The demand for instructional designers (IDs) has grown significantly, particularly in the wake of the COVID-19 pandemic, which highlighted the critical need for effective online learning solutions. This increasing demand underscores the necessity for continuous skill development among IDs, particularly novices entering the field. This study investigates how professional associations function as Communities of Practice (CoPs) to support novice IDs in developing essential competencies. It utilizes an integrative review methodology that includes a six-phase design process: formulating a broad purpose and/or review question(s), systematically searching the literature using predetermined criteria, critically appraising selected research, analyzing and synthesizing literature, discussing new knowledge, and disseminating findings the research. This study explores the features of CoPs—community, domain, and practice—and their manifestation within professional associations serving IDs. The findings reveal the dynamic interplay of CoP components and their potential to foster professional growth by providing opportunities for shared learning, networking, and access to valuable resources. A framework derived from the analysis highlights key competencies nurtured within these associations, offering actionable insights for novice IDs, employers, and professional organizations. This research contributes to the field by emphasizing the role of professional associations as latent network CoPs in advancing the professional development of instructional designers. / Doctor of Philosophy / The demand for instructional designers (IDs) has grown significantly, particularly in the wake of the COVID-19 pandemic, which highlighted the critical need for effective online learning solutions. This increasing demand underscores the necessity for continuous skill development among IDs, particularly novices entering the field. This study investigates how professional associations function as Communities of Practice (CoPs) to support novice IDs in developing essential competencies. It utilizes an integrative review methodology that includes a six-phase design process: formulating a broad purpose and/or review question(s), systematically searching the literature using predetermined criteria, critically appraising selected research, analyzing and synthesizing literature, discussing new knowledge, and disseminating findings the research. This study explores the features of CoPs—community, domain, and practice—and their manifestation within professional associations serving IDs. The findings reveal the dynamic interplay of CoP components and their potential to foster professional growth by providing opportunities for shared learning, networking, and access to valuable resources. A framework derived from the analysis highlights key competencies nurtured within these associations, offering actionable insights for novice IDs, employers, and professional organizations. This research contributes to the field by emphasizing the role of professional associations as latent network CoPs in advancing the professional development of instructional designers.

No / Adapting board games for international markets and considering cultural differences, language barriers, and preferences is part of internationalizing board games. This book chapter aims to provide a comprehensive overview of the internationalization of board games from the perspectives of players, designers, and business firms. The first part of this book chapter discusses the role of board games in international markets, considering cultural differences, language barriers, and preferences with more focus on historical evolution. The second section discusses the internationalization of board games from players’ perspectives. The third section discusses the internationalization of board games from the perspectives of designers. The fourth section discusses the internationalization of board games from the perspective of business firms. The final section discusses the managerial implications for future game-designing firms to create board games catering to the international markets.

The purpose of this dissertation is to explore the instructional design heuristics for cognitive apprenticeship methods through a Delphi study. The study of learning theory and instructional design provides instructional designers with guidance in both knowledge and skill development along with research-based pedagogy. However, often the theory and models are discarded during course design and development phases when faced with real-world ill-structured instructional design problems. Is it possible to bring the theory and methods closer to the instructional designer, giving them practical expert heuristic methods? The Delphi study empaneled experts to capture practical heuristic instructional design methods and strategies for implementing cognitive apprenticeship in remote teams. It laid the foundation for developing a pragmatic heuristic rendering for cognitive apprenticeship through the concepts of real-world problem-solving, Merrill’s first principles and collaborative learning for remote knowledge workers. The Delphi study had two expert Delphi panels, and four survey rounds, the first survey gathering instructional design heuristics, and the subsequent surveys worked to achieve consensus and ranking for the heuristics in each cognitive apprentice method. The study captured 112 heuristics across the cognitive apprenticeship methods. The goal of capturing and developing consensus across instructional design heuristics was to investigate the development of generalizable a method, pragmatic heuristic rendering, for collecting and evaluating cognitive apprenticeship heuristics for training and coaching remote teams to solve complex ill-structured design problems.

The purpose of this dissertation was to evaluate the Emerging Leaders series, a leadership and management training curriculum offered by NFP, an international broker-dealer organization with over 6,000 employees. Previous learners were contacted and asked to participate in a course reflection survey and follow-up semi-structured interviews to evaluate the training program. The instructional design team and company leadership were also approached for semi-structured interviews. The questions in the survey and interviews sought to get the participants’ opinions on the Emerging Leaders training program. Participants were asked if they viewed the program as a successful training series, asked about the content taught within the program, identified gaps in the content, and provided suggestions for improving the series. The final output was a list of recommendations for improving the series in the years to come. The analysis results were presented to company leadership, who then prioritized the top issues and agreed upon a course of action. This study's findings could help organizations considering building similar leadership or management programs by providing them with common themes, difficulties, and solutions as lessons learned to be adapted and applied within the context of their company cultures.

