ID Badges: My Experience with TIfPI’s Certification

Last month, I earned my badge for Instructional Design: Goal- or Problem-Based Scenarios [ID(GPS+)] from The Institute for Performance Improvement (TIfPI). The “plus” and gold color signify that this is an outstanding level badge, meaning I received an outstanding rating on at least 7 of the 9 standards.

Certified GPS PlusHow It Works

TIfPI uses 9 standards to measure and rate ID work samples. Each of these standards is mapped to performance behaviors, detailed in a Word document.

  • Addresses Sustainability: Considers the best usage of resources (time, money, materials, staffing, technologies, etc.) now and in the future.
  • Aligns Solution: To create or change relationships among parts of the solution (internal to the solution) or between the solution and its parent organization or sponsors (external to the solution).
  • Assesses Performance: Evaluate what the learner does within the learning environment using a specific set of criteria as the measure or standard for the learner’s progress.
  • Collaborates and Partners: Works jointly with sponsors and other members of the solution development team to develop the solution.
  • Elicits Performance “Practice”: Ensures that the learning environment and practice opportunities reflect the actual environment in which the performance will occur.
  • Engages Learner: Captures and keeps the participant’s attention and interest through active participation, practice opportunities, feedback, and reflection.
  • Enhances Retention and Transfer: Ensures that the learning environment creates and measures recall, recognition, and replication of desired outcomes.
  • Ensures Context Sensitivity: Considers the conditions and circumstances that are relevant to the learning content, event, process, and outcomes.
  • Ensures Relevance: Creates content and activities that address the learner’s background and work experiences.

Instead of providing a single broad certification covering all aspects of instructional design, TIfPI decided to create microcredentials or badges. Currently, the badges are all based on different types of deliverables: asynchronous e-learning, instructor-led training, coaching, job aids, community of practice, mobile learning, etc. They plan to add additional badges in the future.

To earn a badge, you complete an application form explaining how you met all of the standards in a project. You provide samples of content (screenshots, a page from a storyboard, planning documents, a short video, etc.) to demonstrate what you say you did.

Your application receives a double blind review by two peers in the field. These reviewers use a rubric to determine how many of the performance behaviors for each standard you demonstrated. For each standard, you can receive an Outstanding, Acceptable, or Insufficient rating. If you get at least 7 Outstanding ratings, your badge is gold instead of blue, and your designation has a plus sign. For example, a normal badge for asynchronous e-learning would be ID(AEL); an outstanding badge would be ID(AEL+).

There’s a few other pieces of paperwork too: an attestation from a supervisor or client saying you did the work you said you did, a code of ethics, etc. The badge is valid for three years, after which it must be renewed by either doing professional development or earning a badge in another area. The badge costs $295.

My Process

To start, I attended a webinar explaining the process. I spent time reviewing the handbook and all the standards. I had a project in mind for the certification. This was an e-learning course which included a branching scenario and a job aid. I debated between going for the Asynchronous E-learning (AEL) badge and the Goal- or Problem-Based Scenario (GPS) badge. I think I could have done both badges with this course. Initially, I wasn’t sure if this would really meet the requirements for the scenario badge. The branching scenario is a 10-minute activity within a 60-minute course. I’m focusing my business on scenario-based learning though, and I wanted the more specific credential to match my specialization. After some discussion with Sharon Gander at TIfPI,  I decided to go for the GPS badge and really concentrate on the branching scenario within the context of the larger course.

The application took me about 10 hours to complete, and I did the entire process from webinar to application in about a month. In comparison to the CPLP, which takes 120+ hours and a year to complete, this seemed quite reasonable. In fact, that’s one of the reasons I chose this certification.

After submitting the application, I found out in about two weeks that I not only earned the badge, but earned it at the outstanding level. I added the badge to my website, LinkedIn profile, and the About page of my blog. The badge includes verification so you can click a link or image to check that it’s authentic.

Why I Chose This Certification

In the field of ID, we perennially debate whether everyone needs a degree in instructional design or not. I don’t have one (I have a bachelor’s of music education), so you can guess which side of the debate I’m on. I first posted about this back in 2008, and I’ve periodically joined this discussion since then. I’ve argued that although master’s degrees are valuable, that shouldn’t be the only path to this field. There are lots of “accidental instructional designers” who didn’t set out to be IDs, but found their way to this field, usually switching from another career. Although I don’t think a master’s degree should be mandatory, the industry would benefit from a way to differentiate between IDs who are deliberate and reflective in their practice and those who aren’t working to improve. Seven years ago, I argued that if we had an evidence-based certification, that could be one tool for people who came to ID from an alternate path.

The ID Badges are an evidence-based certification; it’s based on a real work product that you created. I didn’t want to do something with an exam; I wanted this to be about the work I actually do. Although I have some other certifications from previous jobs (CTT+ and Expert Synchronous Producer), I didn’t have anything formal saying I knew how to do instructional design. The market for IDs can be crowded at times. A certification is one way to differentiate myself; I can show prospective clients how my work has been reviewed by my peers and deemed “outstanding.”

