Homepage Content Archives – Ding

Getting your casting right

admin_tony — Sun, 12 Jan 2025 22:44:21 +0000

Think about your favourite film or TV show for a moment. Now imagine if all the same words were spoken, but by completely different actors. Wild, right? That’s the power of casting – get it right, and the experience feels effortless. But cast the wrong people, and you can quickly who is in the wrong role.

This same principle plays out in a learning situation, where getting the right people in the right roles can make or break a learning experience.

The hidden art of casting

Professional casting directors earn six-figure salaries because their decisions can determine the success or failure of a film. While a learning programme may not be as glamorous as a film, the budgets can often be comparable – if you’re leading a course with 500 learners each paying £10K per year, you’re effectively directing a £5million production.

So it’s odd that in education we often overlook this “casting” element, and focus more on content over delivery. If you’re a Director of Learning, a Dean or Associate Dean, you should think carefully about who’s delivering the content, not just about what they’re delivering.

The parallel universe

Casting directors don’t just pick good actors – they pick the right actors for specific roles. An actor with a reputation for Hollywood disaster movies may not be such a good fit for a romantic comedy.

Similarly, brilliant researchers might not be the best choice to lead introductory courses. They may be an expert in their field and globally renowned, but they may also have forgotten what it’s like to ‘not know’ about their subject.

If this person is tasked with teaching first year undergraduates, they may end up blaming students for ‘not being clever enough’. Conversely, students may blame the researcher for not making the subject interesting, leading to a fall in student satisfaction.

So when we’re thinking about the route through a learning experience, we need to get the casting right by considering who is the best person to take charge of each stage of the journey.

Design strategies for imperfect casting

Unlike Hollywood, we can’t always hold open auditions for every educational role. So how do we work with what (and who) we’ve got?

This is where good learning design can help. While we may have limited choice about who delivers a session or a section of an experience, there are other ways to increase the chances that learners will have a good experience.

Let me help expand on these strategies through the lens of an experienced casting director. I’ll explain how each approach can help when you don’t have complete freedom in choosing who delivers your learning content.

1. The ensemble approach

Break content into smaller, specialized segments
Let each person play to their strengths
Create multiple voices and perspectives within one course

Breaking content into smaller, specialised segments is like how we cast different actors for different scenes based on their specific strengths. In learning, this means dividing a course into shorter modules where instructors can focus on their areas of expertise. For instance, a statistics course might have one instructor handle theoretical foundations (where they excel) while another tackles practical applications (where they have industry experience). This reduces the pressure on any single instructor to be exceptional across all aspects.

Letting each person play to their strengths mirrors how we might cast a character actor for intense dramatic scenes while using a different performer for lighter moments. In education, this could mean having a theoretically-minded professor handle complex conceptual discussions while engaging a practitioner to lead case study analyses. This way, everyone operates in their comfort zone, leading to more authentic and confident delivery.

And creating multiple voices and perspectives is similar to how an ensemble cast brings different energies to a film. In learning, this means intentionally incorporating various teaching styles and viewpoints throughout a course. When learners hear from multiple voices, no single instructor’s limitations become overwhelming, and students benefit from a richer, more nuanced understanding of the subject.

2. The supporting cast

Build robust supplementary materials
Integrate peer learning and discussion
Use guest speakers for key moments

Building robust supplementary materials is like having strong background sets and props that support actors even when they’re not at their best. In learning, this means creating comprehensive study guides, detailed notes, and reference materials that can help clarify concepts even if an instructor’s explanation isn’t perfect. These materials act as a safety net, ensuring core content is accessible regardless of delivery.

Integrating peer learning and discussion resembles how supporting actors can elevate a scene even when the lead isn’t as strong as we’d like. By designing opportunities for student interaction and group work, we create multiple channels for learning that don’t solely rely on the instructor. This distributed approach to learning helps compensate for any limitations in the primary instructor’s delivery.