Submitted by JOSIANE SANTOS DE OLIVEIRA (josianeso) on 2018-08-06T13:37:49Z No. of bitstreams: 1 Keyla Copes Rodrigues_.pdf: 1987606 bytes, checksum: 4681c6575c4750859b811e19e5c579ff (MD5) / Made available in DSpace on 2018-08-06T13:37:49Z (GMT). No. of bitstreams: 1 Keyla Copes Rodrigues_.pdf: 1987606 bytes, checksum: 4681c6575c4750859b811e19e5c579ff (MD5) Previous issue date: 2018-03-27 / Nenhuma / Os designers estão atuando em diversas frentes e empreendendo na busca pela transformação de mundo. A sustentabilidade é um valor que esses designers-empreendedores frequentemente compartilham. Não se trata de empreendedorismo por necessidade (não são obrigados a empreender para sobreviver) ou por oportunidade (não empreendem em uma oportunidade de mercado cuja relação entre risco e retorno seja claramente vantajosa). Trata-se de um empreendedorismo por engajamento, pois as empresas são criadas por acreditarem na causa da sustentabilidade. Inicialmente, de fato, a sustentabilidade é uma vocação de seus negócios, sendo característica dos projetos que elaboram e implementam e, assim, identificamos o conceito de projeto sustentável. Logo, porém, eles entendem a dificuldade de sustentar seus negócios em um sistema socioeconômico que atribui uma importância secundaria à sustentabilidade. Se torna necessária uma elaboração estratégica que permita uma sustentabilidade projetual, na qual a sustentabilidade compõe um par com o projeto, não exatamente como sua vocação, mas como característica substantiva que garanta sua possibilidade. O objetivo da dissertação é compreender a sustentabilidade projetual nos processos elaborados pelos designer-empreendedores. Para tanto, a presente pesquisa exploratória realizou entrevistas em profundidade com designers-empreendedores. Além de identificar e definir os conceitos citados, a pesquisa descreve as características desses empreendimentos e dos designer-empreendedores. / The designers are performing on several fronts and undertaking the search for world transformation. Sustainability is a value that these entrepreneurial designers often share. They are not entrepreneurship by necessity (they are not obliged to undertake to survive) or by opportunity (they do not engage on a market opportunity whose relationship between risk and return is clearly advantageous). This is an entrepreneurship through engagement, because companies are created because they believe in the cause of sustainability. Initially, in fact, sustainability is a trend of its business, being characteristic of the projects elaborated and implemented, and thus we identify the concept of sustainable project. Soon, however, they understand the difficulty of sustaining their business in a socioeconomic system that attaches secondary importance to sustainability. It becomes necessary a strategic elaborateness that allows a project sustainability, in which sustainability works with the project, not exactly as its trend, but as a substantive characteristic that guarantees its possibility. The objective of the dissertation is to understand the sustainable project in the processes elaborated by the designer-entrepreneurs understand the articulation of the processes of strategic design and entrepreneurship, in the scope of sustainability, elaborated by the entrepreneur-designers. To this end, the present exploratory research conducted in-depth interviews with designers-entrepreneurs. In addition to identifying and defining the aforementioned concepts, the research describes the characteristics of these enterprises and entrepreneur-designers.

Cette thèse se positionne dans la lignée d'une série de travaux menés depuis une vingtaine d'années en France sur l’évolution des métiers et des professions de la production urbaine, architecturale et paysagère, au prisme de l'émergence de nouvelles attentes sociétales. Elle analyse plus précisément les attitudes et les modalités d'interventions des concepteurs, dans des projets urbains marqués depuis le milieu des années 2000 par de fortes ambitions en matière de participation citoyenne associées à des enjeux de développement durable. Dans quelle mesure l'émergence de telles commandes en France, particulièrement perceptible dans les premières opérations d'écoquartiers, modifient-elles les représentations des concepteurs vis-à-vis de la participation citoyenne, leurs modes d'exercice, leurs compétences, voire leur manière de considérer leur métier ? / This thesis is written within the context of a series of works undertaken over the last twenty years in France on the subject of the trades and professions of urban, architectural and landscape production, as considered through the prism of new social expectations. The thesis analyses the attitudes and forms of intervention adopted by designers of urban projects that,since the mid 2000s, have featured strong citizen participation ambitions associated with sustainable development issues. To what extent has the emergence of these demands in France, particularly noticeable in the case of the first sustainable neighborhoods, modified designers’ representation of citizen participation, as well as their own practice, skills andgeneral vision of their profession?

