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September FableFriday: Audrey Spencer, UX/UI Designer

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FableVision UX/UI Designer Audrey Spencer is a problem-solver at her core. As a multidisciplinary designer, Audrey has worked across many fields, including medical, game development, and VR/AR design. She has a passion for creative problem solving, thinking outside-the-box, and brings her own dash of whimsy to every project that hits her desk. 

“I love sharing my creative process with others and I’m excited to be doing that at FableVision,” says Audrey. “I’m especially having a blast on a project that we’ll reveal soon – we have an awesome team and such a great connection with the client – it’s been so rewarding to see this come to life.”

Read more to learn about Audrey’s winding journey to FableVision, how she wooed the internet with her elaborate cat drawings, and her battle with DJ Khaled.


Audrey's Cat Art

Audrey’s Snapchat drawings featuring Maya and Oskar

What’s your “journey to FableVision” story?
It’s been quite the journey! My degree is in industrial design, so I began my career in product design, working in healthcare designing medical devices. This was around the time when a “cool new app” called Snapchat came out, and with its clunky drawing tools, I started drawing photos of my cats, creating elaborate and harrowing scenes. Apparently the people of the internet liked them, which caught the attention of Snapchat and the media, starting me on a path of creative storytelling for brands like Microsoft, Universal, Pilot, and Snapchat. It was all pretty surreal.  

Pivoting from medical device design, I began working with startups as a one-woman design team, doing everything from industrial design, graphic design, branding, video, and marketing. I worked in a wide range of industries from Tesla coils, to robotic fishing equipment, to AR (augmented reality) hardware. It was very exciting. 

While working with an AR hardware startup, I grew close with some folks at Snap Inc. and began consulting on Snapchat’s user interface, as well as other programs in the works. One of these was Lens Studio, the AR Lens software they were developing, which sparked my interest in virtual reality and augmented reality design. 

Shortly after, I went through a Unity and XR program to broaden my skill set, through which I was introduced to FableVision!

Social media panel at the Rock and Roll Hall of Fame 2016

How did past fields and industries you’ve worked in prepare you for FableVision and the educational industry?
My experience as a student, which was tough, prepared me the most. I’m dyslexic and I’ve always struggled with reading. I have a lot of empathy for kids who are also struggling with any type of learning disability, and I know what they’re going through. In my own life, I’ve learned that this disability can be transformed into an empathy superpower when it comes to storytelling and designing educational experiences. It’s quite rewarding to bring that perspective to the table.

What type of projects do you like to work on?
I like projects that involve humor and a bit of weirdness. I bring my own dose of quirk as it is,  so I appreciate any project that has that creative freedom. I also love a good challenge and managing a lot of moving parts – really, anything that requires problem solving is fun to me.

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Besides UX and UI, you’ve also developed content for brands like Microsoft and Universal. Can you tell us more about that experience?
In the early days of Snapchat, it was a Wild West for creators working with brands on the platform, and it was really difficult to gain a following with content that expired every 24 hours. 

So, when I and a small group of creators gained traction on Snapchat, brands saw this as an opportunity.  At the time, Snapchat didn’t have an ad program in place, so these brands reached out to us to create content for them.

This led to some really fun jobs, traveling across the country doing work for Microsoft, Universal, Pilot Pens, Shark, Crocs, mobile games, animal shelters, and a bunch of others.

Creating content for brands isn’t too different from what we do at FableVision Studios. The client has an idea and an audience it wants to engage, and we bring that idea to life.  

Tell us about being a Shorty Award finalist for “Snapchatter of the Year”!
What a weird time to be alive. I was up against a few big names, one of which was DJ Khaled, who was pretty well known… and still is. I didn’t go in with any expectations of winning… and I totally didn’t win. But it was a really great award show – I got to rub elbows with Alton Brown and Bill Nye the Science Guy!

Leading up to it, we had to get votes from our audience. So, I found a video of DJ Khaled asking his followers to vote for him and I took that video, edited out where he said “Vote for DJ Khaled,” went through his video history, and basically made a video of him saying to vote for me. I still cringe when I look at it now, and it was purposefully bad, doing it all on my phone in Snapchat from the comfort of my kitchen. But everyone got a kick out of it. If anyone wants to see it, you’ll have to message me and I might show it to you.

