Sunday, February 8, 2015

Typography: four words that express their own meaning beyond simple letters

After spending time learning more about the role of typography in learning this week, I've participated in an activity to design words to express their meaning. I really love typography. And I especially loved researching and learning more about it this week.

These words fit with a inter-personal communications unit of instruction I am developing for my children. They're younger children, and not sophisticated in terms of the topic. As such, these words should be helpful to help them understand their meaning, because they are colorful and graphical, like pictures or cartoons. Instead of simply being text representing a word, they convey other meanings. As Lohr describes in our textbook, "Instructional typography is defined as the art and science of using individual letters, words, and passages of text to convey an instructional message." (page 242)

For example, criticism is red like anger or spilled blood; the word looks aggressive and pointed, with even an arrow to point blame. It's not bold or capitalized because it's more sly, possibly back-handed. 

Defensiveness is puffed up high, like raised hackles or pride, and large to be defensive so no aggression gets by. Alternating crenels epitomize the defense of a castle. It doesn't shirk, it doesn't stand down, so it's capitalized. The close tracking (as opposed to kerning, which on page 231 Lohr defines as space between individual characters and I realized is different than the uniform character spacing which is tracking) indicates closed-in ranks. And black gives nothing away, not revealing its hand. 

Contempt is green like poison. It unsubtly oozes and drips with inflicted pain. It's often not measured or even-handed, so it's is up and down, and like criticism, it stabs and lashes out ... but in sort of a rounded frowny way that underpins its sad malevolence. 

Finally, Stonewall represents exactly what it is: walling others off. It's a specific type of defensiveness, not expansive like our other general example defensiveness, but rather small, compact, because it wishes to be invisible and absolutely not interacted with.

In summary, I tried to be conscious of cueing emphasis by using variety in a way that was not all "bold". Lohr describes how cueing can be confusing if used too much (page 242). These words are not meant to be used together in the same sentence so it can be difficult to assess how it is not all bold and attention-grabbing, but still, my attempt was to not let each one be big or all caps shouting or the like. For example, criticism is more subtle. Stonewall is diminutive. In fact, as a user test I asked someone if the words were overly competing one with another and I was told "no" without any other critique, so I kept the image as is. I am satisfied the words each do a decent job conveying more meaning to my children-students than if the words were simply expressed in plain text, that each conveys an instructional message to help them understand the meaning of the word that is greater than if the words were simply plain letters.



Lohr, L. (2008). Creating graphics for learning and performance: Lessons in visual literacy (Second ed.). Upper Saddle River, N.J.: Merrill.

Friday, February 6, 2015

A thought & notes on Tom Chatfield: 7 ways video games engage the brain

I loved this talk! It’s valuable because it demonstrates in a really interesting way part of how motivation works, which has seen strides in research since my Motivation class as a psych major in the mid-90’s.

Because of smartphones, today almost everyone plays games. Think about how mechanics used in games can be applied to influence our children and students, from home chores/rewards to teaching Sunday School. That’s what this talk is about. Importantly though, we’d not focus on pure behaviorism (think rats pressing levers for food) which can be manipulative, nor on too many extrinsic rewards that can extinguish intrinsic motivation. There’s others in the popular media who talk about that if you want to learn more – I’d recommend Daniel Pink (TED talk here) & Kevin Werbach.

LESSONS FROM GAMES
Video games can motivate & transfix us like nothing else we’ve invented has ever done before. How? Intense emotional rewards, both individual & collective. If we look at what’s going on inside someone’s head when they’re being engaged there’s two different processes: wanting (like ambition and drive), & liking (fun and affection and delight). Combined they form an intense engagement, E.g. flying on a dragon in a game feels powerful *and* it’s beautiful and pleasurable.

Most interesting is what you can measure with it – which is everything, everything the player has done. Far more detail on people than, say, websites. This allows something special to happen in games: the Reward Schedule. This is looking at what millions of people have done & calculating & calibrating the rate, intensity, type etc. of rewards that keep them engaged.

For example: Go & get a certain number of items, like 15 pies, which you can get by opening a box after killing a certain little pie monster. This would typically be boring but games make it incredibly compelling by using a combination of probability & data.