Using guest speakers for key moments is like bringing in specialist performers for crucial scenes. By strategically incorporating expert guests for specific topics or critical concepts, we can ensure that particularly important or challenging material is delivered by someone with deep expertise, even if they’re not available for the entire course.

3. The Director’s cut

Structure sessions to maximize engagement
Create clear ‘stage directions’ in materials
Provide detailed facilitation guides

Structuring sessions to maximise engagement is similar to how we pace scenes in a film to maintain audience interest. This means carefully planning the flow of each class session, alternating between different types of activities and ensuring key concepts are introduced when learners are most receptive. Good structure can help compensate for varying levels of instructor charisma.

Creating clear ‘stage directions’ in materials parallels how detailed scripts help actors deliver consistent performances. By providing instructors with specific guidance about timing, activities, and key discussion points, we can help less experienced teachers deliver content more effectively and confidently.

Providing detailed facilitation guides is like giving actors comprehensive character backgrounds and motivation notes. These guides help instructors understand not just what to teach, but why certain approaches are recommended and how to handle common questions or challenges. This support is particularly valuable for those who might be teaching outside their comfort zone.

4. The production design

Build interactive elements that shine regardless of delivery
Create self-directed learning pathways
Use technology to enhance weaker areas

Building interactive elements that shine regardless of delivery is similar to how strong special effects can enhance any scene. Creating engaging activities, simulations, or exercises that are inherently interesting helps maintain student engagement even when an instructor’s delivery might not be optimal.

Creating self-directed learning pathways resembles how we might restructure a scene to rely less on a particular actor’s performance. By designing elements that allow students to explore and learn independently, we reduce the impact of any limitations in instructor delivery while promoting active learning.

Using technology to enhance weaker areas is like using post-production techniques to improve a scene. This might mean incorporating high-quality video content, interactive simulations, or adaptive learning tools to supplement areas where available instructors might not be as strong, ensuring learners still receive high-quality instruction in all aspects of the course.

The Director’s notes

Even the best actors need good direction. Effective learning design should provide clear guidance while allowing space for authentic delivery. The art of learning design, like film production, is about creating magic with the resources available. It’s about getting your casting right.

Sometimes that means writing to your actors’ strengths, sometimes it means creating systems that support their development, but it always means thinking carefully about who’s delivering what and how they can best serve the learner’s journey.

The best learning experiences, like the best films, aren’t just well-written – they’re well-cast, well-directed, and thoughtfully produced. Even with constraints, good design can help everyone shine.

Want to become a qualified learning designer?

We run a PGCert, PGDip and MA in Creative Teaching and Learning Design.

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The Kuleshov Effect and why learning designers are editors

admin_tony — Tue, 10 Dec 2024 23:45:51 +0000

In one of our Friday chats, Phil and I recently explored the Kuleshov Effect and its implications for learning design. While Phil is something of a film buff, I’m definitely not – so I spent some time researching this concept prior to the discussion to ensure I knew what he was talking about. And it turns out that the Kuleshov Effect can tell us a lot about the work that learning designers do.

The learning designer as ‘editor’

The Kuleshov Effect focuses on the power of a film editor to influence the meaning that an audience experiences. But before we get into that, I want to take a moment to compare the role of a film editor with that of a learning designer.

For a long time, Phil and I have grappled with the difficult of explaining learning design to people. But viewing the learning designer as an editor is a helpful analogy to describe the work we do. Editors are responsible for making sense of a film director’s vision of what the film should be, and this often involves ‘editing’ out footage that the director would otherwise leave in.

This analogy produces a useful comparison between the learning-designer-as-editor and the subject-matter-expert-as-director. Whereas a SME is responsible for delivering a selection of high quality content, the learning designer’s role is to edit the content to ensure the curriculum doesn’t become overly stuffed with content.

The power of gaps in sequencing

Now let’s bring in Kuleshov. Lev Kuleshov was a Russian editor who believed that the acting in a film was less important that how the film was edited. Kuleshov argued that an editor can fundamentally change the meaning an audience experiences by changing the order in which shots are presented. To use his words: “more meaning is created by the interaction of two shots than by any shot in isolation”.