What was your most intricate cat drawing and how long did it take?
Well, that would be the cat drawing of Maya splayed out on a bounty of gold coins, gems, and jewels, what you’d expect to find in a treasure chest. I got really into the details and it took a solid nine hours to draw. But Maya deserved it. 

Maya Treasure Chest

When drawing on Snapchat at the time, it crashed often. And every time it crashed, I’d lose everything. Eventually, I found a way to circumvent that to be able to post things through some trickery. That gave me the freedom to take a few evenings and work on a drawing rather than all at once. Something that drew me to Snapchat was the temporary nature of the content on the platform. I could test out weird ideas, people could see them, like them or not, and then they would disappear. There was something fragile and liberating about it that I really appreciated.

How has your online art evolved?
I have always loved sharing creative ideas with others and people love cats. I’ve tried out all sorts of things with varying degrees of success. 

I've shot skits, made music videos, photoshopped cats as other animals, and started a subreddit that features animals with their faces photoshopped really really tiny.

Even so, my cat drawings have definitely gotten better. I started using a stylus instead of my finger, but if and when I lost that, I discovered that wrapping the stick part of a Q-Tip in foil makes a “decent” capacitive stylus.

What is the dynamic like between Oskar, Maya, and Louie?
I got Maya first. Quickly, I could tell she wanted another cat to play with. She’d sneak up on me, jump on me, and want to play all the time. Eventually, I found Oskar at a shelter. I tried to keep them apart as they adjusted to another animal in the space, but that was impossible. Once I introduced them, they did battle it out a bit, but they’re great friends now. They don’t cuddle like siblings, but they’ll clean each other, play, and chase each other around.

A few years ago, we got Louie. He is a very shy, skittish cat. And introducing them was a challenge: all Oskar wanted to do was chase and play, and all Louie wanted to do was run. But it’s gotten better. We’ve tried to create a safe space for him and he hangs out with us and trusts us a lot more now.  

Audrey’s Favorites

Favorite plant? I can’t choose a favorite… but I do have five self-contained ecosystems I created: three terrariums and two “jarrariums.” It’s taken them five years to get to this point but they’re finally self-sustaining with only sunlight and a wee bit of water!

Favorite film/tv show? I am really enjoying Evil at the moment. But I always enjoy revisiting King of The Hill and Comedy Bang Bang!

Favorite game? Board: Wingspan. Video: too hard to pick just one, but Her Story, Inside, and Animal Crossing had a huge effect on me.

Favorite recent DIY? I fixed the hose spigot at my house. It had no available parts to buy in a store since it’s so old. So I made my own washers! My next thing to start is refinishing lampshades – I already bought fun fabric, fringe, and tassels.

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Elle the chipmunk

Favorite place to find antiques? Estate sales. I love seeing objects in the context that they lived in, and the history surrounding them. Once I buy something, it feels like I’m giving them a new life. 

Favorite homeowner surprise? I’ve been excited about the wildlife outside and have set up cameras to capture videos of all the fun animal visitors! Recently, I’ve befriended the crows and the chipmunks. One chipmunk friend in particular jumps up into my hand when I hold out sunflower seeds.  

Favorite cat (if possible)? I get asked this a lot and I have an answer: it’s Maya. 100%.

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June FableFriday: Jordan Bach, Technical Director

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FableVision Technical Director Jordan Bach is definitely not new to the edtech game. A member of the FableVision team for almost 10 years, Jordan has decades of experience in developing educational games and media with a focus on accessible technology and innovations in tech. He’s also just a really nice guy.

Jordan first joined the team as a developer and now, in the role of Technical Director, oversees the technical department, contributes to planning and budgeting proposals and projects, and continues serving as lead developer on a number of the studio’s large game projects. Working with tools such as Unity and HTML5 to merge physical and digital play, Jordan is an expert in all things AR and VR. And through the advancements and innovations in technology over the years, Jordan has also consistently been the go-to person on staff for questions about accessibility, designing and leading projects to support people with learning disabilities and different educational needs to provide a safe and engaging space to learn.

“Accessibility means so much more than making a game compatible with a screen reader,” Jordan tells us. “It means that many people experience learning games differently and we need to communicate with as many of them as we can.”

