark & Mayer provide several research based principles (described below) to apply to e-Learning (or to look for when choosing an e-Learning course). Not only does the book teach you the principles and how to apply them to e-Learning, it also provides some of the key research that supports each principle. The principles and research provided can help you make informed decisions about e-Learning courses and explain the decisions to others. Summary of e-Learning Principles: Multimedia Principle
Contiguity Principle
Modality Principle
Redundancy Principle
Coherence Principle
Personalization Principle In addition to the primary e-Learning principles, there are several other e-Learning topics discussed in this book that can be helpful when making e-Learning design decisions (e.g., practice exercises, worked examples, collaborative learning, building problem-solving skills). |
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Reynolds, Garr (2008). Presentation Zen: Simple Ideas on Presentation Design and Delivery. New Riders: Berkeley, CA. PresentationZen isn’t really a book about specific techniques; it’s about understanding and applying simple principles from Zen to your overall approach to, preparation for, design of, and delivery of your message. Garr Reynolds invites the reader into his mind as he prepares a presentation. We see his narrowing down the presentation to a core message, then fleshing out the ideas on white board flows, paper storyboards, and post-its. He explains there are three parts of the presentation – the slides, your notes, and the handout – and how each is approached very differently. He speaks out against what’s now acceptable as a “slideument,” and how slideumentation is killing presentations at conferences and perpetuating the “Death By PowerPoint” phenomenon. When he gets to design, he illustrates how three Zen principles – Kanso (Simplicity), Shizen (Naturalness), and Shibumi (Elegance) – can work together to create slides that help convey your message. Other non-Zen principles (design, story, symphony, empathy, play, meaning, enthusiasm, and surprise) are also thoroughly discussed throughout the book, and ultimately applied to his slide design. Okay, I said the book is about principles rather than techniques… that doesn’t mean there is no technique in the book. About half way into the book, Garr shifts into technique and starts showing before and afters to illustrate how the techniques are used to apply the principles. The difference between this book and other “before and after” books is that Garr doesn’t just show you one bad example followed by the fix; instead he shows a set of bad slides covering the same content, and a set of different ways the principles and techniques can be applied. There are many pages of example after example (many contributed by other designers and presenters) – if Garr had just published these alone, the book would be worth the price. I highly recommend this book to anyone who designs, creates, and/or delivers presentations. It is a beautifully crafted book, and provides an insight into a presentation master’s mind. Having said all that, here is my only negative comment on the book… too often (especially in the first half of the book), I feel the prose overwhelmed the message. I know another reviewer commented on the lack of text (as if adding text increases the value of a book), but when your message is simplify, the same principles should have been applied to the writing of the book. |
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Duarte, Nancy (2008). slide:ology: The Art and Science of Creating Great Presentations. Sebastopol, CA: O’Reilly Media, Inc. Slide:ology presents itself as a book that teaches how to create “great presentations.” But, as an instructional designer, I think it offers more than that. It gives guidelines for creating memorable visual media, period. The majority of the concepts in the book can be applied to creation of web-based pages, as well as slide decks to accompany instructor-led training. Whether it was a web-based training or a live lecture, we’ve all sat through a media presentation that has made us cringe or, worse yet, struggle to stay awake. Maybe we’ve even come to believe boring presentations are just the way of the business world, the way things are done. Nancy Duarte is here to tell you, it’s not. She begins her book by reminding readers of the stakes: a great presentation can be a deal maker; a poor presentation can be career suicide. The early chapters set up the presenter’s relationship to the audience—it’s about what you can do for them—and their slides—they should support the presentation, not repeat it. It’s a message that an instructional designer can easily appreciate: engaging the learner and appealing to their interests throughout a training. The majority of slide:ology focuses on creating the ideas that will become meaningful slides for the audience. Duarte recommends breaking out of the text-heavy, bullet point rut and finding ways to make your ideas visually appealing. The most helpful sections of the book for me personally were the ones on creating diagrams. There were 13 pages with multiple sketches illustrating each diagram type (i.e., flow, structure, cluster, radiate, pictorial, display data). For example, there were no less than 12 sketches of possible designs