M Thayer Id Project 3

Handcarding with Less Stress and More Fun
Workshop Plan of Instruction

Margaret Thayer ED TECH 503-4173 Spring 2010 ID Project #3
Table of Contents Reflective Synthesis Paper ..........................................................................................................3 Part 1: Topic ...............................................................................................................................5 Part 1a: Learning Goal .............................................................................................................5 Part 1b: Description of the Audience .......................................................................................5 Part 1c: Rationale ....................................................................................................................5 Part 2: Analysis Report ...............................................................................................................7 Part 2a: Description of the Need ..............................................................................................7 Part 2a.1: Needs analysis survey ..............................................................................................7 Part 2a.2: Results of needs analysis survey ..............................................................................7 Part 2b: Description of the Learning Context ...........................................................................8 Part 2b.1: Learning context ......................................................................................................8 Part 2b.2: Transfer context .......................................................................................................9 Part 2c: Description of the Learners .......................................................................................10 Part 3: Planning .........................................................................................................................11 Part 3a: List of Learning Objectives .......................................................................................11 Part 3b: Matrix of Objectives, Blooms Taxonomy, and Types of Learning ...........................12 Part 3c: ARCS Motivational Strategies Plan and Table ..........................................................14 Part 4. Instructor Guide .............................................................................................................17 Part 5. Learner Content .............................................................................................................21 Part 5a. Learning Materials ....................................................................................................21 Part 5b. Formative and Summative Assessment Materials ......................................................21 Part 5c. Technology Tool Justification ...................................................................................22 Part 6. Formative Evaluation Plan .............................................................................................23 Part 6a. Expert Review ..........................................................................................................23 Part 6b. One-to-One Evaluation .............................................................................................23 Part 6c. Small Group Evaluation ............................................................................................24 Part 6d. Field Trial.................................................................................................................24 Part 7. Formative Evaluation Report..........................................................................................26 Part 7a. Evaluation Survey .....................................................................................................26 Part 7b. Expert Review Results ..............................................................................................26 Part 7c. Comments on Change ...............................................................................................27 Part 8. AECT Standards Grid ....................................................................................................29 Appendices ...............................................................................................................................35 Appendix A. Needs Analysis Survey Questions and Results ..................................................36 Appendix B. Troubleshooting Handout ..................................................................................43 Appendix C. Student Self-Assessment Form..........................................................................44 Appendix D. Results of Expert Review Survey ......................................................................46 References ................................................................................................................................48
2010 Margaret Thayer
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Reflective Synthesis Paper

At the beginning of this semester, I set out to determine how the instructional design process compared with the technical communication process I was already familiar with. The two processes seemed similar; the ADDIE approach often equated with instructional design appeared to parallel the technical communication approach in many ways, from audience analysis to usability testing. Both processes appeared to be user (learner) centered, and both generated a product that was intended to inform or instruct. However, the instructional design process includes one critical component: the instructor. The presence of the instructor adds a filter through which the instructional designer must view every aspect of the design. The final design must reflect the needs and inclinations of the instructor as much as those of the learners, because it is the instructor who will be using the product (plan) that the designer creates. The instructional designers job is to interpret the instructors vision, identify the needs of the learners and the pertinent characteristics of the learning context, then apply principles of learning and instruction to create, evaluate, and modify that plan. The tasks from this semesters instructional design projects that most contributed to my understanding of the instructional design process were writing learning objectives, interviewing a subject matter expert, and designing surveys to solicit information about potential learners. The process of writing learning objectives forced me to pick apart the details of the instruction that would lead to the learning goal. The most utilitarian part of this process was in applying Blooms Taxonomy of Measurable Verbs to the objectives; I actually found it more useful to work backwards by choosing verbs from the taxonomy that reflected the desired level of learning for each objective. Interviewing the subject matter expert/instructor for my final project was both enlightening and intimidating. My expert was an experienced instructor, and it quickly became apparent that she was accustomed to thoroughly analyzing her learners and instructional approach. She had firm ideas from her experience about what worked and what did not, which made me feel very much like a novice! I thought I would have nothing to add to her instruction, and Im not sure that I did. Fortunately she was good-natured and patient throughout my meandering interviews as I attempted to navigate a new process and subject matter that was not familiar to me. The learner survey for the final project proved to be the most interesting experience of the semester. I elicited the help of a Yahoo! discussion group administrator so I could send the survey to the groups members. I expected this task to be straightforward since the survey was merely gathering information about potential learners interest and experience. However, I was surprised when the group administrator expressed many objections to the first survey I sent to hertoo many questions, too many response options, and response options that were too detailed and inflexible. She was irritated. But I needed and wanted her cooperation, so I scaled back the scope of my survey and made some of the questions open-ended. Unfortunately these changes resulted in less specific, more generic responses than I had hoped to receive. These experiences with an expert instructor and the gatekeeper for a group of potential learners made it apparent that instructional designers do not work in a bubble, merely applying the same systematic approach to each instructional situation. Stakeholders other than the learners can impact the instructional design process in dynamic and sometimes unexpected ways, and designers must be flexible and open-minded. Based on what I have learned this semester, I envision the instructional design process to be much like landscape design. I find it helpful to picture the many landscape designs I have seen,
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from thoughtless and struggling misfit plantings, to thoughtfully planned plantings that seem to blend naturally with their surroundings, to the rigidly designed and striking but sometimes outof-place botanical gardens. Both the landscape and instructional design processes begin by assessing the needs and desires of the client and the characteristics of the context where the design will be used. Both apply a systematic process to generate a plan, often represented graphically, that must strike a balance between functionality and innovation within its defined structure. Both processes generate a vision in the form of a desirable outcome for the end user, but designers must recognize that every user will interpret the design in a somewhat different manner. Both make use of tools in the design, development, and implementation stages. The implementation of the design is unique and dynamic, requiring regular evaluation, maintenance, and modification due to changing conditions. Because of the dynamic nature of the implementation, the design is never completely finished; as voiced by Smith and Ragan (2005, p. 4), perfection is neither a goal nor an option in design. Despite the systematic nature of the instructional design process, the application of this process is neither rigid nor predictable. Instructional designers must be flexible to the dynamic human nature of the process. I expect to eventually work as an instructional designer, creating and/or modifying materials for Web-based delivery to adult learners. From my experiences this semester, I have learned that my most important tool is an open mind.
Reference Smith, P. L. & Ragan, T. J. (2005). Instructional design, third edition. Hoboken, New Jersey: John Wiley & Sons, Inc.
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Part 1: Topic
This plan of instruction was prepared for the three-hour workshop titled Handcarding with Less Stress and More Fun. Handcarding is a method of preparing raw fiber (such as wool or cotton) for spinning into yarn.
Part 1a: Learning Goal

By the end of the three-hour Handcarding with Less Stress and More Fun workshop, each participant will use the correct body position to handcard a rolag that is light, airy, and even. A rolag is a tube-shaped roll of carded fiber (pictured on the cover page) that is ready for spinning into yarn.
Part 1b: Description of the Audience

The audience (learners) of this plan of instruction are the participants in the three-hour Handcarding with Less Stress and More Fun workshop to be held in July 2010 at the Midwest Fiber & Folk Art Fair, Grayslake, Illinois. The workshop will be taught by Carol Rhoades, and workshop registration is limited to 15 participants.
Part 1c: Rationale

Hand spinners (people who spin fiber into yarn by hand) who wish to prepare their own fiber for spinning often become frustrated by the seemingly labor-intensive requirements of handcarding. However, commercially prepared fiber is denser and less manageable than handcarded fiber, especially for a type of spinning known as woolen spinning. In this workshop, the instructor, Carol Rhoades, will teach participants a fast, efficient, low-stress method of handcarding wool and other fibers that produces lighter and more manageable fiber for spinning than commercially prepared fiber. The workshop participants will learn the correct body position and hand/arm movements to process their own fiber for spinning with less stress and fatigue. The lighter and airier rolag produced by this method will also allow the spinner to spin faster and more efficiently. Other spinners sometimes teach handcarding as a small part of a spinning class or workshop. Ms. Rhoades is one of the few fiber arts instructors in the world who teaches workshops on just handcarding, which allows participants to concentrate on learning handcarding as a distinct topic and skill. According to Smith and Ragan (2005), instructional strategies fall on a supplantive generative continuum (p. 142). Supplantive strategies provide most of the structure and sequence of learning, while generative strategies require the learner to take more responsibility for the structure of the learning situation. This workshop will be almost entirely supplantive for three reasons: 1. Supplantive strategies are usually more time-efficient, and this workshops short duration (three hours) must accommodate focused instruction, demonstration, student practice, and instructor troubleshooting and feedback with each student. 2. Supplantive strategies are best suited for learners with little prior knowledge, and the learners in this workshop will either have no prior knowledge of handcarding technique,
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or they will have developed a poor handcarding technique and therefore must replace their prior knowledge with new knowledge. 3. Supplantive strategies provide more scaffolding/sequencing of instruction, and efficient handcarding involves a detailed sequence of steps that are best learned and practiced one at a time. The major instructional strategy to be employed in this plan of instruction is the psychomotor learning strategy outlined in Chapter 15 of Smith and Ragan (2005). Handcarding is primarily a psychomotor skill because it requires correct body position and coordinated muscular movements, including relaxed shoulders and elbows, fluid and light hand and arm motions, coordinated handeye movements, application of a steadying handhold on the handcards, and use of the correct force and angle of motion so one handcard floats across the other to prevent the teeth from becoming enmeshed with one another. Smith and Ragan also note that psychomotor skill learning is one of two learning outcomes that require much review and repetition (p. 138).
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Part 2: Analysis Report

Part 2a: Description of the Need Part 2a.1: Needs analysis survey
Members of spinning guilds in the vicinity of the festival location represent the most likely potential participants in the handcarding workshop. One of these guilds, Fair City Spinners located in Madison, Wisconsin, was selected for a learner survey that was conducted to assess the experience and needs of potential workshop participants. The 15-question survey was prepared and posted using the online survey tool Constant Contact via the following link: http://tinyurl.com/y2gehlo. The voluntary and anonymous survey was made available to the 80 members/subscribers of the Fair City Spinners Yahoo! Group, which is the guilds online discussion forum, through April 30, 2010.
Part 2a.2: Results of needs analysis survey