Using his vast skills in design and developmental technology, Jordan has adapted to the many changes that have happened to the edtech and media fields over the past decade and helped FableVision to stay on top of and actively respond to growing trends in the industry. Working closely with other members of FableVision staff, freelancers, and clients over the years, he approaches his dedication to his work with endless patience, a calm demeanor, and a creative eye—actively looking for the best ways to help others and making possibilities realities. Continue reading to learn more about Jordan’s journey to FableVision, how he approaches projects in his role as Technical Director, and what advice he has for developers at the start of their careers!

How did you first hear about FableVision, and what initially drew you to the studio?
I first heard about FableVision through friends and former colleagues who loved working here, so I connected with Brian Grossman, the former Technical Director. During my first visit and first interview at the studio, the mission and the creative spirit were so clearly visible in everyone I met and in the physical space that the decision was already made from my perspective.

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What does a typical day look like for you?
My day-to-day schedule has changed a lot since I’ve become the Technical Director! Every day I’m trying to do two things: first, I’m contributing to current, upcoming, and potential projects. This includes offering support to the developers, participating in planning, and completing budget estimates for proposals.

And second, I’m reserving a little time to continue being a developer, which is something I love. Most recently I’ve been helping set up the architecture of a new project, and then sharing it with the developer who will take it through the rest of development and over the finish line!

You’ve been at the studio for ten years! How has the technology the studio uses changed, and how do you stay on top of edtech trends?
Ten years ago, Flash was the most common way to develop highly interactive applications for the web browser, and mobile apps were still relatively new to the world. Unity has emerged as a go-to tool for building cross-platform mobile apps, and we’re also using various web frameworks to speed along complex browser-based development projects. We’re more used to change than we were then! 

The best way to stay on top of trends is to ask questions. When someone mentions something and I don’t know what it is, I just ask. And then go look it up if I need more information. There’s so much to know and sometimes there’s pressure to pretend like you know everything. As a mission-based company, FableVision is all about learning, so I just ask.

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How do you approach each project from a technical perspective? How does the process differ depending on the scope of a project or the medium (game-based app, Augmented Reality experience, website, etc.)
Determining the technical approach for a project goes hand-in-hand with the creative design. After we have started the creative brainstorming, we think about what technology might make sense to help us with the project. The scope, medium, audience, and platform all feed into this thinking process. We focus on HTML5 and Unity, but also work with other technologies. Then the strengths of the chosen development platform can further inform the creative definition of the project. 

Once the design and technology are set, we'll pick what’s hard, what hasn’t been done before, and start there. 

What is a FableVision project you’ve worked on that you’re particularly proud of?
I feel particularly proud of the projects we’ve done that are used in research studies. The Zoombinis remake and the Reach Every Reader apps for the Harvard Graduate School of Education are examples of apps that are not only fun to use, but also move educational research forward. It’s definitely rewarding to be a part of such important projects such as those.

Here at FableVision, we’re dedicated to making sure our work follows accessibility standards. What do you have to keep in mind when making sure our projects are accessible? 
When we create accessible media, we need to think beyond the platform it's housed on and what features we can add to accommodate certain disabilities. Many of our users have different experiences and use our games, interactives, and other media in different ways, so we have to design for as many different learning contexts as possible.

Right now we’re making a game that is “born accessible,” meaning we’re designing it to be accessible to many from the start, instead of retrofitting an existing game for a more diverse audience. We’ve learned that an important tool is customization: for example, if a player struggles with focus, we can expose a setting to turn off distracting background imagery. If someone has low vision, we can expose a setting to turn on audio descriptions. On the other hand, there are some elements of a game we can make accessible to many without the need for customization. For example, we can design artwork to be easily distinguishable by people with the most common forms of color blindness.

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You have a background in music! How does music continue to impact your life, and how has your degree influenced your work at FableVision?
In college, I got degrees in both math and cello performance. Doing both was a great opportunity to see all the connections (and differences) between the two. It was also a great opportunity to understand the similarities between learning each. When working on an abstract math proof, you start with what you know and build from there. When learning a difficult passage in music, you break it down to the smallest pieces you can play and start stringing them together. And now, when starting a new project at work, I approach it with the same mindset: what do I know, and how can I start putting it together to get somewhere I’ve never been before?