Modemarknaden idag är både global och komplex med många uppfattningar om var värdet iprodukten ligger. Produkten och företagets image är kraftfulla medel för att differentiera sigpå marknaden. Då ett företag väljer att expandera till en ny marknad är det generellt ett sätt attskapa nya marknadsmöjligheter och för att öka sin försäljning. Innan etablering på nymarknad är det viktig att identifiera sin målgrupp. På den konkurrenskraftiga internationellamarknaden ligger makten inte längre hos leverantören, utan hos kunden.Distributionskanalvalet spelar en stor roll i avseende att nå företagets tänkta målgrupp. I denrådande konjunkturen besitter detaljister begränsade medel att spendera på oetableradevarumärken. Många detaljister behöver även begränsa antalet varumärken i sina butiker.I uppsatsen har vi valt att behandla den ungerska PR-byrån OurStyles designers och deraschans att ta sig in på Göteborgs modemarknad. Uppsatsen är skapad ur ett hermeneutisktförhållningssätt då det ger oss chansen att fritt tolka det studerade fenomenet. Vi har samlat inempiri genom vår fältstudie i Budapest, där vi gjort ett antal kvalitativa intervjuer medOurStyles designers, samt genom de detaljister vi varit i kontakt med i Göteborg. Iteorikapitlet beskriver vi den textila värdekedjan, globalisering, modebranschen, strategier föratt etablera sig på en ny marknad samt konsumentbeteende. Teorin och empirin är insamladför att kunna svara på problemformuleringen i uppsatsen.Genom att granska OurStyles designers och hur de arbetar har vi tagit fram tänkbaradetaljister på Göteborgs modescen. Uppsatsprocessen har gått ut på att se till vilka möjligheterde har att etablera sig på den göteborgska marknaden. Generellt är slutsatsen vi kommit framtill att det i dagsläget inte finns plats för OurStyles designers på Göteborgs modemarknad.Slutsatserna är grundade på den analys vi utfört genom att sammanställa teori med empiri.The fashion market of today is global and complex and there are many opinions about thevalue of the product and where it actually is to be found. The product itself and the image ofthe company are powerful tools to differentiate oneself on the market. When a companychooses to expand to a new market it is generally a way of creating new marketingopportunities and increasing its sale. Before establishing on a new market it is important toidentify your target group. In the competitive international market the power is no longer withthe supplier, but with the client. The choice of distribution channel is of big importance inrespect of reaching the company’s intended target group. In the current state of the market theretailers have limited means to spend on unestablished brands. Many suppliers also need tolimit the number of brands in their shops.In the essay we have chosen to focus on the Hungarian PR company OurStyle’s designers andtheir chance of getting into the fashion market of Gothenburg. The essay is written from ahermeneutical perspective since it gives us the opportunity to freely interpret the phenomenain question. We have collected empiric data through our field study in Budapest where we dida number of qualitative interviews with OurStyle’s designers, as well as qualitative interviewswith the suppliers that we have been in contact with in Gothenburg. In the theory chapter ofthe essay we describe the value chain of textile, globalisation, the fashion industry, strategiesto establish oneself on a new market and consumer behaviour. To be able to answer theproblem formulation we will use both theory and empiric data.By studying OurStyle’s designers and how they work we have compiled possible suppliers forthem on the fashion market of Gothenburg. The idea of the essay process has been to see whatopportunities OurStyle have to establish themselves on the market/scene of Gothenburg. Theconclusion in our essay is to a large extent that in the present situation there is no room forOurStyle’s designers on the fashion market of Gothenburg. The conclusion is based on theanalysis we have done, putting together theory and empiric data. / Program: Textilekonomutbildningen