This has huge implications for learning design, because it demonstrates the importance of leaving space for learning to occur. If there is too much instruction going on, the learner quickly becomes passive. But by leaving ‘productive gaps’ in the sequencing, learners engage their imagination as they work to make connections between activities or moments of interaction.

If we apply the Kuleshov Effect to learning design, it enables us to reduce the amount of instruction required. Just as an editor understands the end-to-end narrative of a film, the learning designer’s role is to understand the end-to-end learning experience. In both cases, the job involves providing just enough information to ensure the audience understands what’s going on, and leaving enough gaps to engage their imagination.

How juxtaposing experiences develops employability skills

At the heart of the Kuleshov Effect is the role of juxtaposition. In his famous experiment, he first showed an expressionless face (the first ‘shot’) and then placed a contrasting second shot after it By changing the second shot, he demonstrated that meaning emerges in the viewer’s mind rather than from the footage itself.

This offers a useful way to think about how skills development actually works in practice. University education often treats skills as fixed endpoints – as if once you’ve learned to do something, that skill exists in isolation as a complete thing. But just as Kuleshov showed that a neutral face takes on different meanings when juxtaposed with different images, skills take on different qualities and applications when juxtaposed with different real-world contexts and problems.

This suggests something profound about the nature of skills development. When a student learns a technical skill – whether that’s data analysis, architectural design, or photography – that skill in isolation is essentially neutral. It’s like Kuleshov’s expressionless face: it contains potential but not inherent meaning. The real meaning and value of the skill emerges only through its juxtaposition with real-world problems and scenarios that test and transform it. This is why employers often say that technical skills alone aren’t enough – they need graduates who can adapt and apply those skills in unpredictable situations.

This should fundamentally change how we think about curriculum design. Rather than treating skills development as a linear process of acquisition, we should be creating deliberate juxtapositions between skills and scenarios throughout the learning journey. This might mean exposing students to the same skill in three very different contexts in quick succession, helping them understand that skills aren’t fixed points but rather starting points for problem-solving.

Using ambiguity to increase learning

The value of producing deliberate ambiguity in curriculum design is also supported by research. In 2019, a longitudinal study by Sinha and Kapur tested the difference between teaching first or experiencing a problem first. In the research, students who were required to tackle a problem before receiving any instruction showed a learning gain of around 20% compared with those who received instruction before tackling the problem.

This tells us that we ignore gaps at our peril. As learning designers, we should create and sequence activities that engage learners’ problem-solving skills and enable them to create their own meaning before we teach into the space. This is a skilful act of design, as learners need to feel sufficiently ‘held’ and supported to have the confidence to deal with ambiguity.

Meaningful learning lies in the edit

In film, the editor shapes meaning through careful selection and sequencing, often making difficult decisions about what to remove. Similarly, learning designers shape the learning journey through careful curation and sequencing of experiences.

The learning designer, like the editor, brings a strategic perspective – understanding that what matters is not the individual pieces of content, but how they work together to create meaning in the learner’s mind. Like film editors, we operate from a position that is “subject-adjacent” rather than deeply embedded in the subject matter. This gives us a unique perspective – we can see the whole journey and make strategic decisions about what to include, what to remove, and how to sequence experiences for maximum impact.

This makes the learning designer’s role highly strategic. We’re not just creating content – we’re curating experiences that create the conditions for learning to emerge.

Want to learn how to build great courses?

We run a PGCert, PGDip and MA in Creative Teaching and Learning Design.

Find out which stage is right for you.

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Callum Goodwilliam: Leadership Through Learning Design

admin_tony — Thu, 14 Nov 2024 13:50:33 +0000

The skillset of a learning leader

Working in a senior learning role requires a complex set of skills. You need to both understand the needs of the business and also be able to design learning products and experiences that will deliver the business strategy.