Realistically, I didn’t want to spend $800 or $1000 on a CPLP, not to mention the time commitment. The CPLP is a bigger certification that measures more, and it’s certainly more well-known (at least in the US). TIfPI’s ID Badges are a relatively new certification program. They don’t have the name recognition of ATD and the CPLP, although I hope in time the ID Badges will become more recognized.

Even without wide recognition, I wanted that double blind peer review of my work. I wanted to see what someone thinks of my work when they don’t know my blog or my online brand. I wanted to validate that what I’m doing is on the right track. This certification gives me that personal validation.

Your Thoughts?

Have you considered a certification? What was your experience? Does it help you get more work or justify the work you do? If you hire IDs, do you look at certifications when making decisions? Tell me in the comments.

Course Review Tracking Template

How do you track revision comments in your e-learning or online courses? Most of the time, I use a spreadsheet based on the revision tracking template below.

Review Tracking Template

My spreadsheet includes a formula to automatically add the page title once reviewers enter the module and page number. That makes it easier for reviewers. However, if I don’t have visible page numbers (either directly on the slide or in a table of contents), I remove the formula and ask reviewers to type the page title or description.

Depending on your reviewers, you may want to protect the sheet and lock down the page title column to keep them from overwriting the formula. If you use continuous numbering throughout the course, you can also probably use a simpler formula than this template.

The spreadsheet has three hidden columns. I keep these hidden when I initially send it to reviewers so they can focus on just their part. After I have gotten the feedback, I make the columns visible to add my comments and questions.

I use Google Docs when I can for reviews because multiple reviewers can all see each others comments. They can avoid duplicating feedback. Everything is all in one file and doesn’t need combining later. However, if Google Docs isn’t allowed in an organization or it’s important to get independent feedback from each reviewer, I use Excel instead.

Feel free to copy this spreadsheet and adapt it for your own use. You can also download it for Excel.

How do you track feedback on your courses? Do you use a spreadsheet like this, or do you use a custom-built tool like ReviewMyElearning or OQAR? If you have your own cool spreadsheet, I’d love to see it. I’m constantly tweaking this form to improve it, and I might learn something from your version.

Learning Experience Design: A Better Title Than Instructional Design?

How many times have you told people, “I’m an instructional designer,” only to be met with a blank stare? How many people are thoroughly confused about what we do for a living?

Last month, Connie Malamed proposed a new name for the field of instructional design: Learning Experience Design or LX Design. This moves the focus away from “instruction” and more to learning. Instead of focusing on the instruction or the materials, our starting point is thinking about the learners and how they will experience what we design. Connie argues this may help us focus more on learning science as well as being deliberate about designing valuable experiences.

Calling ourselves Learning Experience Designers acknowledges that we design, enable or facilitate experiences rather than courses. This gives us a broad license to empower people with the tools and information they need to do their jobs, regardless of the chosen format.

This isn’t an entirely new idea. Back in 2007, I wrote What Does An Instructional Designer Do? In that post, I used this as my definition:

What does an instructional designer do?: Design and develop learning experiences

I’m emphasizing “experiences” here deliberately, even though that isn’t always how others would describe the job. I think one of the crucial things instructional designers can (and should!) do is make sure that students have opportunities to actively practice what they are learning.

This is still the most popular post on my blog, averaging about 100 views a day. Based on the traffic, it seems there are a lot of people confused about the title instructional designer. It doesn’t immediately convey meaning. While I think learning experience design would still require explanation, I suspect that more people have an immediate positive association for the word “learning” rather than “instructional.”

Learning Experience Design or Instructional Design

Change Is Hard

Realistically, changing this in the field as a whole would be challenging, if not impossible. “Learning Architect” has a lot of advantages over “Instructional Designer,” but it never really caught on. And although we use instructional design as a generic term, actual titles in the field are quite varied. James Tyer collected a list of over 65 L&D job titles. Although that list includes training and other jobs, many of those could apply to instructional designers/LX designers too.

Besides the general challenge of rebranding a whole industry (as if that wasn’t enough), we have the added challenge of being quite varied in what we actually do for our work. Instructional design is used as an umbrella term for a wide range of skills. People who just tweak PowerPoint slides, wizards at rapid development tools with no writing skills, and fabulous designers and writers who rely on research to guide their decisions, and those who do a little of everything are all lumped into the same category. That’s another whole topic (and perhaps a post in the future), but a new title might help differentiate people who work on the entire learning experience from start to finish from those who focus solely on development. I think the field has become so varied that one title can’t cover everything, so LX Design won’t be the only solution; we need to talk about e-learning developers, multimedia developers, or other titles too.

Your Thoughts?

This topic generated some great discussion on LinkedIn, so I’m hoping for more thoughtful comments here. What do you think of this title? Would you use it? Would you recommend something else instead? Do you think we should stick with instructional design and try to reclaim the title?

Do Learning Styles Really Work?

Does tailoring your content for different learning styles really work? Maybe there’s a better use of your time and resources.