La thèse prend comme objet les enjeux de formation des futurs designers. Au croisement de la sociologie de l’éducation, du travail et des professions, il s’agit de rendre compte des différentes socialisations qui ont conduit des personnes à devenir designer. Il s’agit de comprendre qui et comment des personnes décident de devenir designer aujourd’hui. Cette thèse repose sur une enquête réalisée dans deux institutions de formation qui ont la particularité de se situer au plus haut niveau du champ de l’enseignement supérieur en design : une grande école publique et une grande école privée. D’autre part, il s’agit d’examiner les différentes voies professionnelles qui se dessinent pour les étudiants. Premièrement, à travers l’analyse des caractéristiques sociales des élèves admis dans ces des deux établissements, il s’agit de comprendre les processus communs de socialisation primaire qui ont conduit ces jeunes à s’orienter vers la profession de designer. Ensuite, nous verrons comment ces deux écoles, via leur mode de sélection et leur socialisation secondaire spécifique, s’opposent assez nettement sur la manière de concevoir le métier de designer et la nature des services qu’il peut être amené à accomplir au sein de l’entreprise. La méthodologie mise en œuvre rassemble des observations de longue durée ; une soixantaine d'entretiens réalisés avec des étudiants, des enseignants et des professionnels ; le dépouillement exhaustifs des archives des dossiers scolaires des deux écoles ainsi que les résultats d'une enquête quantitative menée auprès des étudiants en formation en 2010. / The thesis takes for object the training issues of future designers. At the crossroad of education sociology, of work and professions sociology, it consists in accounting the different socializations which led individuals to become designers. It consists in understanding who and how people decide today to become designer. This thesis is based on a survey led in two training institutions which have the particularity to be on the highest level of design superior teaching: one large public school and one large private school. On the other hand, it consists in examining the different professional paths existing for students. First, thought the analysis of the social characteristics of student admitted in these two establishments, it consists in understanding the common processes of primary socialization which led these young people to turn towards the designers profession. Then, we will see how these two schools, thought their selection way and their specific secondary socialization, oppose themselves quite vividly on the way to conceive the designers profession and the nature of the services a designer can be led to accomplish in a company. The methodology gathers long duration observations; sixty interviews carried out with students, teachers and professionals; the exhaustive analysis of the archives of scholar files from the two schools and the results of a quantitative survey led among students in 2010.

Fundação de Amparo à Pesquisa do Estado do Rio de Janeiro / A presente dissertação tem como objeto de estudo a Gráfica Imprinta, criada a partir de um projeto cuidadosamente elaborado por seus mentores Aloísio Magalhães e Arnaud Torres, com o objetivo de atender, principalmente, aos designers gráficos do Rio de Janeiro. Enfocando o período de 1969 a 1989, que compreende a trajetória da Empresa desde sua concepção até a mudança de administração, o trabalho se insere na história da evolução da Indústria Gráfica no Rio de Janeiro. Aborda o período que se inicia com a formação dos alunos da Escola Superior de Desenho Industrial, ESDI UERJ, em 1963, até a década de 1980, com a consolidação da tecnologia offset, como principal forma de impressão em nosso país. Partiu-se da premissa de que a conjuntura tecnológica pode influenciar no processo de desenvolvimento de um impresso e, também, de que os designers podem interceder no processo evolutivo de uma gráfica. Numa primeira fase foi feita uma pesquisa exploratória na qual entramos em contato com ex-alunos formados pela ESDI, durante a primeira década de seu funcionamento, que apontaram a Gráfica Imprinta como referência de serviços diferenciados. Passando esta, a ser o foco da pesquisa, abordamos seu idealizador, Arnaud Torres, bem como, mais sete designers e dois antigos funcionários. Os profissionais que participaram da pesquisa, nos forneceram dados por meio de entrevistas não estruturadas, que ocorreram entre junho e agosto de 2007, foram gravadas e posteriormente transcritas e analisadas. Elaboramos um acervo iconográfico que se refere, tanto à história da Imprinta como também, documenta parte da produção de alguns designers e a indústria gráfica da época. Consideramos que a história da Gráfica Imprinta demonstra que, naquele momento de transição da tecnologia, a disponibilidade nela encontrada pelos designers para sua experimentação no campo da produção e a troca de conhecimento que ali se verificou, produziram crescimento em termos técnicos e teóricos para todos os envolvidos, bem como, incremento na qualidade dos impressos ali executados e otimização de projetos gráficos futuros / This dissertation has a printshop named Imprinta as the studys object. Imprinta was created from a carefully elaborated project, whose authors are Aloisio Magalhaes and Arnaud Torres, and that had the goal of offering services, mainly, to Rio de Janeiros graphical designers. Focusing on the period from 1969 to 1989 which encompasses the story of the company since its inception to the moment a new administration took over, this work describes part of the history of the printing industry in Rio de Janeiro. It addresses the period that starts in 1963 with the formation of new students of the Superior School of Industrial Design (Escola Superior de Desenho Industrial, ESDI) that belongs to the State University of Rio de Janeiro (Universidade Estatual do Rio de Janeiro, UERJ) and ends in the 1980s with the consolidation of Offset as the main printing technology in Brazil. We started by assuming that the technological environment can influence the process of development of printed matter and also that designers can impact a print shops evolutionary process. In the first phase of this work, an investigative research where we contacted former ESDI students that graduated during ESDIs first decade of existence, pointed us to Imprinta as a reference for differentiated printing services. With Imprinta as the focus of our research, we contacted Arnaud Torres, its mentor, seven additional designers and also two former employees of the company. From June to August of 2007, the research participants, by means of nonstructured interviews, provided information that were recorder and then transcribed and analyzed. We were able to build a collection of iconographic items that relates to both the history of Imprinta and also documents part of the production of some designers and the printing industry at the time. We believe that Imprintas story shows that, at that moment of technology transition, the availability Imprinta provided to designers for their experimentation in the field of production and exchange of knowledge, has generated technical and theoretical growth for all involved, an increase the quality of the printing services run at Imprinta and the optimization of future printing projects