You’re currently a Teaching Fellow at the Harvard Graduate School of Education's Technology, Innovation, and Education program. What’s rewarding about your role, and what has teaching taught you?
I was involved in a course called Advanced Design Studio this past semester. In the first half of the semester, I taught Unity development in the lab sessions; together with the class, we made one of the puzzles from Zoombinis (“Cap’n Cajun’s Ferryboat”). During the second half of the semester, I coached groups of students as they developed their own designs into prototypes. It’s exciting to see the students coming up with great concepts. After 20 years working in this space, I saw ideas I hadn’t seen before. And the students all wanted to participate in learning; they didn’t just want to be fed information. This encouraged me to think about what I needed to provide to facilitate learning without getting in the way of it.

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What advice do you have for students and professionals starting out in the technology field? What skill is important for a programmer to develop early on in their career?
Consider also focusing on a non-programming skill or interest. Programming is a tool; it also helps to have experience in education, games, some kind of production, or something else that you love. Beyond that, well-rounded programmers think big (code architecture and efficiency) and small (detail-oriented, predicting every way a user might interact with the application). I’ve found that most people are usually naturally good at one of those ways of thinking and need to focus on improving the other. (Also, see above: asking questions!)

You made an amazing quilt for Creative Juices last year! Are you currently working on any new projects?
I’m working on an underwater-themed quilt for my niece. It’s somewhat improvised, which is new for me, so I don’t know what it’s going to look like yet!

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Quick questions

Recipe you haven’t tried but would like to: Anything from Pastry Week on the Great British Bake Off.

TV show you’re currently binging: I, Claudius, while listening to the I, Podius podcast. I’d never seen it before, but I vividly remember the “Me Claudius” spoof on Monsterpiece Theater when I was young.

Best consolation of Staying at Home: curbside pickup to support small restaurants. Vietnamese Fresh Roll Friday is now a thing!

Game you love to recommend: Carcassonne, as a board game or as an app. I just gave it to my nieces and they love it.

Top two tips you give to new gardeners: 1) A plant in the wrong place will never be happy. Pay attention to the sun/shade requirements! 2) If you’ve only ever planted annuals, try a perennial. It’s magical to see them come back from nothing in the early spring. It’s my favorite part of gardening.

A book you love to reread: Lizard Music by Daniel Pinkwater, a favorite from elementary school. A weird story for a weird kid.

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2020 FableFriday: FableVision’s 10 Year Challenge

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With the #10YearChallenge making its way across social media feeds, we at FableVision Studios thought we’d get in on the action with our own 10 Year Challenge. As a new decade begins, we’re reflecting on the great innovations and changes that have occurred in the last ten years.

To take a look at exactly what has and hasn’t changed from 2010 and 2020, we asked some of our staff members who have been at the studio for over ten years to reflect on some of the changes at the studio over the last decade. Though many of the people, projects, and software that we use have changed, the thing that has always stayed constant is our mission to tell “stories that matter, stories that move” using engaging and innovative educational media.


As co-founder of FableVision, what was the original vision for the studio? How has FableVision Studios continued to work towards that vision this past decade?

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Gary Goldberger, President & Co-Founder: The original vision for the company was to use media, art, and technology to move the world to a better place and to help all learners reach their full potential. In the past ten years, this vision has stayed very near and dear to our hearts. People and technology change, but the mission has continued to be the core of the studio’s success. A big part of this is finding like-minded partners that come to us because they believe in using media to engage their audience to think or act differently. We’ve always believed that making small changes in our current system can cause long-term positive effects in schools, culture, and communities. This belief doesn’t just stop at the company level, but it also influences what we want to do in our lives; it comes from our personal beliefs and goals.

For the past 24 years, the ways to reach our audience have changed. We’ve seen a technology evolution, and with every new technology that comes, there’s a short “a-ha!” period where we see the potential. At FableVision, it’s our job to turn that potential into actuality. Personal connection and meaning need to exist within whatever technology you’re using to deliver an authentic experience. That’s been crucial to FableVision’s mission since the beginning, and something we’ve stayed true to throughout the years. I’m still really proud of that.


How have the types of projects and how FableVision approaches those projects changed from 2010 to 2020?

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Leigh Hallisey, Creative Director: The biggest change that I’ve seen is in subject matter, driven by the fact that we are designing learning experiences for older audiences. Although we love to produce media for younger children, FableVision is reaching more learners in middle school, high school, and college.