Callum Goodwilliam is a Learning Consultant who has held several senior learning roles at businesses including Shopify and General Assembly. In this episode, Callum talks about the hidden skills that have enabled him to succeed in these roles.

The conversation revealed the power of compassion, beginner’s mind and leading through action in producing successful learning experiences.

Listen to the podcast

Why learning designers are leaders

At Ding, we have long advocated for the leadership aspect of learning design. Too often, learning designers are brought in to ‘tinker’ with an existing course, or build a new programme.

But this often masks the leadership skills that are required to do this effectively including asking difficult questions, building consensus, moving forward with incomplete information and taking responsibility in the face of ambiguity.

In this episode, we explore the leadership traits inherent in good learning design, and ask Callum to share his advice for learning designers looking to progress into more senior roles.

Enjoy the podcast!

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The Art of Employability: How To Design Learning Experiences That Close the Skills Gap

admin_tony — Fri, 25 Oct 2024 12:08:58 +0000

When Phil from Ding said, ‘I’m fed up with talking about employability,’ we thought we’d better do something about how to close the skills gap.

So we put our heads together and took a long, hard look at the structural factors in course design that might inadvertently be producing the skills gap in higher education courses.
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The problem with Bloom’s Taxonomy

I’ve long been a fan of Bloom’s Taxonomy because it’s a useful tool for helping people write better learning outcomes. But the more Phil and I looked at Bloom’s Taxonomy, the more we could see how it has created a problematic “left-to-right” progression in higher education.

This linear approach postpones the kind of ‘useful action’ that employers want until later stages of learning, creating an artificial separation between knowing and doing. The result? Graduates who struggle to adapt to workplace complexity despite having strong subject knowledge.

Bloom’s and declarative knowledge

To set up our critique of Bloom’s taxonomy, we aligned the table of verbs with the concepts of ‘declarative’ and ‘functioning’ knowledge. In a previous webinar about The Art of AI in Assessment, we considered how AI is forcing a shift away from assessing declarative knowledge because lower-level activities such as ‘listing’, ‘comparing’ and ‘describing’ are all easily automated by AI.

In doing this, we showed how higher-level skills such as ‘evaluating’, ‘producing’ and ‘collaborating’ are less likely to be compromised by students using AI to produce work. The outcome of this was the realisation that there is a structural problem in many university courses, where Level 4 prevents students from practicing and developing the skills that will underpin their future employability.

Click image to enlarge

Identifying target attributes

We’ve done a lot of work with institutions around employability. And we’ve also been fortunate to have conversations with employability specialists such as Matt Dowling from The Freelancer Club, and legendary fashion designer Zandra Rhodes.

From these conversations, we’ve identified four attributes for 21st century learners. These attributes are made up of core employability skills and AI-resilient attributes that will prevent graduates from being automated out of their roles:

Agility
The capacity to swiftly adapt and navigate complex situations, comprised of adaptability and versatility.

Innovation
The ability to generate and implement original solutions, comprised of proactivity and creativity.

Holistic Problem-Solving
Integrating knowledge across disciplines, comprised of critical thinking and synthesis.

Principled Action
Making decisions guided by ethical considerations, comprised of accountability and ethical reasoning.

Click image to enlarge

A curriculum design model for baking in employability

Having identified these four top-level attributes, we’ve attempted to bring them together in a spiral approach to learning design. This approach develops these attributes from day one through repeated practice, instead of postponing complex tasks until later in an undergraduate programme.

Now, if you know your learning theories you’ll probably recognise two key theories in this model: Kolb’s Cycle of Experiential Learning and Bruner’s Spiral Curriculum. These models have absolutely informed our thinking on the skills gap, and our model attempts to bring elements of both theories to advocate for immediate engagement with doing, followed by experimentation, connection, and refinement.

This creates a continuous cycle where learners develop professional capabilities through active engagement rather than passive absorption

‘Just do it’

The research we’ve done into closing the skills gap has revealed a clear message: ‘just do it’. A powerful key to success is the ability to do things in a principled and considered way, and to keep doing them.