View the presentation for more. (If you’re reading this in email or a feed reader and don’t see anything below, you may have to click through to view the presentation.)

Ready to learn more?

Book Review: Visual Design Solutions

Connie Malamed’s new book Visual Design Solutions: Principles and Creative Inspiration for Learning Professionals is written specifically for learning professionals. As instructional designers, we often communicate visually as well as with text, audio, and other media. Many of us (myself included) don’t feel as strong about our graphic design skills as about our other instructional design skills. This book teaches many of the same foundational principles as other design books (including Connie’s first book, Visual Language for Designers), but the examples and applications are all geared towards learning. If you’ve read visual design concepts elsewhere but struggled to apply them to your own learning design, this book is written for you.

Visual Design Solutions

Visual Design Solutions is divided into four major parts, each with multiple chapters:

  1. The Big Ideas (thinking and working like a designer)
  2. Building Blocks of Design (space and layouts, selecting images, and typography)
  3. Power Principles (color, visual hierarchy, unified design, contrast, and grouping)
  4. Practicing Design (directing attention, adding excitement, enhancing meaning, telling stories, and displaying data)

Each chapter is relatively short and filled with examples (as a visual design book should be). If you have read other books or articles on visual design, a fair amount of this will be familiar to you. Even someone with no background in graphic design (which, let’s face it, is most of us in the e-learning world) will be able to understand the ideas. I found myself repeatedly thinking, “Oh! I could apply this in my [Acme Widgets] course!” or “Why didn’t I ever see that before?”

In addition to the principles and examples, I appreciated how Connie explained why you might choose one style over another. For example, she says, “Use a symmetrical layout to achieve a restful and static design; use an asymmetrical layout for one that is more dynamic.”

What I Learned

I had a number of takeaways from the book, but here are two big ideas I’m still thinking about after finishing the book.

Chapter 4: Organizing Graphic Space included specific ideas on layouts for e-learning. This is one of the areas where I know I could do better, and the examples helped me figure out why I’m not always happy with my own layouts. I need to be more consistent about using a grid and guides to align content. Using a grid means I can keep everything aligned and unified across multiple screens. That means content like titles is where learners expect on each screen so they don’t have to waste brainpower trying to find the title instead of learning. Grids don’t have to be symmetrical; Connie shows multiple examples of grid-based layouts that aren’t just centering everything on the page. Connie also says, “In course design, we are always looking for ways to engage the learner. One way is through the element of surprise, which you can achieve through visual design. When it makes sense instructionally, such as to emphasize a key point or to show drama in a story, don’t hesitate to break the grid and use a wildly different approach, like placing elements on a diagonal orientation.”

Grid layout diagram

Chapter 15: Tell Stories With Visuals was especially interesting to me because I use storytelling techniques so often in my courses. I do almost all of my storytelling with words though, and this chapter challenged me to think about ways I could enhance my stories with better visuals. Some of the advice here was very concrete, such as thinking about how to lay out panels so it’s clear to learners which way to read. If your panels and gutters are all the same size, they line up in a grid and it’s harder to know if you should read vertically or horizontally first. Using narrow vertical gutters and wide horizontal gutters, as well as varying the widths of panels, makes the flow of reading clearer. This is a really simple idea, but it makes perfect sense. It’s something I can easily apply.

Varying the size of panels in each row helps readers move from left to right before top to bottom.

A Few Mild Criticisms

I have an electronic version of the book, and I think I would have enjoyed a print version more. I tend to buy physical books for my reference texts (as this book will be). Some of that is personal preference, but I think with such a visual book it might be more effective to see it printed on the page. Then again, these examples are designed for viewing on screens. If you’re normally a Kindle person, don’t let this stop you, but if you’re not sure, I’d go with the print version. (Update: Because Connie is a wonderful, generous person, she shipped me a physical copy. The book is beautiful in print, and it strengthened my view that this book is best when you can physically hold it.)

Because the book contains so many images, sometimes the images are on a different page than the text describing the concept. In the physical copy, it’s easier for me to flip back and forth between pages, plus you’re looking at two pages at once instead of one.

The book contains a lot of jargon. It’s necessary to have the specific words to discuss these issues and not be haphazard in design, so I know learning the words is important. All of the terminology is explained clearly. However, in a few places in the book, there’s just so much vocabulary at once that I found myself reading very slowly and rereading to understand it all. I don’t think that’s a problem with Connie’s writing so much as just an acknowledgement that visual design is a huge field with its own language. If you haven’t done much reading or studying in visual design previously, you may find you can really only absorb one or two chapters at a time. Spacing it out is likely more effective for learning it all than trying to read it all in one sitting anyway.

I kind of wish there was a concluding chapter at the end. I got to the end of the last chapter and literally said, “Wait, was that it?” A short recap would have helped remind me of all the principles, even if it was mostly restating the key takeaways from the end of each chapter.

Recommendation: Buy It!

Overall, I found Visual Design Solutions very helpful, and I will be coming back to it and rereading it again in the future. I recommend it for any instructional designer or e-learning developer who feels they could be stronger in visual design.