Within this last decade, we’ve tackled a lot of complex subject matter: bullying, financial literacy, substance use, neurodiversity, empathy, anxiety and peer pressure, mental health awareness, and more. I love that the educational media umbrella is always expanding—learning about being a human in the world, how to respect difference, how to take care of yourself and others. We continue to use our signature blend of storytelling, relatable characters and situations, and authentic language, but we are doing a deeper dive into researching the subject matter and working with experts in the field. 

It’s amazing to have a job where you learn new things with each project—the effects of drugs and alcohol on an adolescent brain, mindfulness techniques for relaxation, digital citizenship, managing crops, tips for resisting peer pressure, and how to save for retirement by managing a vampire nightclub (no joke). It’s never boring! FableVision’s work has always been unique and quirky, and a lot of that comes down to the trust our clients put in us because of the reputation we’ve built over the years. Between art, game design, production, and content, we have the vision to push the expectations around educational media, and we have the amazingly talented people to make beautiful things that really impact the world.


What did FableVision’s animation process look like in 2010, and how has it changed over the last decade? What impact have these changes had on studio projects?

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Didi Hatcher, Lead Animator:  This past decade, we’ve made a lot of improvements to the animation process to ensure better organization, optimization, and streamlining. One main focus has been better documentation and communication. We also learned to use a lot of new software and tools, and gained a lot of new skills. Before, we primarily animated in Flash (now named Adobe Animate), but to adapt to new platforms like mobile and AR, FableVision artists and animators have learned After Effects, Unity, Spine, and many other software platforms along with Adobe Animate. We have also expanded our process to include a lot more freelancers, and our management of the workflow has improved to accommodate that, especially given that most freelancers are off-site and often in different time zones.

These changes have improved our performance tremendously. Projects run smoother and faster, and our process is a lot more efficient. This allows for better quality of our work, and it lets us stay competitive by achieving more for less time and money. And, last but not least, it makes working less stressful and more enjoyable. All in all, it’s been a good decade of growth!


What kind of technology was the studio using in 2010? How has technology changed this past decade, and how does FableVision stay on top of emerging trends?

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Brian Grossman, Technical Director: The vast majority of the games, animation, and interactives we developed in 2010 were created using Flash. Knowing that Adobe’s support for Flash Player officially ends in December 2020, we switched to using HTML5 and Unity. We continue to push these technologies and use one of them on almost all of our projects.

In 2010, we just started developing iOS apps. Even though no one could have predicted mobile's full-scale takeover at that time, we made sure we were getting up to speed. In the past 10 years, we’ve created dozens of apps for iOS and Android phones and tablets for our clients. On the other hand, the technology in 2010 that people predicted would have huge growth in the education space was interactive whiteboards. At that time, we had several, large-scale projects designed specifically for classroom instruction on a whiteboards, including our own Big Screen Books. While the demand for interactive whiteboard projects has died out, we learned about the nuances of developing software for teachers to teach and entire class using a large display.

We’ve always strived to balance the need to deliver quality products built on stable, proven technologies with the need to research and learn about the latest and greatest technologies. We’re currently working on several extended reality (AR and VR) projects, and keeping an eye on advancements in AI and IoT. As we look toward 2030, it’s impossible to know which technologies we’ll be using, but FableVision will definitely be ready.


Where do you see FableVision in 10 years?

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Allie Caton, Production Assistant: In 10 years, I see FableVision reaching more and more communities and broadening our knowledge in new, upcoming technologies! I also see the "FableVision jokes" folder on my computer growing to take up 10GB of my computer storage. 


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Monica Chen, Communications Strategist: In 2030, I see FableVision continuing to break barriers in storytelling, technology, and interactivity through our engaging educational media. I also see FableVision using media to teach and inspire in new, innovative ways with our own educational games and animation.


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David Welsh, Game & Narrative Designer: In 10 years, I expect FableVision will take our experiences to the next level as we continue to innovate new ways to use storytelling to move the world to a better place. I'm already working on some exciting games that I think will be fondly remembered and still played in the next decade!


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Peter Stidwill, Executive Producer: I see FableVision working with even more fabulous partners to create impactful experiences, celebrating success with our latest research-proven XR game, and kicking off another season of our own original animated series! (And I see myself still gorging on super-tasty staff-made snacks).