The needs analysis survey described in part 2a.1 was made available to the Fair City Spinners Yahoo! Group from April 2030, 2010. Of the 80 group members, 24 responded to the survey to yield a 30% response rate. The full results of the survey, which are shown in Appendix A, did not reveal any particular surprises. Since people who participate in fiber arts often learn their craft from classes and workshops such as the one that is the focus of this plan, most of the survey respondents had some experience withand opinions aboutsuch workshop settings. Among the responses to the last two open-ended questions regarding fiber arts classes and workshops, some definite (but not unexpected) trends emerged. The negative characteristics identified in question 15 tended to be the mirror opposite of the positive characteristics identified in question 14. Figure 1 shows the relative percentages of the seven most frequently identified positive characteristics that contributed to survey respondents satisfaction with a fiber arts class or workshop. All but the final category are characteristics that the instructor could control or influence.
Instructor skills/expertise Quality of instruction (organization or pacing) Small class size/one-on-one instruction Time for hands-on practice Variety of finished examples provided Handouts provided for reference/recall Other participants friendly, sociable, have good attitude
Figure 1. Relative proportions for the seven most frequently identified characteristics that contributed to survey respondents satisfaction with fiber arts classes or workshops they have attended. Results were compiled from the 22 responses to survey question #14.
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A few responses from survey questions 14 and 15 did not apply to the seven categories shown in Figure 1. Several respondents pointed out problems with the physical characteristics of class settings such as noise and distractions (which will be addressed in part 2b.1). A few respondents mentioned a problem with students who socialize too much or dominate the class setting; however, several respondents indicated that socialization with other participants was important, so obviously the level of class socialization is subjective and somewhat dependent on the mix of student personalities the day of the workshop. Some of the unique comments from survey questions 14 and 15 are noted below:
14. In fiber arts classes or workshops you have attended, what were the three most important factors about the instruction or class setting that contributed to your satisfaction? instructor doesn't insist on "one right way" room to be creative focus on a few things and dig into them deeply understanding how different fibers react to different prep methods understanding how to choose a fleece personal experiences of the instructor let people learn at own pace getting others opinions and experiences the luxury of being able to concentrate on this topic and ability to block out the rest of what is going on in my life 15. In fiber arts classes or workshops you have attended, what did you dislike about the instruction or class setting? I was taught to spin by an instructor who was quite brusque - she made another student in the class cry! The teacher lacked professionalism and approachability. instructor who knows how, but doesn't usually card herself too much talking vs. doing the fiber technique an instructor who insisted that her way was the only correct way to do things poor quality of fiber provided low expectations - lots of reassurance and over-explaining that wasn't necessary in that group of students no activities to show you different results from spinning differently if class description did not match actual content covered in class no feeling of value added above and beyond what would be found on the internet instructors who can't control attention-hogging students difficulty in finding room location difficulty parking one student "taking" over the class or all the attention of the instruction
Part 2b: Description of the Learning Context Part 2b.1: Learning context
The Handcarding with Less Stress and More Fun workshop will be held in July 2010 during the Midwest Fiber & Folk Art Fair. This event will take place at the Lake County Fairgrounds in Grayslake, Illinois. According to the fair website, the festival organizers expect approximately
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10,000 festival participants in 2010. During the three years this festival has been held, 17,000 people from 45 states and four countries have attended. The event is run by an all-volunteer nonprofit coalition whose sole purpose is to plan this annual event, and they are renting the fairgrounds for the event. The workshop will be held indoors in a fairly new building with air conditioning and good light. A maximum of 15 participants will be seated in folding chairs spread out in a semi-circle around the instructor. At the instructors request, the sponsor will provide paper-and-pen display materials such as a large pad of paper on an easel or a whiteboard with markers. The instructor will not have access to any audio-visual equipment due to the extra cost of providing the necessary equipment. Festival and fairgrounds environments can present learning difficulties due to noise, dust, heat and humidity, and visual distractions. However, these conditions are not expected to be critical concerns for this workshop because it will be held in an enclosed, air-conditioned classroom. Workshop participants in a fiber arts fair setting such as this often arrive at the workshop loaded down with purchases they have made from the festival vendors, such as fiber, knitting and spinning equipment, books, etc. Some may also arrive with a spinning wheel in tow (which they bring for use in a spinning workshop they are attending). This excess baggage can create crowding difficulties in a tight space, since handcarding is best accomplished when the carder has ample room for extended arm movements. The workshop participants must pre-register and pre-pay for the workshop. Information about the workshop will be posted on the festivals Website: http://www.fiberandfolk.com/. Participants will be informed at the time of registration that they are required to supply their own pair of handcards for the workshop and pay a materials fee of $5.00 (collected by the instructor at the workshop) to purchase a bag of sample fibers provided by the instructor. Some of the participants handcards may be brand new with stiff teeth, while others may be old and rusty due to disuse and neglect. The instructor provides several types of wool and fiber samples, including Merino, Shetland, Romney, and Corriedale wool, and cotton, mohair, silk, and alpaca. Each bag of samples has the fibers layered in the order in which they will be demonstrated in class. In addition, each fiber sample is a different color for easy identification.
Part 2b.2: Transfer context

Most people who handcard fiber will participate in this activity in their own home environment using different types of chairs. Some carders prefer to handcard while seated on the floor. They may participate while they are doing another activity, such as watching television, listening to music, or conversing with others, but tolerance levels for noise and distraction will vary. Some may card while sitting outdoors on their patio, deck, or at a fiber arts festival, or while attending a fiber arts guild meeting/social event. Although the equipment necessary to handcard is highly portable, the activity does require space for hand movements and a suitable location to temporarily store the delicate (easily squished) rolags. Temperature and humidity levels will impact the carders ability to handle the fiber and handcards. Beginning carders will be exposed to a variety of ideas about optimal or desirable conditions for handcarding in the workshop, but they will likely determine the conditions they prefer for handcarding through trial and experience. Workshop participants may choose to purchase different handcards for home use than the pair they used for the workshop. Participants will be practicing their handcarding technique on different types of fiber during the workshop, but they will likely want to experiment with other types of fiber at home.
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Part 2c: Description of the Learners

The typical participant in this handcarding workshop is a native English-speaking adult female who participates in fiber arts activities (primarily spinning). Learner attributes such as age, gender, race, and nationality are not significant factors for planning the instruction; the physical ability to handle the tools and the ability to listen and understand directions in a workshop environment are the key learner traits. Results of the learner survey described in part 2a reflect two generalizations. First, 75% have been spinning for three or more years. Since most participants are handspinners accustomed to processing fiber by hand, most should have the physical dexterity to handcard. Second, most spinners have attended fiber arts classes or workshops, and 83.3% would attend a class or workshop (or encourage a friend to attend) if they wanted to learn how to handcard. One significant characteristic of each participant is her/his previous handcarding experience. Most (if not all) of the learners who will be attending this workshop will be experienced handspinners, and many will have experience with other techniques of preparing fiber for spinning such as flick carding, drumcarding, or combing. However, participants may or may not have experience with handcarding. Many spinners learn or develop a poor technique of handcarding that causes them fatigue and yields poor results, so they become frustrated with handcarding. Workshop participants who have tried handcarding but gave it up before they learned an effective and efficient technique must unlearn the inefficient technique they have acquired. Those who must unlearn their previous techniques generally require more assistance from the instructor than beginning carders. The survey responses shown in Figure 2 suggest that handspinners have a significant interest in handcarding or in using handcarded fiber at least occasionally, and nearly 50% would like better results from their handcarding efforts.
100 90 80 70 60 50 40 30 20 10 0 Have three or Process raw fiber Process raw fiber Use handcarded Would like better more years' for spinning by handcarding fiber results from experience themselves occasionally or occasionally or handcarding handspinning (various frequently frequently methods)
Figure 2. Percentage of all survey respondents who reported their experience and interest levels in fiber arts activities.
Physical and mental disabilities among workshop participants sometimes present instructional challenges. The instructor will provide separate demonstrations for left-handed carders if any participants identify as being left-handed (left-handed carders must use the mirrorimage process of right-handed carders). A few participants have no real expectation of learning a skill and attend the workshop merely as a social gathering with fellow spinners. These participants can present an instructional challenge and a learning barrier to others if they distract the class through conversation with other students or on a cell phone. Because the workshop participants are adults who have paid to voluntarily attend the class, the instructor has minimal recourse for dealing with distracting conversationalists.
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Part 3: Planning
Part 3a: List of Learning Objectives
To achieve the learning goal in part 1a, workshop participants must accomplish the following learning objectives: Objective 1. Learners prepare their handcards and fiber for carding. 1.1 Learners locate rust, debris, and broken or misaligned teeth on their handcards. 1.2 Learners remove debris and adjust any misaligned teeth on their handcards. 1.3 Learners clean their carders by removing debris and stray fibers with a hair pick. 1.4 Given a new pair of carders with stiff teeth, learners employ the best approach to wearing in the teeth. 1.5 Learners open the fiber tips and ends by hand. Objective 2. Learners recognize why a fast, efficient method of handcarding produces a superior rolag for woolen spinning. 2.1 Learners identify the difference between worsted and woolen spinning. 2.2 Learners identify the important differences between commercially processed fiber and handcarded fiber. 2.3 Learners explain how the differences between commercially processed fiber and handcarded fiber will affect their spinning technique. 2.4 Learners identify the characteristics of a high-quality rolag. 2.5 Learners detect imperfections in a rolag, such as lumps, ridges, flares, stairsteps, and uneven fibers. Objective 3. Learners demonstrate ways to prevent fatigue while handcarding. 3.1 Learners keep their elbows and shoulders low and relaxed during carding. 3.2 Learners position their thumb and index fingers on the active carder to keep it steady. 3.3 Learners position the passive carder on their thigh for support. 3.4 Learners card with a light wrist, hand, and arm action. 3.5 Learners float the active carder across the passive carder. 3.6 Learners practice standing up and moving around every 15 minutes to increase circulation in their feet while handcarding. Objective 4. Learners apply the correct technique to handcard fiber quickly and efficiently. 4.1 Learners identify the different functions of the passive and active carders. 4.2 Learners place the correct amount of fiber on the carders. 4.3 Learners place fibers evenly and in the correct position on the carders. 4.4 Learners employ the correct arm position and motion to prevent imperfections in the finished rolag. 4.5 Left-handed learners employ the mirror-image carding technique of right-handed learners. 4.6 Learners demonstrate how to blend different types of fiber.
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Objective 5. Learners produce a rolag that is light, airy, and even. 5.1 Learners efficiently transfer the fibers back and forth between the active and passive handcards. 5.2 Learners carefully lift the fibers and roll them into a rolag. Objective 6. Learners choose the appropriate type of handcard for different types of fiber and spinning. 6.1 Learners identify characteristics and functions of flat and curved handcards. 6.2 Learners identify characteristics and functions of wool and cotton handcards. 6.3 Learners identify the advantages and disadvantages of different types of handcards. 6.4 Learners match the functions of different handcards with the characteristics of different types of clean fiber. Objective 7. Learners apply handcarding knowledge from the classroom to their home environment. 7.1 Learners choose an appropriate fleece for handcarding. 7.2 Learners apply the correct method of washing raw fiber. 7.3 Learners explain why rolags should be spun soon after carding. 7.4 Learners analyze the carding process so they can troubleshoot the causes of imperfections in a rolag. 7.5 Learners adapt their handcarding choices and techniques for different fiber lengths and different types of spinning.
Part 3b: Matrix of Objectives, Blooms Taxonomy, and Types of Learning