So if we want to engage someone in the process of finding pies we want to make sure it’s not too easy nor too difficult. What to do? Look at a million, a hundred million, people opening boxes for pies & you work out that if you make the pie rate about 25%, that’s neither frustrating nor too easy, keeping people engaged. It’s not all you do. There’s 15 pies – a thousand would be boring. 15 is pretty optimal number. Between 5-20 is a good number to keep people going. But we don’t just have pies in the boxes. 100% of the time when the box is opened there’s a little reward in there that keeps people progressing & engaged. In adventuring games it’s a little bit of in-game currency, a little bit of experience. But we don’t do just that, there’ll be loads of other items of varying quality and excitement: 10% chance you get a pretty good item, a 0.1% chance (low to keep the value, to keep it special) you get an absolutely awesome item. Each probability is carefully calibrated to the item.
Also we say, “How many monsters? Fill the entire world with a billion monsters?” No, we want one or two monsters on the screen at any given time so I’m drawn on – not too easy, not too difficult. All this is very powerful, but we are in virtual reality so we can do some rather amazing things. We notice, seeing all these people opening boxes, that when people get to about 13 out of 15 pies that their perception shifts, they start to get a bit bored, a bit testy. They’re not rationale about probability, this game’s not fair, it’s not giving me my last two pies, I’m going to give up. If those were real boxes there’s not much we could do but in a game we can say, well, when you get to 13 pies you’ve got a 75% chance, keep you engaged, look at what people do: adjust the world to match their expectations.
The point is we evolved to be satisfied by the world in particular ways over tens of hundreds of thousands of years; we found certain things stimulating & as very intelligent civilized beings we’re enormously stimulated by problem solving and learning. But now we can reverse engineer that and build worlds that expressly tick our evolutionary boxes…

7 WAYS TO USE THESE LESSONS FROM GAMES, OUTSIDE OF GAMES
1) Experience bars measuring progress: Don’t grade people incrementally in little bits and pieces, but give them one profile/character/avatar that’s constantly progressing in tiny increments and everything comes towards that and they own that as it goes along.

2) Multiple long & short term aims: Give lots of tasks. E.g. Do 10 of these questions, but another task is going to 20 classes on time, and another is collaborating with other people, another task is to show you’re working 5 times, another is to hit a particular target…. You break things down into collaborated slices & people can *choose* and do it in parallel to keep engaged that you can use to point them toward individual beneficial activities.

3) Reward effort: Games are great at this. Every time you do something you get credit, you get a credit for trying. You don’t punish failure. You reward every little bit of effort. Gold, credit etc – minute reinforcement.

4) Rapid, frequent, clear feedback: Looking at major issues today (global warming, etc.) it’s very hard for people to learn if they cannot link consequences to actions. Consequences distant in time and space. Hard to learn to feel a lesson. But if you can model things for people, that they can manipulate and play and feedback comes then they can learn a lesson and understand.

5) An element of uncertainty: The neurological gold mine. A known reward excites people but what really gets them going is the uncertain reward, they didn’t know whether they would get it or not. The right level of uncertainty, the 25% chance. This lights the brain up.

6) Windows of enhanced attention: Memory: There are moments when someone is more likely to remember. Confidence – game playing and reward structures make people braver, more willing to take risks, more willing to take on difficulty, harder to discourage.

7) Other people: In reward terms doing stuff with others is greater than “money” etc.

Sunday, February 1, 2015

The Universal Design of the most well-designed Alien in the universe

This last week in EDTECH 506 Graphic Design in Learning, we learned more about how research in learning and psychology can be applied to design of instructional materials. It was fantastic, re-visiting theories from my days as a psych undergrad, as well as learning newer ones and tying things together.

We were then asked to "locate examples of universal design that address performance issues in an instructional context" and then provide justification. The "justification" part of the assignment was not explained, so I will do my best to use it to describe how my example fits Universal Design.

I quickly thought of IKEA's simplistic, almost comical, instructions. They include no words so that they need only print one set for all international markets. These "visuals" (as defined by the author of our book, Linda Lohr, being pictures with no words) truly epitomize "universal," and, being instructions, also provide a nice example of universal design used in education. They're also a nice example of the Design for All Universal Design philosophy which speaks to products (in this case, among other things) that reach as many people as possible without adaptation (http://en.wikipedia.org/wiki/Universal_design).

I found a great parody of IKEA's instructions courtesy illustrator Ed Harrington. The instructions clearly explain how to hatch your very own Alien, using simple enumerated steps that include clear pictures and, again, no words... everyone knows what the outcome of this product will be.

 

Sunday, January 18, 2015

Different Types of Games

Placeholder for more to come...

Gaming in the Classroom

   Here is some excellent information on the value of games in education. What I immediately latched onto was the idea of dopamine being the hook for games. Being a learning nerd AND a gaming nerd, as well as having children and watching them be mesmerized by digital games, I can attest to that hook being powerful. So much so that I wish this inforgraph would address what is inevitably a concern - that dopamine is obviously a double-edged sword, and that "hook" needs to be managed. I've watched my children learn to read because of educational games, learn advanced science and learn to even simply love learning, so I'm a fan. But it needs to be managed and this is such common knowledge I fear we shoot ourselves in the foot when not acknowledging how powerful it is. So powerful indeed that at the end of this piece, where "The Orgeon Trail" was mentioned, I was happily taken back to my early childhood where I'd squeal at having "died of dysentery"....