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The ABC’s of EdTech: Acronyms Explained

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I’ve learned a lot in my first few weeks here at FableVision. As one of the studio’s summer marketing interns, I’ve been brought up to speed on how to draft engaging blog posts and the #perfect tweet. I’m getting the hang of things, but there’s still one area I could use some extra help with: the big, wide world of edtech... and its many, many acronyms.

Edtech is a term that gets brought up in the studio all the time — it’s at the core of many of our ongoing projects and is integral to FableVision’s 200-year-long mission to make the world a better place. Itself an abbreviation of “educational technology,” edtech is the industry and practice in which digital tools and new technologies are being used to improve the way people learn.

Seeing as there are enough edtech-related acronyms out there to fill a large bowl of alphabet soup, I’ve gone ahead and created this handy guide for anyone who wants to brush up on their edtech terminology. LSWWG! (Translation: Let’s See What We’ve Got!)

AR/VR: Augmented Reality/Virtual Reality. We’re (hopefully) starting off easy, as you’ve likely heard of these two new emerging forms of interactive media. Although they have key differences, both technologies rely on computer-generated graphics to create simulated environments. AR/VR tech has exceptional edtech potential, as it can create engaging and intimate learning experiences for students. For specific examples of AR and VR in the classroom, check out this awesome list of 25 AR/VR resources, as curated by the International Society for Technology in Education.

CTE: Career Technical Education. Similar to vocational education, CTE is an alternative type of education that focuses on providing hands-on applied learning experiences, empowering students to build academic knowledge, problem solving skills, and specific career skills. Check out the Big Picture Learning and FableVision-produced animated film Navigating Our Way for more information about CTE and other non-traditional educational paths.

GBL: Game-Based Learning. Simply put, this is a type of gameplay with defined learning outcomes. Within GBL, educational content is carefully balanced with gameplay so that the player may better learn and retain the game’s subject matter. Virtually all of the games and interactives that FableVision has worked on are great examples of putting GBL into practice. #GBL is also one of the most popular hashtags in the FableVision Twittersphere:

LMS: Learning Management System. Have you ever heard of Blackboard, Canvas, or Google Classroom? Great, that’s an LMS! If you’re still unfamiliar with the concept, a learning management system is a piece of software that can administer and track educational courses online. Speaking from personal experience, I’ve had a pretty straightforward experience using Canvas in a number of my college courses. My professors can upload documents, videos, and other relevant materials to the system, and I’m able to submit assignments and check my grades — so much for the old “dog ate my homework” excuse!

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PD: Professional Development. This approach to learning focuses on improving or developing skills that pertain to someone’s career. Professional development can occur at practically any stage in life, expanding far beyond the K-12 space. For a good example of PD in action, look no further than the FableVision-produced Good Thinking!: The Science of Teaching Science. Created under the direction of the Smithsonian Science Education Center, this animated series is designed to help teachers and dispel commonly held science-related misconceptions.

RPG: Role-Playing Game. As any video game enthusiast can tell you, a role-playing game is one in which players assume the roles of characters in a fictional setting. The RPG classification is very broad, encompassing TTRPGs (tabletop role-playing games), LARPs (live action role-playing games), MMORPGs (massively multiplayer online role-playing games), and other variations. In the classroom, RPGs can be useful tools for introducing students to new concepts and perspectives. Quandary, for example, is a Learning Games Network and FableVision-produced RPG in which players assume the role of a space captain in order to hone their ethical decision making skills.

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SEL: Social and Emotional Learning. This approach to learning focuses on empowering to effectively apply the knowledge, attitudes, and skills necessary to understand and manage emotions, goals, and positive relationships. The SEL framework, now being used in schools across the country, draws from the findings of current emotional intelligence research. Previously, FableVision has partnered with Committee for Children to create ParkPals: Kindness Rules, a tablet game that reinforces key SEL skills.

STEAM: Science, Technology, Engineering, Arts, and Mathematics. Typically used in discussions of academic policy and school curriculum choices, STEAM’s grouping of academic disciplines is intended to draw more attention to professional fields that require highly skilled workers. The STEAM acronym is an updated version of STEM, with the added A (sometimes attributed to Architecture instead of Arts) now considered an equally important area of focus that strengthens the other disciplines. Check out this blog post for a sampling of some of STEAM-focused projects created by FableVision.

