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CONDUCTING CREATIVE WORKSHOPS IN THE PROCESS OF
DISTANCE LEARNING AT HIGHER EDUCATION INSTITUTIONS
Vida Davidaviciene1, Veronika Zvirble2, Jaroslav Daveiko2
1Department of Business Technologies and Entrepreneurship, Vilnius Gediminas Technical
University (LITHUANIA)
2Department of Design, Vilnius College of Technologies and Design (LITHUANIA)
Abstract
In 2020, with the COVID-19 pandemic taking over the world, many educational institutions began to
implement distance learning processes. As a result of the introduction of hasty quarantine, there have
been challenges in schools and higher education institutions in organizing creative workshops that have
previously taken place in direct contact with physical materials. In the course of any teaching or study,
there are important free workshops on which students can grow their creativity. But some higher
education institutions have refused to carry out such activities remotely during the quarantine period due
to the lack of effective contactless creative workshop methodologies. The article raises the idea that
former contact creative workshops can be enforced in a virtual space or at a safe social distance,
describes the programs, methodologies, and results used. The publication discusses the 2020-2021
period and the results of the study “Conducting creative workshops online” conducted in higher
education institutions. The research aims to investigate the specifics of remote ways of conducting
creative workshops and to identify techniques and tools suitable for revealing the student's creative
potential in performing contact tasks in a virtual environment. In preparing the article, the methods of
literature analysis, synthesis, and comparison were used, the method of the online survey was chosen
for the collection of empirical data, and the data processing was performed by the methods of descriptive
statistics and evaluation of qualitative indicators. The results of the research revealed that by working
remotely and using certain techniques and distance learning and work tools, it is possible to successfully
organize creative workshops, thus achieving the goals set in the study programs and developing
creativity. It was found that the most acceptable object of creative workshops from the point of view of
all respondents is a certain object or image, and the participants would choose materials and tools for
remote workshops from their surroundings, but would not want to buy in a store. It was also found that
a significant number of respondents find it difficult to carry out creative processes remotely and the vast
majority offer workshops in open spaces (outdoors) in the event of a pandemic. The article presents the
detailed results of this study and a discussion of how to effectively organize creative workshops remotely
when it is not possible to do by contact way, such as during a pandemic period.
Keywords: Creative workshops, social distance, creative environment, interdisciplinary cooperation,
distance creative teaching methods, distance learning, digitization.
1 INTRODUCTION
A study of historical sources shows that distance learning methods were introduced almost 300 years
ago. The pioneer of this method of teaching is considered to be Caleb Phillips, who in 1728 placed an
advertisement in a Boston newspaper for stenography lessons to be sent once a week by letter to
anyone, regardless of the place of residence [1]. From the 18th century distance learning by mail began
to develop not only among private course providers but also in universities and other educational
institutions. With the development of Internet technologies, distance learning programs are successfully
offered by almost every higher education institution. In this way, higher education is becoming
increasingly accessible to various social groups and those with severe degrees of disability, serving a
sentence or, for various reasons, unable to leave their place of residence for a long time.
Conducting creative workshops remotely became especially relevant in 2020 when the world was
invaded by the COVID-19 virus pandemic. With the onset of the mass distance learning process, there
has been an interest in how arts and creative education is organized, as it is a highly sensitive,
demanding segment of the distance contact learning market, requiring a large amount of practical
experience during studies. It was noted that during the distance learning process, activities related to
creative workshops had stalled as lecturers had to go through a certain period of adaptation. When only
the physical location of the lecture participants and the way of data transmission (moved from the
Proceedings of EDULEARN21 Conference
5th-6th July 2021
ISBN: 978-84-09-31267-2
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auditoriums to the digital space) changed during the teaching of theoretical subjects, the content of the
lecture and the methodology of its implementation did not change. Because various media technologies
such as presentation, video material, and so on have been used for theoretical lectures for a long time.
As a result, neither the lecturer nor the students had a big difference where to watch the theoretical
material displayed during the lecture year – on the auditorium screen or the home computer monitor.
However, in educational institutions where arts specialties are taught, usually, only traditional contact
teaching is carried out, based on rather close communication between the teacher and the student
(pupil) and the transfer of the pedagogue-artist experience as a joint work. E.g. the student is painting a
picture, his movements and strokes are not perfect and refined, but the educator, by making adjustments
with his hand on a fragment of the student's picture, thus encourages him to adopt a positive experience
by repeating the movements and strokes. At this place, it is very important to feel and see the pressure
of the drawing tool, the nuances of hand movement, the mixing of colors, the peculiarities of dilution.
The student must visually capture the teacher's drawing technique, master the drawing technique
according to an example, etc. The above example is also relevant in other fields of visual arts: sculpture,
graphics, photography, and many others, including design and architecture studies and the basics of
various other creative specialties.