Saturday, January 17, 2015

EDTECH 506: Personal Introduction Image

In Week 1 of EDTECH 506 – Graphic Design for Learning, here is part our first introductory assignment (beyond reading, videos etc):



Personal Introduction Image:  Using Adobe Fireworks (or other graphics editing software you prefer), create some sort of image or group of images that tell the class something about you. Consider images that represent your personality, interests, goals or anything else you’d like to share with the class. Be as creative as you’d like. Include text, color, graphics, images or anything that you feel represents who you are. Then, provide a one to two paragraph explanation about the image you create. Discuss why you chose the images, colors, designs that you did and how they represent who you are. 
Here is my image with explanation below:


Although I worried that me as a knight could give an unflattering impression to some who don't know me, I know where my heart is and that I'm not full of myself so I continued on. Rather than meaning a "hero" above others, I love the symbolism of a knight as someone nobly championing a good cause. This is the meaning I am after in the image. All of us may be far from perfect but can still strive for good things. Pursuing graduate studies in education is, to me, a worthy endeavor worth fighting (time, money, stress) for. Additionally I love fantasy (& sci-fi, and all things geeky...) so inserting myself into an image like this with armor, sword, and a Tolkien quote, really speaks to my soul. It's meaningful and fun. And I think that's important in life. 
I value design that is fairly simple and crisp, which is what I tried to do here, keeping spacial elements as consistent and contrasting as I could and balancing colors. Hopefully the simpleness of the design supports the simpleness of its message to help communicate that value I hold dear, to fight for good.

Sunday, September 7, 2014

EDTECH 503 Assignment: Instructional Design Job Posting

Michael Atkinson
EDTECH 503 Instructional Design Job Posting

PART 1 - SYNTHESIS

Position: Instructional Design

This position reports directly to the Director of eLearning and, as part of a learning design team, will work with business partners and clients to conceptualize, design, author, deliver and manage distance learning programs.

The candidate will:

- Develop learning content for a variety of distance learning courses to include analyzing, writing, editing, and evaluating new and existing material
- Manage multiple simultaneous, ongoing projects
- Collaborate with various partners and departments
- Manage existing distance learning programs
- Continually monitor and assess student performance to ensure outcome match learning objectives

Required skills/knowledge/background:
- Bachelor's degree in Instructional Design or related field and 5 years minimum experience, or no degree/degree in unrelated field and 10 years experience in Instructional Design or related field
- Expertise in Articulate, Moodle and other similar learning design software.
- Expertise in the ADDIE model
- Excellent oral/writing skills and mastery of visual design skills
- Portfolio required

Preferred skills/knowledge/background:

In addition to the above, the idea candidate will aso possess the following:

- Advanced degree (Master’s or higher) in Instructional Design
- Significant leadership experience in Instructional Design
- Fluency in Spanish or French in order to better facilitate coordination with key business partners



PART II - REFLECTION

The role of teachers vs instructional designers seems, on a certain level, analogous to that of actor vs director: one executes on or delivers the message, with some say in how or what is said, while the other focus exclusively on creating that message. Teachers are expected to deliver the learning and instructional designers are not. This means presenting, teaching, coaching and working directly with the end user (the student). In my job (private sector) as primarily an instructor, I must do some of the minor functions of an instructional designer, whereas the instructional designers I work with perform no teaching functions.

Instructional designers are expected to create the learning and its assessments that are delivered to the student(s) via the teacher, the delivery system, or both. Today this is usually in context of digital tools. This includes highly specialized knowledge of these tools, systems as well as ID principles and models such as ADDIE. In my job it is understood that the role of the instructional designers is highly specialized and more ”macro” than that of teachers.

I do not know if there are 3 specific, formally recognized differences between teachers and instructional designers, but from what I have learned I see these three differences: 1) A teacher primarily focuses on delivering the learning, and an instructional designer primarily focuses on designing the learning. 2) Teachers are more people-focused, specializing in interpersonal communication. 3) Instructional designers are more technical focused, specialization in media creation (writing, pictures, video, audio etc.) and technology use.



PART 3 - Job Posting URLs
*Content Manager (Instructional Design) - Salt Lake City, UT @ TD Ameritrade

* I am in the middle of applying to this job at my workplace

Instructional Designer @ Amazon