UDL: Universal Design for Learning. This is a research-based educational framework that guides the development of flexible learning environments. When implemented properly, these learning environments are able to successfully accommodate individual learning differences. Created in the 1990s, the general UDL framework calls for multiple means of expression, representation, and engagement for learners. The UDL framework is now employed in school curriculums, educational initiatives, and learning tools such as the interactive experiences created by FableVision.

UX/UI: User Experience/User Interface. Two major aspects of modern design principles, UX and UI are both processes centered around ensuring that individuals have positive and easy experiences when using products. User experience design is primarily concerned with how the product “feels” and flows, whereas UI design is focused more on its visual layout. UX/UI design is understandably a major focus in the edtech world, so much so that FableVision’s own Loren Lee-Flynn is the Studio’s in-house UX/UI guru. You can read more about Loren and her UX/UI responsibilities here.


Those were just some of our favorite edtech acronyms, but there are plenty more out there. Let us know if we missed any of your favorites!

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July FableFriday: Bill Tally, PhD, Senior Researcher and Designer, Education Development Center (EDC)

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For over 30 years, Bill Tally, Senior Researcher and Designer at the Education Development Center (EDC), has been using his expertise in education, interdisciplinary learning, and formative research to advance the role of digital tools in education. With a PhD in sociology from the Graduate Center of the City University of New York, as well as an extensive history of collaboration with institutions and esteemed educators such as the Library of Congress, National Geographic, The New York Times, MIT, and the Smithsonian, Bill is no stranger to the world of digital storytelling and has helped steer the merger of technology and academia on many projects. 

Bill is currently collaborating with Fablevision Studios and Reading Is Fundamental (RIF) to create a revolutionary literacy game that transcends former digital boundaries in its incorporation of Augmented Reality (AR). The Phase I project will investigate how an AR/gaming approach can combat the summer slide and impact engagement for low-income third and fourth graders, and serves as a testament to the innovative, forward-thinking team behind it. 

“At a time when kids casually carry the equivalent of a supercomputer around in their pocket and can do their homework in the Cloud, there’s no magic bullet when it comes to deepening learning for all kids,” shares Bill. “Deploying tech tools in ways that actually make a difference for learners and teachers still requires the collaborative work of great curriculum designers, creative storytellers, artists, programmers, and cognitive and developmental researchers.” 

Get a behind-the-scenes look at Bill, the extraordinary team he works with, and his passion for pairing education with technology! 

Tell us a little bit about your role at Education Development Center (EDC) / the Center for Children and Technology (CCT) and the work you do. 
EDC is a not-for-profit R&D firm dedicated to improving education and health across the country and the globe. I’m part of a group of researchers, educators, and media designers in our New York City office. The Center for Children and Technology works to understand how digital media can play positive roles in kids’ lives and learning, both within and outside of the classroom. 

Seymour Papert with LEGO Mindstorms Robotics KitPhoto credit: MIT Media Lab

Seymour Papert with LEGO Mindstorms Robotics Kit
Photo credit: MIT Media Lab

You’ve spent your career studying how digital tools and media can improve learning experiences. What initially drew you to this field, and how has it changed over the years?
What drew me to educational media research — way back in 1983! — was the chance to join a remarkable group of developmental psychologists, teachers, and media designers who had assembled at Bank Street College, a progressive school of education in NYC and home to one of the first ever educational media R&D labs. This group not only focused on the computer’s potential to improve learning and schooling, but they were innovatively asking how education can change computing — how the developmental needs of children and the needs of educators can shape the new technologies being developed. It was an exciting place to land. In my first week, I was showing fifth graders rough cuts of a science adventure show to see how they grasped the storyline and concepts, and sitting in on game design sessions with scientists and programmers. 

What I’ve noticed is that in 1983, the Apple II’s blocky green pixel resolution was the cutting edge of educational innovation; yet at the same time, Seymour Papert’s Mindstorms was getting teachers across the country excited about teaching youngsters to program computers in an intuitive, playful way. Today, our games, simulations, and teaching tools have far greater verisimilitude, responsiveness, and power (hail VR and AR!), but the project of helping kids become computational thinkers hasn’t advanced very far; it’s still an exciting frontier. 

