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Design is Design is Design: What we’ve learned from designers about preparing instructional designers


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AERA 2014 -- Poster session: Design is Design is Design: What we’ve learned from designers about preparing instructional designers

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Design is Design is Design: What we’ve learned from designers about preparing instructional designers

  1. 1. Abstract Designing effective instruction is harder than ever. Besides staying proficient with various technologies, effective instructional designers must be adept at making learning opportunities engaging, memorable, sticky, and transformative. Therefore, instructional design needs to be framed as a creative process that draws on the same aesthetic sensibilities as other design fields. Instructional designers need to embrace the creative side of designing instruction, draw on the advice and wisdom of professionals in other aesthetic design arenas, don the disposition of a creative, and identify themselves as members of the creative class. During this presentation, we share the results of our inquiry into what designers in a variety of design professions do and our recommendations for alternative approaches to preparing instructional designers. Design is Design is Design What we’ve learned from designers about preparing instructional designers Joanna C. Dunlap, University of Colorado – Denver Patrick R. Lowenthal, Boise State University What can we learn from designers... that might influence our preparation of students for the ID profession? Interview Designers: painters, filmmakers, photojournalists, musicians, sculptors, gr aphic designers, chefs… Work • Describe a recent design project you completed. • What do you enjoy the most about your work? • Describe an event that stands out in your mind as one where you really got to do and experience what you love about your work. Background • What is your definition of design? • Describe when you first identified yourself as a designer. • What was your professional preparation for the design work you do now? Support • Describe your work space. • Describe your professional community. • Where do you find inspiration? • What educational events stand out as being key to your preparation? Why were they important? Themes: the work 1. Engaging the audience • “I learned pretty quickly that in order to make a living at this I‟d have to figure out how to create things that were valued by someone besides me. And my mom.” • “To begin with it‟s about how I want to express an idea. Then, I think more and more about what they want...what will grab them, move them...want more.” • “I get off on watching people respond. I need the feedback loop to complete.” 2. Aesthetic vs. purpose • “I approach each design with both [form and function] in mind, sometimes ping-ponging, other times spiraling... Making sure I‟m addressing the goals, but creating something people love and want to visit over and over again. A successful design does both... I think that‟s why I love what I do.” 3. Collaboration • “When I start a project I always know who I want on board. And I go after those people... They always make the process and the end result more than I imagined.” • “It quickly goes from my -- or me and my partner‟s -- design to our [the team‟s] work, our creation.” • “I do my best work when I work with others.” 4. Source of inspiration; curiosity • “I see everything as design. I always look at things and wonder, „Why was it designed that way? How could I make it different or better?‟” 5. Planning & design; use technology Themes: support 1. Work space • Bright, colorful, inspiring • Not confined to a space: in the field, where the subject is, where the action is Not limited by materials (unless the limitation is part of the design) • Controlled chaos • Use of computers and ideation journals 2. Community • Bouncing ideas off others, conception through installment • Visiting with creative colleagues, in and out of the discipline • Living / working in creative community 3. Sources of learning, LLL disposition • “If you need to know how to weld, you find someone to teach you to weld.” • Formal education in some field; continue to seek learning opportunities • Apprenticeships, continue to seek out mentors, coaches, consultants • Looking for informal opportunities; volunteer time/skills in exchange for learning, practice, and feedback Recommendations 1. Establish the relevance of being creative designers. • Employment opportunities • Learning/learners • Interviews with creative designers • Evaluations: reviews of materials, juried reviews of their materials 2. Model creative approaches to instructional design work. • Redesigned courses • Showcase my work, collaboration with creative designers, ideation journals • Use content/readings and guest lecturers from other creative domains • Share my lifelong learning actions 3. Involve students in design work that requires alternative approaches, formats, and tools. • Comic book, radio show, movie poster, photo journal, music video, gallery, pecha kucha, CD insert, games, no-computer designs, etc. • Cross-creative projects: teams, clients • Service learning, community-based • “Non instructional” projects 4. Help students embrace the practices of creative designers. • Lifelong learning, collaboration, networking • Broadening inspiration • Ideation journals • Articulating what they do 5. Encourage students to share their work beyond courses/program. • Web presence, SEO • Pecha kucha nights, Ignite • Social media and networks 6. Connect students with creative colleagues, clients, consultants • Cross-creative projects • Readings, guest lecturers from other design domains • Assessment via juried review • Projects in other design domains • Social media and networks “Design is a mix of craft, science, storytelling, propagan da, and philosophy” ~ Erik Adigard (designer, media artist) “It’s all one to me: opera, painting, drawing, faxes” ~ David Hockney (painter, draughtsman, printmaker, stage designer & photographer)