The learning objectives identified in a plan of instruction can be described by three different classifications: Blooms Taxonomy, the primary instructional strategy, and the type of learning. Blooms Taxonomy, as developed by Benjamin Bloom in 1959 (Smith & Ragan, 2005, p. 79), includes a taxonomy of measurable verbs to classify learning objectives by one of the following six categories: knowledge, comprehension, application, analysis, synthesis, or evaluation. These six categories represent the cognitive processing that must be exhibited by the learner, with the final three categories representing critical thinking on the part of the learner. The instructional strategy can be described as either supplantive or generative (as explained in part 1c). The type of learning is identified from Smith and Ragan (2005) Chapters 8 through 15. Their eight types of learning include declarative knowledge, conceptual learning, procedural learning, principle learning, problem solving, cognitive learning, attitude learning, and psychomotor skill learning. Table 1 is a matrix of the learning objectives identified in part 3a and described according to Blooms Taxonomy, strategy, and type of learning..
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Table 1. Matrix of learning objectives classified according to Blooms Taxonomy, instructional strategy, and type of learning. Objective number 1 1.1 1.2 1.3 1.4 1.5 2 2.1 2.2 2.3 2.4 2.5 3 3.1 3.2 3.3 3.4 3.5 3.6 4 4.1 4.2 4.3 4.4 4.5 4.6 5 5.1 5.2 6 6.1 6.2 6.3 6.4 7 7.1 7.2 7.3 7.4 7.5 Blooms Taxonomy classification Application Application Application Application Application Application Comprehension Comprehension Comprehension Comprehension Comprehension Comprehension Application Application Application Application Application Application Application Application Application Application Application Application Application Application Application Application Application Evaluation Comprehension Comprehension Comprehension Analysis Application Evaluation Application Comprehension Synthesis Evaluation Strategy to be employed to teach the objective Supplantive Supplantive Supplantive Supplantive Supplantive Supplantive Supplantive Supplantive Supplantive Supplantive Supplantive Supplantive Supplantive Supplantive Supplantive Supplantive Supplantive Supplantive Supplantive Supplantive Supplantive Supplantive Supplantive Supplantive Supplantive Supplantive Supplantive Supplantive Supplantive Supplantive Supplantive Supplantive Supplantive Supplantive Supplantive Supplantive Supplantive Supplantive Supplantive Supplantive Type of learning Psychomotor skill Conceptual Procedural Procedural Procedural Procedural Principle Conceptual Conceptual Principle Conceptual Conceptual Psychomotor skill Procedural Procedural Procedural Procedural Procedural Procedural Psychomotor skill Conceptual Procedural Procedural Procedural Procedural Problem solving Psychomotor skill Procedural Procedural Problem solving Conceptual Conceptual Conceptual Conceptual Problem solving Problem solving Problem solving Conceptual Problem solving Problem solving
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Part 3c: ARCS Motivational Strategies Plan and Table

Motivational strategies to attract and sustain students interest throughout the period of instruction can be identified through the use of the ARCS Model, where A = Attention, R = Relevance, C = Confidence, and S = Satisfaction (Keller, 1987). Table 2 identifies motivational strategies that the instructor could employ in the handcarding workshop. Table 2. ARCS Model of Motivational Strategies. Project Goal Statement: By the end of the three-hour Handcarding with Less Stress and More Fun workshop, each participant will use the correct body position to handcard a rolag that is light, airy, and even. ATTENTION A.1 Perceptual arousal Instructor will initially gain students attention by asking them to take a seat and to help her adjust the arrangement of chairs (in a semi-circle) as necessary to accommodate the items that students are carrying with them (such as spinning wheels). This activity will help students to reorient their thoughts from the social atmosphere of the festival setting to the quiet classroom setting, where they must listen and follow directions. Instructor will introduce herself and summarize what the students will learn during the workshop. Instructor will explain that two-thirds of the workshop will be spent with hands-on practice, and the instructor will be available for one-on-one assistance and troubleshooting. Instructor will inform students that they will be given two handouts to take home, but the handouts will be distributed later so the students can concentrate on listening, watching, and practicing during the workshop instead of taking notes. Instructor will describe the frustrations she experienced as a beginning handcarder, much like many of the students may have experienced. Those frustrations led her to undertake a focused experimentation period during which she developed her low-stress technique. A2. Inquiry arousal Instructor will ask the students (with a show of hands) how many have tried handcarding. Instructor will ask students who have tried handcarding (with a show of hands) how many have experienced fatigue when they handcard. Instructor will ask the students who have tried handcarding what problems they have encountered with handcarding. A3. Variability Instructor will rotate her instructional methods among lecture, demonstration, student hands-on practice time, and one-on-one troubleshooting throughout the workshop to maintain students attention and interest. Students will practice both alone and with a partner, which allows them to repeatedly practice the procedures, to gain and give feedback, and to actively participate, which generates a more interactive environment. RELEVANCE
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R1. Goal orientation Instructor will demonstrate her quick, efficient, and seemingly effortless technique of handcarding (leading to many oohs and aahs from the students) so students will see how easy handcarding can be. Instructor will pass around the resulting perfect rolag so each student can visually and tactically examine it. If time permits, instructor will demonstrate how students may be able to spin faster from their handcarded rolags due to the results achieved with this handcarding technique. R2. Motive matching Instructor will demonstrate how a relaxed body position and a low expenditure of energy during handcarding will not only be more comfortable and motivating, but will also yield better results. Instructor will allow students to practice handcarding with many different types of fibers and with blending fibers so they will feel confident experimenting with any fibers or fiber combinations they wish to at home. R3. Familiarity Instructor will activate students knowledge of fibers from their other experiences in fiber arts to assess fiber characteristics for handcarding and matching the appropriate handcarding tools with different fiber characteristics. Instructor will have students stand behind her while she is demonstrating handcarding techniques so the students view the activity from the same perspective they have when doing the activity themselves. Instructor will demonstrate the left-handed technique if any students identify as lefthanded. CONFIDENCE C1. Learning requirements Instructor will encourage students to evaluate each rolag they produce during the workshop and to fill out the self-assessment form so students will see their own progress and identify areas where they need additional assistance from the instructor. Students will work in pairs for part of the practice time so students can identify both improvements and problematic areas in their partners techniques. Instructor will point out to students that they should not expect to make perfect rolags by the end of the workshop; perfecting their technique will take much practice and time. C2. Success opportunities Instructor will move around the room and work with each student individually on one problematic skill at a time (such as keeping the handcards straight, applying the correct amount of fiber, relaxing the elbows and shoulders, or carding with a light touch) so the student can succeed at one skill before trying others. Instructor will point out each students improvements from one rolag to the next. After the break, instructor will give the students two handcarding tests that will demonstrate to the students how they can produce designer-colored and heather yarns through handcarding. The tests involve handcarding stripes of colors, but students must keep the handcards in the correct position to yield the desired effects from the test. C3. Personal control To encourage students to think critically about their own technique, instructor will ask students why they think imperfections are appearing in their rolags and what adjustments
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to their technique might yield better results. Instructor will point out that students will have to adjust their handcarding technique to suit their own physical comfort and style. For example, the instructor prefers to handcard while sitting cross-legged on the floor rather than in a chair. Instructor will demonstrate that students have control over the size of their rolags so they can control the size of the yarn they will spin from the rolag. SATISFACTION S1. Natural consequences Students will spend two-thirds of the workshop practicing their handcarding technique in much the way they will use it at home. S2. Positive consequences Instructor will inform students that they will be given handouts at the end of the workshop to take home so the students can concentrate on listening, watching, and practicing during the workshop instead of taking notes. Instructor will reinforce learning by concluding the workshop with a review. S3. Equity Instructor will prompt struggling students to identify the causes of their own difficulties instead of giving them false praise for trying.
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Part 4. Instructor Guide