The implications for higher education providers are significant. Rather than treating employability as an add-on service or final-year consideration, this approach integrates professional capability development throughout the curriculum. This addresses a core pain point for academic leaders: the need to close the skills gap while improving student satisfaction and engagement metrics, without adding more content to already packed curricula.

However, this isn’t simply about activity for activity’s sake. It’s about creating structured opportunities for learners to engage with complexity early and often, building confidence through supported risk-taking in safe environments.

We illustrated this through a practical example: rewriting traditional learning outcomes for a photography course. Instead of starting with “describe fundamental principles,” the spiral approach begins with “initiate a photography project using manual settings.” This shift creates immediately engaging learning experiences while developing core professional capabilities.

What next?

We concluded the webinar with a call to move beyond tinkering with existing systems. The skills gap persists not because of a lack of awareness, but because of structural issues in how we design learning experiences. Adopting a spiral approach that foregrounds doing is one way to create learning experiences that naturally develop the attributes employers seek while maintaining academic rigour.

Rethinking curriculum design along these lines has the potential to address many of the persistent problems in higher education including improve student outcomes and satisfaction, and closing the skills gap through structural rather than superficial change. Importantly, tThe approach doesn’t require additional resources or bolt-on services – instead, it positions the course as the engine of transformation by reimagining how existing learning experiences are designed and delivered.

If you’d like to explore how this approach could benefit your institution, we offer a programme review service that helps implement these principles in practice. We’re not tinkerers, we help you make changes that will really move the needle and deliver the outcomes you’re aiming for.

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The Art of Impact: How Creative Learning Design Can Increase Access and Engagement

admin_tony — Thu, 24 Oct 2024 08:48:04 +0000

Museums and cultural organisations have to create truly engaging and accessible experiences. But how do you move beyond simply broadcasting information to producing genuine participation and learning?

In this webinar, we explore practical approaches to this challenge including:

Reducing information overload to produce meaningful engagement
Designing experiences that align with audience needs and expectations
Using learning design to drive engagement in resource-constrained environments
Harnessing empathy and creativity to widen access cultural education

Aligning experiences with outcomes

The webinar begins by explaining the idea of constructive alignment, which is a key principle in designing engaging and effective learning experiences.

This principle suggests that…

Intended outcomes (what we want people to understand, experience, or take away)

Communication strategies (how we present information and engage our audience)

Engagement measures (how we gauge interest, learning, and interaction)

… should all work in harmony, supporting and enhancing each other.

Next, we look at key insights from the The State of the Arts report which highlight the relationship between formal creative education and the role of cultural institutions:

Decline in arts education

There’s a significant decline in arts education in English state schools, with fewer teachers, fewer teaching hours, and lower GCSE/A-level entries in arts subjects.

Cultural institutions as educational partners

With the decline in school-based arts provision, cultural institutions have an opportunity to fill this gap and become crucial educational partners.

Unequal access

There’s unequal access to quality arts education, particularly affecting children from lower-income families. Cultural institutions could play a role in addressing this inequality.

Importance of early exposure

The report highlights the importance of arts in early years education. Cultural institutions could support this through targeted programmes for young children.

School-only engagement

A high percentage of 11-15 year olds only engage with arts activities at school, emphasising the importance of school-cultural institution partnerships.

Higher education challenges

Arts courses in higher education are facing funding cuts and closures. Cultural institutions could provide alternative pathways or supplementary education.

Employment challenges

There’s a disconnect between education and employment in the cultural sector, with low median earnings. Cultural institutions could help bridge this gap through skills-based programmes.

Regional disparities

There are significant regional disparities in both arts education and cultural sector employment. Cultural institutions could play a role in addressing these geographical imbalances.

