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If you’re developing a course with synchronous and asynchronous elements, you have a host of options for engaging students and delivering content. Research suggests that incorporating multiple modalities increases accessibility, engagement, and learning (Mick and Middlebrook, 2015; Margolis et al., 2017). With that said, it is important to be intentional about multimodal course design. Both synchronous and asynchronous methods of delivery are effective, but activities can be better suited to one or the other modality and synchronous time is often limited. Delivering selected content asynchronously can support students’ understanding of how information is organized and leave more time for interactivity in synchronous sessions.

Once you have defined the learning objectives for your course, you can begin to develop assessments to ensure students achieve those objectives. Once you have created assessments, you can begin to develop materials to ensure students succeed on those assessments. This backward design process—which moves from objectives to assessments and finally to materials—is known as learning-centered instruction, and it directs every course task toward the mastery of certain skills and competencies. This blog focuses on the third stage of this process, the development of high-quality instructional materials, beginning with the idea that robust and engaging online courses contain a mix of created and curated content. Below you will find guidelines for creating and curating instructional materials to help you achieve the optimal balance for your course.

From time to time instructors may want to include in their courses copyrighted materials like images, print content, audio recordings, or videos. The University of Minnesota Libraries define copyright as “the area of law that deals with creation, ownership, sale, and use of creative and expressive works.”

In comparison to instructional videos, the role of audio-only instructional content in online learning has received scant attention. When audio-only content is discussed, the research often centers on the use of audio feedback or student-created podcasts, rather than instructor-created instructional audio. Additionally, few studies have compared learning outcomes from recorded video lectures versus from audio alone, except within the context of specific disciplines, such as second language acquisition (Berner & Adams, 2004).

Multimedia, which helps create an engaging and interactive online learning environment, has been shown to contribute to improved student performance (Cheng, Basu, & Goebel, 2009, p. 1). Though many online courses incorporate videos, they neglect to feature other forms of multimedia. And, while videos are a staple of multimedia use, there are other exciting options to consider: podcast episodes, graphics, and animations can all enhance course content, enriching the student experience. To maximize the benefits multimedia can provide, consider including these underutilized forms of multimedia in your course.

For many people, “online learning” conjures images of successive videos, shot in a studio or perhaps on location, featuring high production value and expert, polished speakers, interspersed with short quizzes or activities. Indeed, strongholds such as MasterClass, LinkedIn Learning, and Coursera have mastered this formula and led many to believe that it is the recipe for success. While the economic success of these companies is undeniable, the effectiveness of an online course is measured by student success. When done well, video can have a positive impact on student learning (Clark & Mayer, 2011). Rather than designing your course according to the economic model, follow the evidence and research-based principles of visual communication, cognitive science, and online learning to decide when and how to create instructional videos. Through careful consideration of your learners, your objectives, your constraints, and the following best practices, you can spend your time and resources creating only the most essential videos. For a visual aid that accompanies this article, see the Video Planning Decision Tree.