This instructor guide was developed from a combination of interviews with the instructor, and a magazine article about handcarding written by the instructor (Rhoades, 2001). The structure and sequence of instructional events is derived from Chapter 7 in Smith and Ragan (2005). The headings reflect the supplantive strategy that will be employed throughout the workshop. Introduction 1. Gain Attention a. Instructor gains students attention by asking them to take a seat and to help her adjust the arrangement of chairs (in a semi-circle) as necessary to accommodate the items that students are carrying with them (such as spinning wheels and festival marketplace purchases). This activity will help students to reorient their thoughts from the social atmosphere of the festival setting to the quiet classroom setting, where they must listen and follow directions. b. Instructor introduces herself and describes her background and experience in fiber arts. c. Instructor describes the frustrations she experienced as a beginning handcarder that led her to undertake a focused experimentation period during which she developed her low-stress technique. 2. Inform Learners of Purpose a. Instructor describes the benefits she has derived from the technique she has developed. b. Instructor explains why she has developed a workshop focused solely on handcarding. 3. Stimulate Learners Attention/Motivation a. Instructor asks the students (with a show of hands) how many have tried handcarding. b. Instructor asks the students who have tried handcarding (with a show of hands) how many have experienced fatigue when they handcard. c. Instructor asks the students who have tried handcarding what problems they have encountered with handcarding. 4. Provide Overview a. Instructor reviews the key parts of the workshop outline. b. Instructor explains that two-thirds of the workshop will be spent with hands-on practice, and the instructor will be available for one-on-one assistance and troubleshooting. c. Instructor informs students that they will be given two handouts to take home, but the handouts will be distributed later so the students can concentrate on listening, watching, and practicing during the workshop instead of taking notes. d. Instructor points out to students that they should not expect to make perfect rolags by the end of the workshop, because perfecting their technique will take much practice and time. However, students will learn how to think critically about their own technique and make informed decisions for troubleshooting.
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Body 1. Stimulate Recall of Prior Knowledge a. Instructor activates students knowledge of fibers from their other experiences in fiber arts to assess fiber characteristics for handcarding. b. Instructor asks students to use their knowledge of fiber characteristics to match the appropriate handcarding tools with different fiber characteristics. 2. Present Information and Examples a. Instructor notes that fibers vary by length and coarseness/fineness. b. Instructor points out that the fibers in their sample packet are color coded (for example, Shetland wool is gray, Merino wool is white, etc.) so students can easily find a sample when directed by instructor. c. Instructor discusses how to clean handcards and soften any stiff teeth. d. Instructor describes how to wash and prepare fleece for handcarding. e. Instructor describes what characteristics to seek in a fleece intended for handcarding. f. Instructor discusses reasons why a person would choose to handcard a fleece instead of using a different processing technique. 3. Gain and Direct Attention a. Instructor demonstrates her handcarding technique. b. Instructor passes a finished rolag around the room so each student can handle and inspect it. c. Instructor repeats her handcarding demonstration, pointing out different details of her technique during each demonstration. d. Instructor demonstrates the left-handed technique if any students identify as lefthanded. 4. Guide Use of Learning Strategies a. Instructor rotates her instructional methods among lecture, demonstration, student hands-on practice time, and one-on-one troubleshooting throughout the workshop to maintain students attention and interest. b. Instructor has students stand behind her while she demonstrates handcarding techniques so the students view the activity from the same perspective they have when doing the activity themselves. c. Instructor demonstrates how a relaxed body position and a low expenditure of energy during handcarding will not only be more comfortable and motivating, but will also yield better results. d. Instructor points out that students will have to adjust their handcarding technique to suit their own physical comfort and style. For example, the instructor prefers to handcard while sitting cross-legged on the floor rather than in a chair. e. Instructor demonstrates how the handcarder can control the size of the rolags and therefore the size of the yarn to be spun from the rolag. 5. Guide Practice a. Instructor prompts students to practice handcarding their first rolag by following along with her on each step of the process. b. Instructor passes out the self-assessment form that students can use to evaluate their own progress from one rolag to the next.
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c. Instructor prompts students to continue practicing while she moves around the room and works with each student individually on one problematic skill at a time (such as keeping the handcards straight, applying the correct amount of fiber, relaxing the elbows and shoulders, or carding with a light touch) so the student can succeed at one skill before trying others. Instructor can compare her own assessment of each students progress with the students self-assessments on the assessment form. d. While students are practicing, instructor points out each students improvements from one rolag to the next. e. Instructor has students stop practicing with their handcards to avoid fatigue while she discusses the characteristics of different types of handcards (curve, teeth, weight, handle shape, materials) and explains why she chooses different carders for different fibers while she demonstrates handcarding with different carders and fibers. f. Instructor prompts students to practice with a partner and hands out the Handcarding Notes handout so students can use it for reference while working with their partner. Instructor tells them to identify both improvements and problematic areas in their partners techniques. f. Instructor moves around the room and works with each pair of students on the problems they are encountering. g. Instructor prompts students to practice alone again and try different fibers. 6. Provide Feedback a. After a short break, instructor gives the students two handcarding tests that will demonstrate to the students how they can produce designer-colored and heather yarns through handcarding. The tests involve handcarding stripes of colors, but students must keep the handcards in the correct position to yield the desired effects from the test. b. To encourage students to think critically about their own technique and generate their own solutions, instructor asks students why they think imperfections are appearing in their rolags and what adjustments to their technique might yield better results. Conclusion 1. Provide Summary and Review a. Instructor encourages students to continue practicing the handcarding technique to promote learning through repetition. b. Instructor encourages students to evaluate each rolag they produce during the workshop and to fill out the self-assessment form so students will see their own progress and identify areas where they need additional assistance from the instructor. 2. Enhance Transfer of Learning a. Instructor allows students to practice handcarding with many different types of fibers (cotton, mohair, silk) and with blending short and long fibers so they will feel confident experimenting with any fibers or fiber combinations they wish to at home. b. Instructor has students complete one finishing exercise to add silk fiber to wool at various stages of the carding process to produce different effects based on degree of blending.
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c. If time permits, instructor demonstrates with a spinning wheel how students may be able to spin faster from their handcarded rolags due to the results achieved with the handcarding technique they have learned. 3. Provide Remediation and Closure a. Instructor reviews the key points of the basic handcarding technique. b. Instructor passes out the Troubleshooting handout so students can reference it at home. c. Instructor discusses why rolags should be spun soon after they are formed. d. Instructor provides strategies for approaching handcarding tasks (do small amounts at a time, get up and move around, then spin the carded rolags). 4. Conduct Assessment a. Instructor hands out workshop evaluation and asks students to return it to the festival sponsors. 5. Provide Feedback and Remediation a. Instructor provides her email address and invites students to contact her with questions or problems they may have after the workshop.
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Part 5. Learner Content

Part 5a. Learning Materials
Workshop participants will receive two short hard-copy handouts to help with reference and recall of the workshops content. The first is a one-page handout titled Handcarding Notes that was previously created by the instructor. This sheet will be distributed to students when they pair up to practice handcarding so one partner can refer to the sheet while assisting the other partner. To avoid unauthorized copying and distribution of this handout, this handout will not be included in this plan of instruction. The second reference material is a one-page handout titled Troubleshooting Notes for Handcarding. Since part of the instructional plan requires the students to consider what may be causing imperfections in their rolags and possible solutions, this sheet will not be handed out until the end of the workshop. The troubleshooting handout was created through a combination of interviews with the instructor and a magazine article authored by the instructor (Rhoades, 2001). The troubleshooting handout is styled like the first handout for consistency and is shown in Appendix B.
Part 5b. Formative and Summative Assessment Materials

In this workshop, attendance is motivated by the participants desire to either learn the skill of handcarding or improve their existing handcarding technique. Therefore, each students own self-assessment of skills progress and the attainment of a desired result are more important than the instructors assessment of each students progress. Therefore, student assessment for this workshop will be accomplished through student self-assessment. Appendix C contains a student self-assessment form that the instructor will distribute at the beginning of the workshop practice session. As students work alone and with a partner, they can record their assessment of the quality of each rolag they produce (and level of fatigue) and monitor their progress over time from one rolag to the next. As the instructor moves around the room and works with students one-on-one, she can compare her assessment of the quality of each students rolags with the students self-assessment as recorded on the self-assessment form. The student may continue to use this form after the workshop to assess progress over time and identify problem areas. The self-assessment form serves a secondary purpose of keeping students on task who may be more prone to socialize during the practice session. Although this workshop is informal for an instructional setting and intended to be fun for the participants, the instructors gentle suggestion that she will be monitoring each students progress as reported on the self-assessment form may serve to curb excessive socialization.
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Part 5c. Technology Tool Justification

Due to the short duration of the workshop, limited workshop registration, and the added cost of providing audio-visual tools, no such technology tools will be used for this workshop.
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Part 6. Formative Evaluation Plan

Part 6a. Expert Review
This plan of instruction will be reviewed by the instructor/subject matter expert of the Handcarding with Less Stress and More Fun workshop. Instructor Carol Rhoades is a fiber artist, translator, editor, writer, and former college instructor. Ms. Rhoades resides in Madison, Wisconsin, and can be contacted via e-mail at rhoadessc@sbcglobal.net (she requested email rather than phone contact). She has taught this handcarding workshop as well as others on fiber arts topics throughout the U.S. and in several other countries. Ms. Rhoades is one of the few fiber arts instructors in the world who teaches handcarding as a distinct topic and skill (others teach it as a small part of a spinning class). She developed her technique through focused practice and trial-and-error. She credits her handcarding technique for allowing her to spin faster and more efficiently, and to produce exceptionally light and airy fiber with superior insulating properties. The final plan will be submitted to Ms. Rhoades by May 3, 2010, and Ms. Rhoades will complete the formative evaluation by May 7, 2010. The expert review questions are shown in part 7a, and the results of the expert review are shown in part 7b.
Part 6b. One-to-One Evaluation