for a linear flow diagram. Such elements will make this book a great reference for future projects. Once the ideas you’ve brainstormed and sketched are ready to become a reality, slide:ology provides instruction on how to use them to design effective slides. Duarte discusses the importance of appropriate arrangement of elements on the slide, including use of grids to create a sense of uniform structure for the entire presentation and whitespace to create “visual breathing room.” She also explains the power of visual element decisions, such as background, color palette, font/typesetting, and creative images. Careful choices in this area create a cohesive look and feel that’s consistent with your message and brand. Finally, the section on movement gives great advice on avoiding unnecessary animation in slides versus using the function wisely to give your presentation the feeling of a movie scene rather than a snapshot. Used correctly, animation can help create a sense of movement and change that emphasizes your message rather than distracting from it. When a book purports to teach excellent design, the layout of the book should practice what it preaches, and slide:ology definitely does. From the use of a radiate diagram in the Acknowledgements section to the countless example sketches and before & after slides, this book provides plenty of inspiration for incorporating its ideas into real world projects. The addition of the Duarte website content was also invaluable. For slide examples labeled with a [www], I was able to go to the website and download the slide to explore in PowerPoint. I’m a hands-on learner, so being able to physically explore how the slide was built made the difference between understanding in the abstract and being able to recreate the effects in my own work. It’s rare to find a book that inspires, but that was my experience with slide:ology. I’m walking away from this experience with a wealth of ideas and concepts that I’ll definitely be incorporating into my next design project. If you’re looking for a concrete, step-by-step how-to guide for creating a PowerPoint deck, you might be disappointed (as many of the Amazon customer reviews illustrate). Duarte isn’t going to tell you what combination of elements to put in your slide for a winning formula. Instead, you’ll get crash course in how to “think like a designer” that provides a good foundation of knowledge for you to make those choices for yourself. If you read one book on presentation/page design this year, slide:ology should be it. |
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Bajaj, Geetesh and Swinford, Echo (2008). Microsoft Office PowerPoint 2007 Complete Makeover Kit. Que. My team builds presentations to support instructor-led courses, so we're often asked by other organizations to help with their PowerPoint decks to support their various presentations. Most presentations we're given are just plain TERRIBLE! We're brought into the projects way too late to do anything more than keep the presenters from embarrassing themselves. We do this with some quick and dirty tricks (applying backgrounds, swapping out the horrible clipart they've swiped illegally from Google Images, revising terrible titles, & editing grammatical errors). I've been looking for a book to help our internal partners build better presentations from the start (i.e., beyond the quick tricks!). The Complete Makeover Kit is EXACTLY what it says it is - a makeover kit! Some of the books I've reviewed go deep into why this or that presentation "sucks," then provide a lengthy textual description of how they saved the day. This MAY be followed by some quick after shots OR before shots (I ask you, was that SUPPOSED to be helpful???). In a welcome contrast, Microsoft Office PowerPoint 2007 Complete Makeover Kit starts with a quick walkthrough the new interface (for more detail, use Geetesh Bajaj's other books on using PowerPoint 2007), then dives deep into the makeover. The authors don't waste your time telling you how hard they worked on the transformation - they open the presentation and start working on it. The step-by-step procedures are given enough detail that a newbie can open PowerPoint and follow along. Each key step is supported with a color screen capture from the PowerPoint tool, and there are before and after color shots of the slides throughout the book. The book is beautifully designed and executed, and well worth the $30 price tag (although on sale for $20 at this time on Amazon), "BUT WAIT - THERE'S MORE!" The book comes with a CD containing the before & after versions of the presentations in the book (use them for practice while you walk through the book!), a host of templates, various images, demos of helpful utilities, and two additional chapters for the book (more resources and a basic intro to SmartArt) - that's what makes this a "kit." Even if your team is still using a previous version of PowerPoint, most of the techniques can be applied to your presentations (you just can't use the power features the authors walk through). I highly recommend buying this book for yourself, your team, and your peers (especially the ones who come to you for help!). (Oh yeah, and subscribe to Indezine - Geetesh' awesome free website and newsletter! The link appears in the "About the Author" section of the Editorial Reviews.) |