Case Study 1: Marcus and the Mystery of the Pudding Pans

This project, funded by the Heritage Lottery, aimed to bring local history to life by focusing on Roman pottery discovered off the north Kent coast. The primary objective was to engage a wide audience, particularly children, through an animated film. The project involved several key components:

Animation Production: The team embarked on creating an animated film to tell the story of Marcus and The Mystery of The Pudding Pans. This involved scriptwriting, storyboarding, character design, and animation production

Engagement with Local Primary School: Collaboration with a local primary school was central to the project’s success. This included auditioning school children for voice-actor roles in the film and involving them in the production process. Additionally, students contributed to the creation of production art for the animation, fostering a sense of ownership and pride in the final product.

Educational Activities and Presentations: The project extended beyond the film itself to encompass educational activities for schools. This included planning and delivering presentations and assemblies to enhance understanding of local history and the production process behind the film. Interactive sessions allowed students to delve deeper into the subject matter and interact with the project team.

Community Involvement: The project exemplified community involvement by integrating local resources, talent, and knowledge. By engaging with the local community, the project not only enriched educational experiences but also fostered a sense of belonging and pride in the community’s heritage.

Case Study 2: A 3-Day Development Workshop in India

The second case study, undertaken by Ding’s Centre for Learning Design, focused on empowering university teachers working with underprivileged children in rural India. The workshop, conducted over three days at the Woxsen campus in Hyderabad, aimed to develop insights into inclusive teaching practices and effective learning design. Key elements of the workshop included:

Inclusive Teaching Practices: The workshop prioritised strategies for inclusive teaching to cater to the diverse needs of underprivileged learners. Participants explored methodologies to create inclusive learning environments that fostered equitable access and engagement.

Effective Learning Design: Central to the workshop was the exploration of learning design principles tailored to the context of underprivileged communities. Participants learned how to design learning experiences that maximised engagement and addressed the unique challenges faced by their learners.

Experiential Activities and Workshops: The workshop utilised experiential learning approaches to deepen participants’ understanding and skills. Through hands-on activities, group discussions, and reflective exercises, participants gained practical insights into applying inclusive teaching practices and effective learning design in their classrooms.

Empowering Female University Teachers: The workshop specifically targeted female university teachers, aiming to empower them as agents of change within their communities. By providing them with tools and knowledge to enhance their teaching practices, the workshop aimed to amplify their impact on underprivileged learners and promote positive social change.

Commonalities between the two case studies

Engagement: Building active involvement with the target audience

Equality: Promoting inclusivity and fairness.

Enrichment: Expanding the projects’ benefits to wider communities.

Empowerment: Instilling a sense of ownership and agency.

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The post The Art of Impact: How Creative Learning Design Can Increase Access and Engagement appeared first on Ding.

The Art of AI in Assessment: How Creative Learning Design Can Deliver Robust Outcomes

admin_tony — Mon, 30 Sep 2024 13:12:01 +0000

In Ding’s recent webinar on the Art of AI in Assessment, we explored how creative learning design can produce more robust outcomes in the age of AI. If you missed it, don’t worry – in this blog post we’ll share the highlights with you.

We kicked off by suggesting that the concerns around AI in education aren’t entirely new. There are parallels with past technological advancements, from the introduction of writing to calculators, each of which prompted similar waves of concern about the future of learning. This historical perspective helps us approach the AI challenge with a bit more calm and clarity.

A shift in knowledge production

At Ding, we believe AI is producing a shift in education away from assessing purely declarative knowledge (facts and figures that can be easily looked up) towards functioning knowledge. This is the kind of knowledge that really matters in the real world – the ability to apply learning in unpredictable situations, solve complex problems, and think critically and creatively.

We introduced a ‘spectrum of knowledge’ and discussed how different types of assessment align with this spectrum. Many traditional forms of assessment, like multiple-choice tests or basic comprehension questions, are more vulnerable to AI interference. In contrast, assessments that focus on higher-order thinking skills, like creative synthesis or ethical reasoning, are naturally more resistant to AI “cheating”.