Fundação de Amparo à Pesquisa do Estado do Rio de Janeiro / A presente dissertação tem como objeto de estudo a Gráfica Imprinta, criada a partir de um projeto cuidadosamente elaborado por seus mentores Aloísio Magalhães e Arnaud Torres, com o objetivo de atender, principalmente, aos designers gráficos do Rio de Janeiro. Enfocando o período de 1969 a 1989, que compreende a trajetória da Empresa desde sua concepção até a mudança de administração, o trabalho se insere na história da evolução da Indústria Gráfica no Rio de Janeiro. Aborda o período que se inicia com a formação dos alunos da Escola Superior de Desenho Industrial, ESDI UERJ, em 1963, até a década de 1980, com a consolidação da tecnologia offset, como principal forma de impressão em nosso país. Partiu-se da premissa de que a conjuntura tecnológica pode influenciar no processo de desenvolvimento de um impresso e, também, de que os designers podem interceder no processo evolutivo de uma gráfica. Numa primeira fase foi feita uma pesquisa exploratória na qual entramos em contato com ex-alunos formados pela ESDI, durante a primeira década de seu funcionamento, que apontaram a Gráfica Imprinta como referência de serviços diferenciados. Passando esta, a ser o foco da pesquisa, abordamos seu idealizador, Arnaud Torres, bem como, mais sete designers e dois antigos funcionários. Os profissionais que participaram da pesquisa, nos forneceram dados por meio de entrevistas não estruturadas, que ocorreram entre junho e agosto de 2007, foram gravadas e posteriormente transcritas e analisadas. Elaboramos um acervo iconográfico que se refere, tanto à história da Imprinta como também, documenta parte da produção de alguns designers e a indústria gráfica da época. Consideramos que a história da Gráfica Imprinta demonstra que, naquele momento de transição da tecnologia, a disponibilidade nela encontrada pelos designers para sua experimentação no campo da produção e a troca de conhecimento que ali se verificou, produziram crescimento em termos técnicos e teóricos para todos os envolvidos, bem como, incremento na qualidade dos impressos ali executados e otimização de projetos gráficos futuros / This dissertation has a printshop named Imprinta as the studys object. Imprinta was created from a carefully elaborated project, whose authors are Aloisio Magalhaes and Arnaud Torres, and that had the goal of offering services, mainly, to Rio de Janeiros graphical designers. Focusing on the period from 1969 to 1989 which encompasses the story of the company since its inception to the moment a new administration took over, this work describes part of the history of the printing industry in Rio de Janeiro. It addresses the period that starts in 1963 with the formation of new students of the Superior School of Industrial Design (Escola Superior de Desenho Industrial, ESDI) that belongs to the State University of Rio de Janeiro (Universidade Estatual do Rio de Janeiro, UERJ) and ends in the 1980s with the consolidation of Offset as the main printing technology in Brazil. We started by assuming that the technological environment can influence the process of development of printed matter and also that designers can impact a print shops evolutionary process. In the first phase of this work, an investigative research where we contacted former ESDI students that graduated during ESDIs first decade of existence, pointed us to Imprinta as a reference for differentiated printing services. With Imprinta as the focus of our research, we contacted Arnaud Torres, its mentor, seven additional designers and also two former employees of the company. From June to August of 2007, the research participants, by means of nonstructured interviews, provided information that were recorder and then transcribed and analyzed. We were able to build a collection of iconographic items that relates to both the history of Imprinta and also documents part of the production of some designers and the printing industry at the time. We believe that Imprintas story shows that, at that moment of technology transition, the availability Imprinta provided to designers for their experimentation in the field of production and exchange of knowledge, has generated technical and theoretical growth for all involved, an increase the quality of the printing services run at Imprinta and the optimization of future printing projects