The instruction in this workshop depends entirely on the instructors presence to demonstrate her unique handcarding technique, so a one-to-one evaluation is not ideal for this teacher-mediated workshop (as noted by Smith and Ragan, 2005, p. 330). However, a one-to-one-evaluation of this workshop could be conducted by recruiting two members of the Fair City Spinners Guild who are already adept at handcarding to adopt the role of student and review the instructional plan and materials. It would be important for these evaluators to know at least the basics of the handcarding process in order to identify any missing steps in the instructional plan and evaluate the reference materials. The designer would adopt the instructors role to run through the plan and hand out the materials at the appropriate points during the instruction. First, the evaluators would be asked to go through the motions of each step (using their own handcards and fiber samples) and describe any points of confusion they experience. Next, the evaluators would be asked to act as partners to evaluate the pairs practice session built into the instructional plan. Then they would be asked to read through the reference materials using the read-think-aloud technique: reading the text aloud and expressing verbally their responses to the text while the designer took notes. Since the handouts are primarily intended to be reference materials for use at home, the evaluators could be asked to take the materials home, use them, and report back to the designer on their usefulness. The purposes of this evaluation would be to identify any key missing or poorly sequenced steps in the instruction, identify any handcarding problems the evaluators have experienced that are not addressed in the plan, and evaluate the clarity and completeness of the reference materials. Questions might include the following:
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Did the learners understand the instructions? Are the instructions missing any important steps? Have the learners experienced any handcarding problems not addressed by the materials? Are the reference materials useful?
Part 6c. Small Group Evaluation

In a small group evaluation of this workshop, the instructor would use the instructional plan, after revisions have been incorporated from the one-to-one evaluation, to present the instruction to a small group of learners while the designer acted as observer. Learners could again be recruited from the Fair City Spinners Guild, but this time the learners should represent the two primary groups of learners expected for this workshop: beginners who have no handcarding experience, and novice handcarders who have experienced difficulties with the technique. The designer would administer a learner questionnaire to collect demographic data about the learners and information about their experiences with and attitudes toward handcarding. During the test instruction, the designer would take notes about any problems the instructor encountered with the instructional plan, any difficulties the learners experienced with the instruction, and the amount of time spent on each step of the instruction. In addition, the observer would note the learners reactions to the motivational strategies identified in part 3c. Following the small group test instruction, the learners would be given a questionnaire to assess their attitudes toward the instruction and collect their suggestions for improvement. In addition, the designer would debrief the instructor about her experience using the instructional plan. A primary purpose of this type of evaluation would be to assess the learners attitudes toward the instruction and determine whether they met the learning goal. Questions to address might include the following: Did the learners represent both beginner and semi-experienced handcarders? How long did it take for the learners to complete the instruction? How did the learners react to the motivational strategies? If the learners were not motivated, how can the motivational strategies be revised? Did the learners meet the learning goal? What revisions are necessary for learners to meet the learning goal (if they did not)?
Part 6d. Field Trial

For this plan of instruction, the presentation of this workshop scheduled for July 2010 at the Midwest Fiber & Folk Festival would serve as the field trial for future presentations of the same workshop in other settings. This festival is scheduled to take place in two months, so there is not enough time to schedule and conduct one-to-one and small group evaluations followed by data analysis and revisions, then a field trial followed by more revisions. In addition, the unique
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context of a summer festival environment cannot be easily replicated in a field trial. The designer would act as an observer during the field trial and take notes about the instructions effectiveness in the workshop environment, and characteristics of the workshop environment that would or would not transfer to other potential environments in which this workshop might be held. In addition, the workshop participants would be asked to complete a questionnaire to assess their opinions of and attitudes toward the instruction and the workshop experience. The designer would debrief the instructor as well. The primary purpose of this type of evaluation would be assessing the workshop within the context of the festival setting. Questions to address include the following: Can the instruction be implemented in the festival setting as designed? Was the plan easy for the instructor to implement? In what ways did the instructor deviate from the instructional plan? Did the learners represent the expected skill levels? How long did it take for the learners to complete each step of the instruction? Did the learners meet the objectives and learning goal? How did the learners react to the motivational strategies? In what ways could this plan be transferred to another context? In what ways could this plan not be transferred to another context?
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Part 7. Formative Evaluation Report

Part 7a. Evaluation Survey
The expert review described in part 6a was delivered as a survey that was prepared and posted using the online survey tool Constant Contact and made available to the expert/instructor via the following link: http://tinyurl.com/22mwdub. The reviewers responses are discussed in part 7b and shown in Appendix D. The survey contained the following 15 open-ended questions: 1. Is the learning goal in part 1a for this workshop accurate? If not, how would you change it? 2. Do you agree with the description of the rationale in part 1c? Please explain. 3. Does the analysis of the survey results in part 2a.2 accurately reflect the responses? Please explain. 4. Is the description of the learning context in part 2b.1 accurate and complete? Please explain. 5. Is the description of the transfer context in part 2b.2 accurate and complete? Please explain. 6. Is the description of the learners in part 2c accurate and complete? Please explain. 7. Do the learning objectives and sub-objectives in part 3a support the achievement of the learning goal? If not, please explain how you would modify them. 8. Would you modify or add any motivational strategies to the table in part 3c? Please explain. 9. Does the sequence of instructional events in the instructor guide (part 4) seem logical for this workshop? Please explain. 10. Is the introduction section of the instructor guide (part 4) complete and accurate? Please explain. 11. Is the main body of the instructor guide (part 4) complete and accurate? Please explain. 12. Is the conclusion section of the instructor guide (part 4) complete and accurate? Please explain. 13. Is the troubleshooting handout (discussed in part 5a) useful, complete, and accurate? If not, please explain how you would modify the handout. 14. Is the student self-assessment form (discussed in part 5b) useful and accurate? Please explain. 15. Please describe your reaction to the plan overall. Is it readable and accurate? Did any part of the planning process, survey results, or plan of instruction suggest a modification you might adopt for this workshop?
Part 7b. Expert Review Results

The complete responses to the expert review survey questions listed in part 7a are shown in Appendix D. In addition, the reviewer marked a few text changes in the workshop plan document (as would be expected from an editor!) using Track Changes; all of these minor text edits have already been incorporated into this document. Most of the reviewers suggestions in the survey responses concerned text additions for the plan document and handouts and some
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relatively minor procedural changes. The procedural changes that were prompted by the survey responses are described in part 7c. The reviewer did suggest a possible addition to the learning goal; however, this addition was already essentially covered by learning objective 7.4, so the reviewers comment was used to revise the wording of objective 7.4. Although this skill might be considered equally important as the learning goal (as reflected by objective 7.4s classification in Table 1 as a high-level problem-solving type of learning), it is still a skill that is needed to support the ultimate learning goal rather than a goal in and of itself. The instructor also indicated that occasionally students as young as age 10 have attended her workshops. Recently the event sponsors added information to the event website indicating that the minimum age for this workshop is age 10, but the registration form does not mention whether minors must register with a parent/guardian or have a supervisor during the workshop. If any minor student registers for the handcarding workshop without a parent/guardian, it could create a supervision issue that must be addressed.
Part 7c. Comments on Change

Based on the responses to the expert review survey described in part 7b, the following changes have been or would be made to this plan of instruction: 1. Minor text changes in the workshop plan document (done). 2. Objective 7.4 wording revised per explanation in part 7b (done). 3. Last sentence of first paragraph in part 2b.2 revised (done). 4. Wording changes to part 4 conclusion item #2 (done). 5. Add to the description of the learning context that students as young as age 10 are permitted to register for this workshop, and add a sentence to the learner description in part 2c regarding the need to help young learners with focusing. Also, add an item to the instructor guide for the instructor to collect contact information from a parent or guardian who drops off any minor student registered for the workshop. 6. Change to instructor guide and motivational strategies: Do not have students help with arranging chairs. The instructor indicated that she would prefer to have students adjust chair locations and spacing as needed during the workshop instead of having the students help with this task upon arrival. 7. Changes to instructor guide and motivational strategies regarding distribution of handouts: The instructor will distribute the first handout of handcarding notes at the beginning of the workshop (instead of at the beginning of the pairs practice session) and the troubleshooting handout at the conclusion of the workshop (instead of being used during the workshop). 8. Addition to instructor guide conclusion: Instructor will hand out a reference sheet on fiber sources at the end of the workshop. 9. Procedural change: Student assessment handout will not be used during the workshop. Instead, the handout will be given to students at the end of the workshop for use at home.
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10. Change to student assessment handout: The assessment handout will be modified so each sheet is devoted to one rolag with space for the student to attach fiber samples. A copy of the assessment sheet can be made for each additional rolag. 11. Procedural change to instructor guide: Students will receive the workshop evaluation form and instructions for returning the form from the event sponsors at the time of registration. Unfortunately, the instructor indicated that she never receives these evaluations from event sponsorshowever, it would not be prudent to ask students to fill out an alternate evaluation form for the instructors use.
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Part 8. AECT Standards Grid