What makes game-based learning media unique, and why do you think it is so effective at engaging with young people?
There are many kinds of games, and they work as learning media in different ways, but there are some common elements across them. At their best, games are patient, generous teachers. You can try over and over and they will not get bored or frustrated with you. They put you and your actions at the center — things only happen based on choices you make. They give you feedback that you can use to get better. In addition, many of the most engaging games are narrative structures that invite you to imaginatively enter a world of “as if” and “what if," which our narratively-wired brains find deeply compelling. And of course, games are deeply social, so we love using them to relate to, and compare ourselves to, our peers and friends. 

What are your top tips for practical ways that media developers can incorporate research into their tools and products?
Many developers do the things that are most important — they playtest prototypes with kids to understand what is and isn’t working, and team up with teachers or parents to pilot test a game or product to see how it does or doesn’t fit in the classroom or home. But good research helps in other ways. In the planning phase, we often: 

Photo credit: Zoom In!, EDC

Photo credit: Zoom In!, EDC

  • Help developers zero in on the most important content to aim at by interviewing kids and teachers and scanning assessment data. In this way, we can determine the concepts and skills that kids struggle most to learn and teachers struggle most to teach. 
  • Also useful is creating a logic model, a sketch that makes the team’s hypotheses about learning clear at the outset — for example, how this particular game mechanic should support the acquisition of this particular skill or concept, and why. 
  • During development, it’s important to test prototypes with a range of users — not just upper middle class kids who like school— and to look beyond appeal and usability to effectiveness: What are the cognitive moves users are making as they use the different parts of the prototype? Which features are helping them build a better understanding, and which are getting in the way? What tweaks are needed? 
  • Finally, it’s important for stakeholders to know if the tool or product actually works to “move the needle” of learning.
Zoom In! is a free educator resource provided by EDC

Zoom In! is a free educator resource provided by EDC

EDC has worked with the likes of Library of Congress, the Corporation for Public Broadcasting, The New York Times, National Geographic, and WNET, among many others. What are some universal truths you’ve observed while working with these big movers and shakers? 
An old story comes to mind: an educational guru touring a school asks each teacher she meets what he teaches, and the answer comes back, variously: “I teach history,” “I teach biology,” “I teach statistics.” “No, you don’t,” comes the reply, “You teach children.” 

While a little smug, this observation has an undeniable truth: it’s not all about the content. Each of the amazing organizations you mention began with an abundance of incredibly rich educational content — archives of primary source documents, decades of news stories and images, thousands of beautifully made television programs, games, and interactives — but has had to work hard to figure out how to configure this content for kids and teachers in ways that support effective teaching and learning. Often, this means investing in training and professional development for parents and teachers so they learn how to play, teach, and talk with kids differently through media. It turns out that digitizing and indexing rich content, streaming it to desktop and mobile devices, etc., is the easy part; helping adult teachers and caregivers use rich media to enhance kids’ learning and growth — that’s where the action is. 

After successfully completing Phase I and receiving the Phase II SBIR grant for Cyberchase Fractions Quest game, how has the prototype shown promise for improving student learning of fractions? 

Fractions Quest lets eight and nine-year-olds play with mathematical concepts in a game world populated by Cyberchase characters and storylines they like. Our early studies have shown that the game mechanics help them grasp concepts that kids and teachers find particularly challenging— like fractions on the number line. 

What excites you the most about working with Augmented Reality technology for the upcoming Mix Libris literacy game developed by FableVision and Reading Is Fundamental?
AR, like VR, is a largely unexplored medium when it comes to education. What’s exciting to me is the chance to build and test an educational application for struggling readers in the company of some of the most creative designers, artists, programmers, and child literacy advocates in the field. 

How can schools do more to incorporate digital tools into the classroom?
The most important thing schools can do is give teachers the time and support they need to try out new tools, practice weaving them into teaching, and evaluate the results. Lots of worthwhile learning tools never get much traction in schools because teachers are not supported in running meaningful classroom pilots to discover their potential. 


More About Bill: 

Favorite podcast: A Very Fatal Murder, Onion Public Radio
A good read: The Secret History of Wonder Woman by Jill Lepore
Best digital learning tool: Zoom Ina free US history and writing platform for middle and high schoolers that we made! 
Nostalgic piece of children’s media: Alistair Sim’s “awakening” as Scrooge
Passion: Playing jazz piano and crooning tunes from the American Songbook
The best library to do work: Whatever local library I’m near. (Thank you, Andrew Carnegie!)

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