Creative approaches to assessment

During the webinar, we shared some innovative assessment methods u sed in creative education that are inherently more AI-resistant:

The ‘crit’: a convened meeting where students present their work to peers and receive immediate feedback. This real-time defence of ideas is hard to fake with AI.
Practice-based research: where learners conduct research by doing and making things, applying theoretical knowledge in practical situations.
Interdisciplinary projects: bringing together knowledge from different fields to solve complex problems, something that AI often struggles with.

These methods not only produce more robust assessments but also help bridge the employability gap by fostering skills like collaboration, adaptability, and critical thinking – skills that employers consistently say they need in graduates.

An opportunity to develop more meaningful assessment

Implementing these changes in assessment methods can seem daunting, but this shift isn’t just about keeping up with technology – it’s an opportunity to enhance the quality and relevance of higher education.

The webinar concluded with a call to action for higher education to incorporate more creative, AI-resistant assessment methods. In doing so, institutions can improve student satisfaction, enhance teaching quality, boost achievement and engagement, and better prepare students for their future careers.

At Ding, we’re here to help you create learning experiences that are engaging, effective, and future-proof. If you’re ready to explore how creative learning design can transform your assessment practices, we’d love to chat.

Want to learn how to build great courses?

We run a PGCert, PGDip and MA in Creative Teaching and Learning Design.

Find out which stage is right for you.

Take the Diagnostic

The post The Art of AI in Assessment: How Creative Learning Design Can Deliver Robust Outcomes appeared first on Ding.

Homepage Content Archives – Ding

Getting your casting right

The hidden art of casting

The parallel universe

Design strategies for imperfect casting

1. The ensemble approach

2. The supporting cast

3. The Director’s cut

4. The production design

The Director’s notes

You might also like:

Want to become a qualified learning designer?

We run a PGCert, PGDip and MA in Creative Teaching and Learning Design.

The Kuleshov Effect and why learning designers are editors

The learning designer as ‘editor’

The power of gaps in sequencing

How juxtaposing experiences develops employability skills

Using ambiguity to increase learning

Meaningful learning lies in the edit

You might also like:

Want to learn how to build great courses?

We run a PGCert, PGDip and MA in Creative Teaching and Learning Design. Find out which stage is right for you.

Callum Goodwilliam: Leadership Through Learning Design

The skillset of a learning leader

Why learning designers are leaders

You might also like:

We're experts in end-to-end course development

What sector are you interested in?

Edtech and Entrepreneurs

Higher Ed and Apprenticeships

Professional Bodies and Consultancies

The Art of Employability: How To Design Learning Experiences That Close the Skills Gap

The problem with Bloom’s Taxonomy

Bloom’s and declarative knowledge

Identifying target attributes

A curriculum design model for baking in employability

‘Just do it’

What next?

You might also like:

We're experts in end-to-end course development

What sector are you interested in?

Edtech and Entrepreneurs

Higher Ed and Apprenticeships

Professional Bodies and Consultancies

The Art of Impact: How Creative Learning Design Can Increase Access and Engagement

Aligning experiences with outcomes

Case Study 1: Marcus and the Mystery of the Pudding Pans

Case Study 2: A 3-Day Development Workshop in India

Commonalities between the two case studies

You might also like:

We're experts in end-to-end course development

What sector are you interested in?

Edtech and Entrepreneurs

Higher Ed and Apprenticeships

Professional Bodies and Consultancies

The Art of AI in Assessment: How Creative Learning Design Can Deliver Robust Outcomes

A shift in knowledge production

Creative approaches to assessment

An opportunity to develop more meaningful assessment

You might also like:

Want to learn how to build great courses?

We run a PGCert, PGDip and MA in Creative Teaching and Learning Design. Find out which stage is right for you.

We run a PGCert, PGDip and MA in Creative Teaching and Learning Design.

Find out which stage is right for you.

We run a PGCert, PGDip and MA in Creative Teaching and Learning Design.

Find out which stage is right for you.