Professional Standards Addressed (AECT) The following standards, developed by the Association for Educational Communications and Technology (AECT), and used in the accreditation process established by the National Council for Accreditation of Teacher Education (NCATE), are addressed to some degree in this course. The numbers of the standards correspond to the numbers next to the course tasks show on the list of assignments. Not all standards are addressed explicitly through student work. Standard Standard 1: DESIGN 1.1 Instructional Systems Design (ISD) 1.1.1 Analyzing 1.1.2 Designing 1.1.3 Developing 1.1.4 Implementing 1.1.5 Evaluating 1.2 Message Design 1.3 Instructional Strategies 1.4 Learner Characteristics Standard 2: DEVELOPMENT 2.0 (includes 2.0.1 to 2.0.8) 2.1 Print Technologies 2.2 Audiovisual Technologies 2.3 Computer-Based Technologies 2.4 Integrated Technologies Standard 3: UTILIZATION 3.0 (includes 3.0.1 & 3.0.2) 3.1 Media Utilization 3.2 Diffusion of Innovations 3.3 Implementation and Institutionalization 3.4 Policies and Regulations Standard 4: MANAGEMENT 4.0 (includes 4.0.1 & 4.0.3) 4.1 Project Management 4.2 Resource Management 4.3 Delivery System Management Assignments meeting standard in whole or part X ID Projects 1, 2, & 3 X X X X X ID Project 1 ID Projects 1, 2, & 3 ID Projects 1, 2, & 3 ID Projects 2 & 3 Selected Discussion Forums; ID Projects 2 & 3
X ID Projects 2 & 3 X ID Project 1
X ID Projects 2 & 3 X Reading Quiz; ID Projects 1, 2, & 3 X (all assignments)
X (all assignments) X ID Projects 2 & 3
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Standard 4.4 Information Management Standard 5: EVALUATION 5.1 Problem Analysis 5.2 Criterion-Referenced Measurement 5.3 Formative and Summative Evaluation 5.4 Long-Range Planning
Assignments meeting standard in whole or part
X X ID Projects 2 & 3 X ID Projects 2 & 3
COURSE GOALS & OBJECTIVES The overall goal for the course is for each student to consider and use the systematic process of instructional design to create an instructional product. To achieve this goal, students will engage in activities that promote reflective practice, emphasize realistic contexts, and employ a number of communications technologies. Following the course, students will be able to: 1. Discuss the historical development of the practice of instructional design with regard to factors that led to its development and the rationale for its use 2. Describe at least two reasons why instructional design models are useful 3. Identify at least six instructional design models and classify them according to their use 4. Compare and contrast the major elements of three theories of learning as they relate to instructional design 5. Define instructional design. 6. Define the word systematic as it relates to instructional design 7. Define learning and synthesize its definition with the practice of instructional design 8. Relate the design of instruction to the term educational (or instructional) technology 9. Describe the major components of the instructional design process and the functions of models in the design process 10. Provide a succinct summary of various learning contexts (declarative knowledge, conceptual, declarative, principle, problem-solving, cognitive, attitudinal, and psychomotor) 11. Build an instructional design product that integrates major aspects of the systematic process and make this available on the web.
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a. Describe the rationale for and processes associated with needs, learner, context, goal, and task analyses i. ii. Create and conduct various aspects of a front-end analysis Identify methods and materials for communicating subject matter that are contextually relevant
b. Describe the rationale for and processes associated with creating design documents (objectives, motivation, etc.) i. ii. iii. Construct clear instructional goals and objectives Develop a motivational design for a specific instructional task Develop assessments that accurately measure performance objectives
c. Select and implement instructional strategies for selected learning tasks i. Select appropriate media tools that support instructional design decisions
d. Describe the rationale and processes associated with the formative evaluation of instructional products i. Create a plan for formative evaluation
12. Identify and use technology resources to enable and empower learners with diverse backgrounds, characteristics, and abilities. 13. Apply state and national content standards to the development of instructional products 14. Meet selected professional standards developed by the Association for Educational Communications and Technology 15. Use various technological tools for instructional and professional communication AECT STANDARDS (Applicable to EDTECH 503) 1.0 Design 1.1 Instructional Systems Design 1.1.a Utilize and implement design principles which specify optimal conditions for learning. 1.1.b Identify a variety of instructional systems design models and apply at least one model.
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1.1.1 Analyzing 1.1.1.a Write appropriate objectives for specific content and outcome levels. 1.1.1.b Analyze instructional tasks, content, and context. 1.1.2 Designing 1.1.2.a Create a plan for a topic of a content area (e.g., a thematic unit, a text chapter, an interdisciplinary unit) to demonstrate application of the principles of macro-level design. 1.1.2.b Create instructional plans (micro-level design) that address the needs of all learners, including appropriate accommodations for learners with special needs. 1.1.2.d Incorporate contemporary instructional technology processes in the development of interactive lessons that promote student learning. 1.1.3 Developing 1.1.3.a Produce instructional materials which require the use of multiple media (e.g., computers, video, projection). 1.1.3.b Demonstrate personal skill development with at least one: computer authoring application, video tool, or electronic communication application. 1.1.4 Implementing 1.1.4.a Use instructional plans and materials which they have produced in contextualized instructional settings (e.g., practica, field experiences, training) that address the needs of all learners, including appropriate accommodations for learners with special needs. 1.1.5 Evaluating 1.1.5.a Utilize a variety of assessment measures to determine the adequacy of learning and instruction. 1.1.5.b Demonstrate the use of formative and summative evaluation within practice and contextualized field experiences. 1.1.5.c Demonstrate congruency among goals/objectives, instructional strategies, and assessment measures. 1.3 Instructional Strategies 1.3.a Select instructional strategies appropriate for a variety of learner characteristics and learning situations. 1.3.b Identify at least one instructional model and demonstrate appropriate contextualized application within practice and field experiences. 1.3.c Analyze their selection of instructional strategies and/or models as influenced by the learning situation, nature of the specific content, and type of learner objective. 1.3.d Select motivational strategies appropriate for the target learners, task, and learning situation. 1.4 Learner Characteristics
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1.4.a Identify a broad range of observed and hypothetical learner characteristics for their particular area(s) of preparation. 1.4.b Describe and/or document specific learner characteristics which influence the selection of instructional strategies. 1.4.c Describe and/or document specific learner characteristics which influence the implementation of instructional strategies. 2.0 Development 2.0.1 Select appropriate media to produce effective learning environments using technology resources. 2.0.2 Use appropriate analog and digital productivity tools to develop instructional and professional products. 2.0.3 Apply instructional design principles to select appropriate technological tools for the development of instructional and professional products. 2.0.4 Apply appropriate learning and psychological theories to the selection of appropriate technological tools and to the development of instructional and professional products. 2.0.5 Apply appropriate evaluation strategies and techniques for assessing effectiveness of instructional and professional products. 2.0.6 Use the results of evaluation methods and techniques to revise and update instructional and professional products. 2.0.7 Contribute to a professional portfolio by developing and selecting a variety of productions for inclusion in the portfolio. 2.1 Print Technologies 2.1.3 Use presentation application software to produce presentations and supplementary materials for instructional and professional purposes. 2.1.4 Produce instructional and professional products using various aspects of integrated application programs. 2.3 Computer-Based Technologies 2.3.2 Design, produce, and use digital information with computer-based technologies. 3.0 Utilization 3.1 Media Utilization 3.1.1 Identify key factors in selecting and using technologies appropriate for learning situations specified in the instructional design process. 3.1.2 Use educational communications and instructional technology (SMETS) resources in a variety of learning contexts. 3.3 Implementation and Institutionalization
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3.3.1 Use appropriate instructional materials and strategies in various learning contexts. 3.3.2 Identify and apply techniques for integrating SMETS innovations in various learning contexts. 3.3.3 Identify strategies to maintain use after initial adoption. 4.0 Management (none specifically addressed in 503) 5.0 Evaluation 5.1 Problem Analysis 5.1.1 Identify and apply problem analysis skills in appropriate school media and educational technology (SMET) contexts (e.g., conduct needs assessments, identify and define problems, identify constraints, identify resources, define learner characteristics, define goals and objectives in instructional systems design, media development and utilization, program management, and evaluation). 5.2 Criterion-referenced Measurement 5.2.1 Develop and apply criterion-referenced measures in a variety of SMET contexts. 5.3 Formative and Summative Evaluation 5.3.1 Develop and apply formative and summative evaluation strategies in a variety of SMET contexts. SMET = School Media & Educational Technologies
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Appendices
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Appendix A. Needs Analysis Survey Questions and Results

As described in part 2a, the following needs analysis survey was sent to potential learners to assess their needs and interests in handcarding. The number of responses and response ratio are shown in the right-hand columns; text responses/comments are shown at the end of the survey. Typographical errors in the text responses have not been correct.
1. How long have you been spinning fiber? Number of Response(s) Response Ratio One or two years 6 25.0% Three to five years 7 29.1% Five to ten years 6 25.0% More than ten years 5 20.8% I don't currently spin 0 0.0% Total 24 100% 2. What is the primary type of spinning you do? Number of Response(s) Response Ratio Worsted (dense, smooth yarns spun 11 45.8% with short draw) Woolen (light, fuzzy yarns spun with 2 8.3% long draw) Both worsted and woolen 11 45.8% I don't currently spin 0 0.0% Total 24 100% 3. How do you usually obtain fiber for spinning? (check all that apply) Number of Response(s) Response Ratio Use commercially prepared fiber 21 87.5% Get ready-to-spin fiber from a friend 5 20.8% Prepare raw fiber myself 15 62.5% Other 1 4.1% Total 24 100% 4. Which of the following fiber processing methods do you use? (check all that apply) Number of Response(s) Response Ratio Handcarding 17 70.8% Flick carding 11 45.8% Drumcarding 14 58.3% Combing 10 41.6% None of the above 3 12.5% Total 24 100% 5. What considerations influence your choice of fiber processing method? 23 Responses; see text responses at end of survey
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6. How often do you use handcarded fiber for spinning? Number of Response(s) Response Ratio Always 0 0.0% Frequently 4 16.6% Occasionally 10 41.6% Rarely 7 29.1% Never 3 12.5% Total 24 100% 7. Do you currently own handcarders? Number of Response(s) Response Ratio Yes 20 83.3% No 4 16.6% Total 24 100% 8. How often do you use handcarders? Number of Response(s) Response Ratio Frequently 2 8.3% Occasionally 12 50.0% Rarely 6 25.0% Never 4 16.6% Total 24 100% 9. Which of the following statements most reflects your interest in handcarding? Number of Response(s) Response Ratio I have no interest in handcarding 1 4.1% I would like to learn how to handcard 3 12.5% I tried handcarding but I stopped 3 12.5% I handcard occasionally for particular 15 62.5% projects or uses I enjoy handcarding and do it 2 8.3% frequently Total 24 100% 6 Comments ; see text responses at end of survey 10. How satisfied are you with the results you obtain from handcarding? Number of Response(s) Response Ratio Very satisfied 1 4.1% Satisfied 7 29.1% Would like better results 11 45.8% Not applicable 5 20.8% Total 24 100% 11. If you have tried handcarding but stopped, why did you stop? 5 Responses; see text responses at end of survey
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12. Which of the following reasons might prompt you to try handcarding? (check all that apply) Number of Response(s) Response Ratio To obtain results that are different 18 78.2% from other fiber processing methods To use raw fiber from a specific farm 13 56.5% or fiber-producing animal A workshop/class is offered that is 15 65.2% convenient for me to attend A friend is available to teach me 9 39.1% I can borrow handcards to try it 3 13.0% Other 1 4.3% Total 23 100% 3 Comments; see text responses at end of survey 13. If you wanted to learn how to handcard or were encouraging a friend to learn, what methods would you use or suggest? (check all that apply) Number of Response(s) Response Ratio Buy/borrow handcarders and practice 18 75.0% Use free instructions or videos on the 16 66.6% Web Read books or magazine articles 13 54.1% Seek personal assistance from a 22 91.6% friend Purchase video instructions or a 3 12.5% tutorial by an expert Attend a class/workshop taught by an 20 83.3% expert Other 1 4.1% Total 24 100% 14. In fiber arts classes or workshops you have attended, what were the three most important factors about the instruction or class setting that contributed to your satisfaction? 22 Responses; see text responses at end of survey 15. In fiber arts classes or workshops you have attended, what did you dislike about the instruction or class setting? 20 Responses; see text responses at end of survey
Survey Text Responses

