eLearning Design

eLearning Design

1. Multimedia

   • By graphics we refer to a variety of illustrations including still graphics such as line drawings, charts, and photographs and motion graphics such as animation and video. Research has shown that graphics can improve learning. The trick is to use illustrations that are congruent with the instructional message. Images added for entertainment or dramatic value not only don’t improve learning but they can actually depress learning
   • While graphics can boost learning, it will be important to select the kind of graphic that is congruent with the text and with the learning goal. As I’ll discuss below, graphics that are irrelevant or gratuitous actually depress learning. Consider selecting your graphics based on the type of content you are teaching. Table 1 summarizes some graphics that work well to illustrate five key content types: facts, concepts, processes, procedures, and principles. Processes for example, are effectively illustrated by animations or by still graphics that show
   • Graphics + Text
     • Graphics and Text enhance learning more than just offering text.
   • Clarity

2. Contiguity

   • Contiguity refers to the alignment of graphics and text on the screen. Often in e-Learning when a scrolling screen is used, the words are placed at the top and the illustration is placed under the words so that when you see the text you can’t see the graphic and vice versa. This is a common violation of the contiguity principle that states that graphics and text related to the graphics should be placed close to each other on the screen.
   • As mentioned above, scrolling screens sometimes violate the contiguity principle by separating text and related visuals. But it is not the scrolling screen itself which is to blame. One way to use scrolling screens effectively is to embed smaller graphics on the screen with related text close by. For example, a screen from my online design course is shown in Figure 3. You can see that the visual has been reduced and placed on the screen near the text.
   • Text><Graphics
     • Close proximity of text to graphics supports learning more than when the text and graphics are not in close proximity, so that when the learner scrolls the text and the graphics are visible at the same time.
   • In Sync

3. Modalitiy

   • If you have the technical capabilities to use other modalities like audio, it can substantially improve learning outcomes. This is especially true of audio narration of an animation or a complex visual in a topic that is relatively complex and unfamiliar to the learner.
   • Audio should be used in situations where overload is likely. For example, if you are watching an animated demonstration of maybe five or six steps to use a software application, you need to focus your visual resources on the animation. If you have to read text and at the same time watch the animation, overload is more likely than when you can hear the animation being narrated. This does not mean that text should never be used. For example, some information in e-Learning, such as directions to an exercise, needs to be available to the learner over a longer period of time. Any words that are needed as reference should be presented in text. Also, when using audio to explain an animation, a replay option should be available for learners to hear the explanation again.
   • Graphics w/ Audio
     • Audio enhances graphics and text, but should not include gratuitous graphics, text, or multimedia that is not relevant. It should not appeal to an emotional response, but rather a cognitive response to learning
   • Sensory

4. Redundancy

   • Some e-lessons provide words in text and in audio that reads the text. This might seem like a good way to present information in several formats and thus improve learning. Controlled research however, indicates that learning is actually depressed when a graphic is explained by a combination of text and narration that reads the text.
   • In general, it’s advisable to avoid narration of text when there is a demanding visual illustration on the screen. This is especially important when working memory is subject to overload such as during an animation in which learners have limited control over the pacing, or during the presentation of complex new information. In contrast, when there is no graphic information on the screen, then research to date would suggest that presenting words in text and auditory format would benefit learning.
   • Graphics + Redundant Audio/Text
     • Graphics, text, and audio should not be redundant in that they should not be repetitive or learning is hindered with too much confusing information
     • over and over
   • Say it Once

5. Coherence

   • It’s common knowledge that e-Learning attrition can be a problem. In well-intended efforts to spice up e-Learning, some designers use what I call a Las Vegas approach. By that I mean they add glitz and games to make the experience more engaging. The glitz can take a variety of forms such as dramatic vignettes (in video or text) inserted to add interest, background music to add appeal, or popular movie characters or themes to add entertainment value. As an example, consider a storyboard for a course on using statistical quality control techniques to improve quality, shown in Figure 6. To add interest, several stories about the costs of product recalls were added. But how do these additions affect learning?
   • The coherence principle essentially tells us that “less is more” when learning is the primary goal. It suggests that visuals or text that is not essential to the instructional explanation be avoided. It suggests that you not add music to instructional segments. It also suggests that lean text that gets to the point is better than lengthy elaborated text. As designers we need to make a distinction between entertainment and learning. This is not to say that an effective e-Learning course is not interesting. Mayer reminds us of prior distinctions between cognitive interest and emotional interest. Cognitive interest stems from materials that promote understanding of the content presented — in other words from materials that optimize learning. Emotional interest comes from the addition of extraneous materials which have been shown to depress learning. Our goal should be to promote cognitive interest and avoid emotional interest in situations that require cognitive learning processes.
   • Gratuitous Graphics/Text/Audio
     • e learning design should NOT include audio, text, video or any other multimedia representations that appeal to an emotional response, rather they should invite the learner to make cognitive responses. There is no need to&nbsp; "jazz" up the learning environment. Any gratuitous content will be a barrier to learning.
     • unnecessary
   • Makes Sense

6. Personal

   • A series of interesting experiments summarized by Byron Reeves and Clifford Nass in their book, The Media Equation, showed that people responded to computers following social conventions that apply when responding to other people. For example, Reeves and Nass found that when evaluating a computer program on the same computer that presented the program, the ratings were higher than if the evaluation was made on a different computer. People were unconsciously avoiding giving negative evaluations directly to the source. Of course individuals know that the computer is not a person. However, deeply ingrained conventions of social interaction tend to exert themselves unconsciously in human-computer interactions. These findings prompted a series of experiments that show that learning is better when the learner s socially engaged in a lesson either via conversational language or by an informal earning agent.
   • When you write the script for your e-lessons, use first and second person constructions, but don’t over do it. For example, dialog such as, “Hi Dude — Are you ready for some exciting information on quality control tools?” is incongruent and more distracting than helpful. The research on pedagogical agents is quite new so applications are still a bit tentative. First, it seems that you don’t need to invest a lot of effort in the physical representation of the agent. Second, you need to consider the role of the agent. To be useful the agent needs to serve an instructionally valid role — not just appear as an on-screen character. One example I liked is shown in Figure 8. In this program designed to teach reading comprehension at a fourth to sixth grade level, the agent Jim is introduced and appears throughout the program to&nbsp; show readers comprehension strategies that have worked for him.&nbsp;
   • Conversation/ Pedagological Agents
     • Due to the social connection between technological devices and presentations, participants respond to a conversation tone that is delivered in first or second person.
   • unobtrusive agent
     • Naturally the learner or participant in technological presentations is emotional and appeals to the participant as a "personality". Though participants do not believe the electronic and digital presentations are not persons, they do make a social connection, even to the point of being most comfortable at the same electronic station, as if they have "made friends" with a certain device. Adding an "agent" or animated personality with text or a voice over enhances learning. When such an agent is used there should be less emphasis on graphics and multimedia that repeat the information delivered by the audio/animated presence.

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