3. How do you usually obtain fiber for spinning? roving from Etsy, either small-batch carded or commercial (comment for Other category) 5. What considerations influence your choice of fiber processing method? (23 Responses) staple length, staple diameter, characteristics desired in final knitted or woven project. Type of fiber Time Available tools & $$ investment required; desired properties of finished yarn & fabric; availability of particular types of processed fibers desired end product, fiber type, cost of the tools
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The type of yarn that I want to make. end product I buy roving based on color and texture. I buy or trade for a fleece based on color and staple length--how easy is it to card and spin, and what will the final color be? Convenience (faster to buy commercial) Type of project (Semi-worsted is easier with commercial, woolen works much better with handcarded) Special techniques/goals for the fiber (blending colors or fiber types) Availability (hard to find some fibers commercially prepared) Support of local farmers Individuality/uniqueness of a fleece Quality Usually I use commercially prepared fiber. I prefer not to wash fleeces myself, but have prepared washed fiber with my handcombs. Right now I don't have any carders - that's the only reason I don't card. Mostly I buy roving, but I just got a fleece. Size of project affects choice because I have little time. I often spin for the Great Midwest Alpaca Festival so I get fleece to spin and make into something for display. I use the drum carder. Handcarding is less familiar to me, and I haven't made anything from handcarded fiber. I do not currently prepare my own fiber...but I want to learn. What will probably most influence the method I learn is the availability of the equipment for me to borrow, or cost to purchase. It can be expensive to start up with a drum carder, maybe more reasonable to start with hand combs and see if it is something I will continue. availability of fiber/convenience (I don't have hand cards/combs) I've prepared raw fleece only once, and that was to learn the process. I like to support local farms and fiber artists or people with etsy stores. the fleece, desired yarn type n/a since I usually buy roving ready-to-spin staple length of the wool quantity needed. Time. Handcarding--mainly for demos; flick carding when I have nice defined locks; drumcarding for blending 2-3 types of fiber; just learning about combing 1) Purpose of fiber 2) Fun with which to work 3) Amount of time involved Mostly time. Also if I have a fleece that has many different color shades, I prefer to process it myself to retain the distinction in the natural colors of the fleece the type of fiber and the way it come when I buy it processed Desired outcome and type of fiber. Drumcarding is used to add sparkle and add-ins like silk. Combing is used on long washed fleeces or fiber with vm. I look at the length of fiber, cleanliness, and amount of time I have. 9. Which of the following statements most reflects your interest in handcarding? (6 Comments) I currently am enjoying combing with English Combs quite a lot, so handcarding has taken a back seat. But I love my handcards and enjoy spinning from rolags. It takes a long time. I learned it at several workshops. I am not convinced that the yarn is different enough to be worth the time difference between drum carding and handcarding I simply have not yet had the chance to learn...a class would be great. I'd like to get better at hand carding.
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I think learning about the process of handcarding would let me experience different properties of fleece and influence the kind of yarn I spin in interesting ways. I feel I would also have to learn to spin from the fold as I currently don't do that well. I would like to continue to get better at hand carding. I usually use roving and dye it myself or buy fiber blends in roving from local people. I am continuing to try carding but am not very consistent - I need to practice! 11. If you have tried handcarding but stopped, why did you stop? (5 Responses) I stopped for awhile because I was not doing it correctly and it hurt my hands. Now that I took a class, I am doing it properly and with ease. I never got comfortable enough with it to do it efficiently. It already takes a long time to spin, and adding the time to handcard doesn't seem worth it for the difference in result. it seemed very tedious slow and painstaking. I hated continually picking the fibers from the cards, not getting a good rolag etc. Batts are better on the drum carder and I can do more fiber at a time. 12. Which of the following reasons might prompt you to try handcarding? (3 Comments) I have been to at least 3 workshops that include handcarding and learned different methods. I wouldn't want to pay much more. Maybe if I could see someone doing it fast and efficiently and having a good time with it..... I want to get better at woolen spinning. My desire to do that would prompt me to practice handcarding. To obtain results that are different from other fiber processing methods is most important. Seeing samples spun from handcarded vs. commercial would also be a huge influence, if I wanted to try to duplicate certain yarns. 13. If you wanted to learn how to handcard or were encouraging a friend to learn, what methods would you use or suggest? (check all that apply) (1 Other response) ask a trusted fiber seller 14. In fiber arts classes or workshops you have attended, what were the three most important factors about the instruction or class setting that contributed to your satisfaction? (22 Responses) Lots of time for hands-on practice, professionalism/expertise of instructor, approachability of instructor Use of many different fibers experienced & knowledgable instuctor Small (ish) class size 1) Knowledge & experience of instructor 2) Skill level & interest of participants 3) Instructor doesn't insist on "one right way" expertise of the instructor, time to practice the technique, quality of supplies Friendly people, different fibers to try, several techniques taught, opportunity to spin a sample instructor, topic, quality of instruction Skill of the instructor in sharing their knowledge (were they a good teacher), small class size, enthusiasm of participants examples good background/basic information room to be creative
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Taking a complex set of actions and taking it apart Demonstration, a chance to try it ourselves, and some examples in different stages to see what it would look like with other fiber/methods/etc. since we can't do it all in ourselves Handouts that are followed- it's hard to take notes and spin- anything that helps recall Instructor is obviously enthusiastic about material and fosters a positive learning environment. Lots of hands on opportunities, and instructor student one on one interaction. Some sort of handout or material to reference after the class at home. - good instructor--feeling like i was learning things i couldn't get from a youtube tutorial - personal attention - organized setup (all materials and handouts ready to go) 1. Evidence that the instructor has taken some care to plan and pace the class so that all the material is covered. 2. A hand-out to take away that summarizes the material but that wasn't read for teaching. 3. Instructor demonstration and then a chance for student to do the same action & ask questions. class size small enough instructor could give individual attention, instructor divided time equally among students, knowledgeable instructor who taught with words, demonstration and a good variety of samples 1. Pacing - enough time to work to see results without getting too tired 2. Attitude - workshop participants care about the end results, don't just gossip all day 3. Physical space - clean, open, well-lit, comfortable chairs, good temperature 1. Easy access: plenty of free parking 2. Location easily found 3. Quiet room: no horrible room acoustics, no clogging, singing, percussion next door 4. Adequate seating 5. Handouts to take away, summarizing the lesson small size. friendly atmosphere. knowlegeble instructor. 1. Good teacher/student ratio 2. Time to apply principles 3. More than one fiber to work with 1) Topic 2) Teacher 3) Presentation focus on a few things and dig into them deeply understanding how different fibers react to different prep methods, understanding how to choose a fleece That there was enough time to learn and practice before leaveing; small classes; personal experiences of the instructor. Experienced, patient and friendly teacher, let people learn at own pace, references/handouts available to take home. Three things I liked - 1. vast knowledge of the teacher and her ability to articulate and demonstrate what she was teaching us. 2. socialbility of classmates. Getting others opinions and experiences. 3. The luxury of being able to concentrate on this topic and ability to block out the rest of what is going on in my life. 15. In fiber arts classes or workshops you have attended, what did you dislike about the instruction or class setting? (20 Responses) I was taught to spin by an instructor who was quite brusque - she made another student in the class cry! The teacher lacked professionalism and approachability. Instructor who knows how, but doesn't usually card herself. not having hands-on activities, too much talking vs. doing the fiber technique
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an instructor who insisted that her way was the only correct way to do things inattentive or unprepared instuctor; poor quality of fiber provided. In a large pole building (where I last took some classes), other classes nearby and echoey noises made it hard to hear sometimes. too little information (not teaching, just providing materials) too abstract - all concepts, no practice/practical examples worked out low expectations - lots of reassurance and over-explaining that wasn't necessary in that group of students Instructor demonstrates and just says do what I did without taking the action apart in steps No handouts and nothing to help recall No activities to show you different results from spinning differently If class description did not match actual content covered in class. - disorganized instructor - no feeling of value added above and beyond what would be found on the internet For instruction, not having time to try the technique being taught--all talk and no experience. For class setting, noise and distractions (a class held in a barn at a festival, for example). the opposite of what is listed in question 14: class time too short to cover the topic; noisy, uncomfortable or crowded space; instructors who stray from the topic or can't control attentionhogging students 1. Teaching pace moves too slowly or there isn't enough time to work on project 2. Teacher is not inspiring with samples of different variations on the end result -- she had a too-specific plan for the project 3. Too crowded 1. Difficulty in finding room location 2. Excessive noise in the building, very distracting 3. Excessive echoing in room causing everyone to shout 4. Difficulty parking 1. Too much material being presented 2. One student "taking" over the class or all the attention of the instruction 3. Not enough hands-on time. Sometimes the instructor was not well prepared. The instructor was boring. I have actually enjoyed every single fiber art class that I've had. No negative experience. wasn't enough time to practice what I learned. when I got home didn't remember what I was supposed to do. Rushed, disorganized Noise from surrounding area can be distracting. Too many people in a class can be a problem - or too little space.
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Appendix B. Troubleshooting Handout

The following troubleshooting notes will be given to workshop participants as a one-page hardcopy handout: TROUBLESHOOTING NOTES FOR HANDCARDING Rolag is too dense --Apply less fiber to the handcards. --Make the active carder float above the passive carder so the teeth are not embedded (which causes fibers to compact). Stairstepping fibers in rolags --Make the active carder float above the passive carder so the teeth are not embedded and pulling the teeth in the wrong direction (which pulls the fiber away). --Apply less force to the handcards. Ridges in rolags (U-shaped fibers caught on teeth) --Place cut end of fibers at the hilltop of the curve in the carder, and keep fibers within the rectangular working space that lies from the hilltop of the curve to the end of the carder away from the handle (front). Long fiber ends should hang off the front of the handcard, never past the hill toward the handle. --During transfer, make certain the passive carder lifts the fibers up and takes the fibers off the other carder instead of pushing the fibers down. Rolag is too long/out of control --Apply less fiber to the handcards. --Keep fibers within the rectangular working space (away from the back rows of teeth and the first two rows of teeth on each side. --If mohair, use much less fiber (mohair tends to spread). --Roll the rolag tighter (especially mohair). Not getting desired results and cant identify the problem --Have a partner observe your technique to help with troubleshooting. --If you have a videocamera, try videotaping yourself while carding and analyze each step of your technique. Becoming fatigued --Relax your shoulders and keep your elbows low. --Rest the passive carder on your thigh instead of holding it up in the air. --Use your thumb and index finger to steady the handcards. --Apply less force to the handcards so the active carder floats above the passive carder. --Take more frequent breaks. --Shake out and stretch your neck, shoulders, wrists, and elbows. --Before you start carding, set a limit on the amount of fiber you will finish during that session.
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Appendix C. Student Self-Assessment Form

Workshop participants will be given the following self-assessment form for use during and after the workshop. HANDCARDING SELF-ASSESSMENT FORM Use the following form to evaluate your own handcarding progress by assessing the quality of each finished rolag and your level of fatigue. For each category, circle one of the options. Consult the Troubleshooting handout for suggestions to correct any continuing problems. Rolag 1 Density: Length: Stairsteps: Ridges: Fatigue: Rolag 2 Density: Length: Stairsteps: Ridges: Fatigue: Rolag 3 Density: Length: Stairsteps: Ridges: Fatigue: Rolag 4 Density: Length: Stairsteps: Ridges: Fatigue: Rolag 5 Density: Length: Stairsteps: Ridges: Fatigue: Type of fiber/fiber length: Too thin Too short Present Present None Too dense Too long Not present Not present Slight Correct Correct
Moderate
Painful
Type of fiber/fiber length: Too thin Too short Present Present None Too dense Too long Not present Not present Slight Correct Correct
Moderate
Painful
Moderate
Painful
Moderate
Painful
Moderate
Painful
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Rolag 6 Density: Length: Stairsteps: Ridges: Fatigue: Rolag 7 Density: Length: Stairsteps: Ridges: Fatigue: Rolag 8 Density: Length: Stairsteps: Ridges: Fatigue: Rolag 9 Density: Length: Stairsteps: Ridges: Fatigue:
Moderate
Painful
Moderate
Painful
Moderate
Painful
Moderate
Painful
Rolag 10 Type of fiber/fiber length: Density: Length: Stairsteps: Ridges: Fatigue:

Notes:
Too thin Too short Present Present None
Too dense Too long Not present Not present Slight
Correct Correct
Moderate
Painful
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Appendix D. Results of Expert Review Survey

The complete responses to the expert review survey questions listed in part 7a and discussed in part 7b are shown below:
1. Is the learning goal in part 1a for this workshop accurate? If not, how would you change it? The goal is accurate. We could add: The participants will also learn how to analyze the carding process so they can troubleshoot as they practice outside the classroom setting. [or something like that - to indicate that students will learn what to look for later on so they can break the process down into steps and figure out how to troubleshoot] 2. Do you agree with the description of the rationale in part 1c? Please explain. Yes, it's very well explained. 3. Does the analysis of the survey results in part 2a.2 accurately reflect the responses? Please explain. Yes. Interesting in that organizers of programs often emphasize the need for one-on-one + lots of hands-on practice + handouts as the most important features of a class - the response here has those items as somewhat less important. 4. Is the description of the learning context in part 2b.1 accurate and complete? Please explain. very thorough description! 5. Is the description of the transfer context in part 2b.2 accurate and complete? Please explain. Yes. Maybe add something to last sentence of paragraph 1: Beginning carders will be exposed in class to a variety of ideas about optimal or desirable conditions for handcarding but will likely determine the conditions they prefer for handcarding through trial and experience. 6. Is the description of the learners in part 2c accurate and complete? Please explain. The only suggestion would be concerning learner attributes such as age - younger learners need more help with focusing (I have taught children around the age of 10 occasionally). Usually programs limit students to adults or specifically have a class for children 10 and older. Nationality makes a difference when, for example, teaching in another country (I've taught the carding class in Norway and Denmark, using Swedish and English as the languages of instruction + more detailed handouts with drawings and key words in the local language). 7. Do the learning objectives and sub-objectives in part 3a support the achievement of the learning goal? If not, please explain how you would modify them. Very detailed list 8. Would you modify or add any motivational strategies to the table in part 3c? Please explain. A.1 - I usually don't have the students rearrange as I arrange the chairs before class starts - they do, however, shift as need be during the class. Occasionally I have to ask someone to move stuff so that I can easily walk through the room and assist each student without falling over or stepping on something. 2nd point under same category: The Carding Notes are given out at the beginning of class and the 2 handouts you propose can be given out at end. Students also get a sheet with info on fiber sources that lists fiber, color, and address (physical and www) of seller of fiber. 9. Does the sequence of instructional events in the instructor guide (part 4) seem logical for this workshop? Please explain. Yes, very thorough. 10. Is the introduction section of the instructor guide (part 4) complete and accurate? Please explain. Very accurate.
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11. Is the main body of the instructor guide (part 4) complete and accurate? Please explain. All very well detailed. 12. Is the conclusion section of the instructor guide (part 4) complete and accurate? Please explain. Normally I would not have students evaluate and record each rolag during class as that eats up time and students get distracted by going from hands-on work to paper and back again. I would encourage them to keep a little record with the sheet you provide when they practice at home - maybe with attached samples. I have found that students rarely use sheets provided for in-class note and record taking. #2 - see Word file b. Instructor has students do one finishing exercise to blend add many colors of silk fiber together in different amounts to wool at various stages of carding process to produce different effects depending on degree of blending. Evaluation sheet - usually students receive these when registering for class or when they pick up materials when signing in for workshops at venue -I try to remember to remind them to fill out and return forms to workshop organizers. It has been years and years since I have actually been given the results of the instructor/workshop evaluations so they do me no good. 13. Is the troubleshooting handout (discussed in part 5a) useful, complete, and accurate? If not, please explain how you would modify the handout. Yes, it's a good handout and would be very useful. 14. Is the student self-assessment form (discussed in part 5b) useful and accurate? Please explain. I think a form that has the initial info: Rolag 1 Type of fiber/fiber length, etc would be good followed by space (with key word prompts) for writing down analysis of problems/good points and record of steps taken to correct problems, rather than the same list for a series of rolags. Students could perhaps also tape samples of problem rolags and a section of "good" rolag to the sheet. 15. Please describe your reaction to the plan overall. Is it readable and accurate? Did any part of the planning process, survey results, or plan of instruction suggest a modification you might adopt for this workshop? I think the overall plan and description of the class is well organized and detailed. I would definitely like to adapt the Troubleshooting handout as I think students will find it useful. I appreciate the work that went into this analysis as it makes me think more carefully about class planning and workshop presentation.
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References
Keller, J. M. (1987). The systematic process of motivational design. Performance & Instruction, 26 (9/10), 18. Rhoades, C. H. (2001). Handcarding with a light touch. Spin-Off, Fall 2001, 7479. Smith, P. L. & Ragan, T. J. (2005). Instructional design, third edition. Hoboken, New Jersey: John Wiley & Sons, Inc.
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Handcarding with Less Stress and More Fun

Workshop Plan of Instruction

2010 Margaret Thayer

Reflective Synthesis Paper

2010 Margaret Thayer

2010 Margaret Thayer

Part 1a: Learning Goal

Part 1b: Description of the Audience

Part 1c: Rationale

2010 Margaret Thayer

2010 Margaret Thayer

Part 2: Analysis Report

Part 2a.2: Results of needs analysis survey

2010 Margaret Thayer

2010 Margaret Thayer

Part 2b.2: Transfer context

2010 Margaret Thayer

Part 2c: Description of the Learners

2010 Margaret Thayer

2010 Margaret Thayer

Part 3b: Matrix of Objectives, Blooms Taxonomy, and Types of Learning

2010 Margaret Thayer

2010 Margaret Thayer

Part 3c: ARCS Motivational Strategies Plan and Table

2010 Margaret Thayer

2010 Margaret Thayer

2010 Margaret Thayer

Part 4. Instructor Guide

2010 Margaret Thayer

2010 Margaret Thayer

2010 Margaret Thayer

2010 Margaret Thayer

Part 5. Learner Content

Part 5b. Formative and Summative Assessment Materials

2010 Margaret Thayer

Part 5c. Technology Tool Justification

2010 Margaret Thayer

Part 6. Formative Evaluation Plan

Part 6b. One-to-One Evaluation

2010 Margaret Thayer

Part 6c. Small Group Evaluation

Part 6d. Field Trial

2010 Margaret Thayer

2010 Margaret Thayer

Part 7. Formative Evaluation Report

Part 7b. Expert Review Results

2010 Margaret Thayer

Part 7c. Comments on Change

2010 Margaret Thayer

2010 Margaret Thayer

Part 8. AECT Standards Grid

X ID Projects 2 & 3 X ID Project 1

X ID Projects 2 & 3 X Reading Quiz; ID Projects 1, 2, & 3 X (all assignments)

X (all assignments) X ID Projects 2 & 3

2010 Margaret Thayer

Assignments meeting standard in whole or part

X X ID Projects 2 & 3 X ID Projects 2 & 3

2010 Margaret Thayer

2010 Margaret Thayer

2010 Margaret Thayer

2010 Margaret Thayer

2010 Margaret Thayer