In the opinion of the authors of the article, the concept of the creative workshop must necessarily exist
in the study programs of any visual, applied arts, and other creative professions, and probably also in
the study programs of other fields. Moreover, it is important to conduct a creative workshop not only
within the specialty but also by introducing a multidisciplinary beginning, when students of art specialties
collaborate with representatives of technical specialties and so on.
When we talk about creative workshops for the education of art students, it can be said that this
methodology becomes like an independent art form, which, according to Eugeniusz Józefowski, can be
treated as a form of art and as a method of education. E. Józefowski states that creative workshops
exist as an intermediate link between education and art creation, as a kind of “companion” of art, which
in turn allows the workshop participant to become both an artist and a spectator and to incorporate
routine and the elements of environment into the art field [2]. Although distance learning has now
become commonplace, it is precise because of the above-mentioned teaching problems that people
with reduced mobility, for various reasons, no longer have the opportunity to study the arts or become
less of a contact program. A lot of studies in this field show that creative self-expression in groups is one
of the best ways for self-knowledge, reduction of social exclusion, correction of psychological states [3],
etc. Considering the emerging need for smooth organization of distance learning and teaching in all
fields, including art – it is proposed to reorient and continue the creative workshops remotely, adapting
to the changed conditions and rethinking the existing workshop methodologies.
The article raises the idea that Creative workshops can be held in a virtual space or at a safe social
distance, describes the programs, methodologies, and results used. The publication discusses the 2020-
2021 period, the results of the study “Conducting creative workshops online” conducted in higher
education institutions. The object of research: creative workshops in higher education institutions.
The aim is to investigate the specifics of remote ways of conducting creative workshops and to identify
techniques and tools suitable for revealing the student's creative potential in performing contact tasks in
a virtual environment. In preparing the article, the methods of literature analysis, synthesis, and
comparison were used, the method of the online survey was chosen for the collection of empirical data,
and the data processing was performed by the methods of descriptive statistics and evaluation of
qualitative indicators.
2 LITERATURE REVIEW OF CREATIVE WORKSHOPS ONLINE
Some authors argue that creativity is innate, but more and more researchers suppose that it can be
developed. D. Grakauskaitė-Karkockienė states that creativity is an educational subject and offers to
create special curricula for the development of creativity[4]. It is becoming abundantly clear that the
development of creative workshops online and through contact methods and research in this area could
be the beginning of one such program. Several distance learning creative workshops related to
business, management, and other fields of humanities and social studies have been studied by
specialists in education, psychology and marketing, as discussed by F. Wulandari, C. Dwiatmadja, C.,
Imronudin [5], and “Human resource management, innovation and performance: looking across levels”
[6]. However, in the arts, only contact-only creative workshops are always considered. The problems of
such workshops are studied quite thoroughly in E. Józefowski's article "Creative Workshop as a Form
of Contemporary Art and a Space for Subjective Development."[2].
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When we talk about small flows of students studying arts or creative specialties, we can say that in this
place we are approaching a very close and personalized specialty teaching or learning that requires
constant physical contact between the student and the teacher or tutor. Gediminas Beresnevičius
suggests creativity as a solution to the problem: "After reviewing the rich literature on creativity, it can
be stated that one of the criteria for creativity is a creative solution to the problem." Therefore, it can be
said that a creative workshop is one of the most acceptable ways to solve certain problems that arise in
science and art. Workshops as a research methodology are discussed in the article “Workshops as a
research methodology” [8], where creative workshops are especially valued as authentic research
methods, as the results of the workshops also meet the expectations of the workshop participants and
help to collect reliable empirical data.
In the context of such creative personalized teaching, the concept of a creative workshop necessarily
arises when groups of students or individuals are presented with various tasks that require not only
technical or practical knowledge but also an artistic sense. This means that during the creative workshop
not only the creation of a certain object take place, but also the process of development of the creator
as a personality. How an educational institution could take care of raising the creative level of students
is discussed in N. Burkšaitienė's article “How Can a University Learning Environment Contribute to
Students’ Creativity? Lithuanian Students ’Perspective.” [9]. In addition to the special preparation of
teachers for creative teaching processes in creative workshops, educational institutions usually adapt a
certain environment, allowing them to feel free in those rooms, use various tools, technical possibilities,
a wide range of materials provided by the institution. J. Jakaitis, “Creativity powers: formation of material
environment design in the teaching (learning) process”, proposes to pay a lot of attention to students'
material environment in the process of creative teaching and thus awaken creativity [10].
This creates opportunities for students to take a deeper interest in their specialty, possibly chooses
specializations, delves into certain creative and production processes, gets acquainted with conceptual
theories and practices, masters the basics of installation and gets an additional opportunity to publicize
their projects, suppression of fear complexes, gaining experience in exhibiting works, etc. D. Angelova
has considerable experience in this field. "Tactics for Stimulating the Creative Search in Conducting
Intensive Student Modules (Workshops)." She presents various methodologies for conducting
brainstorming and other creative workshops and states that “Emerging technologies and processes
have nowadays started to require more productive methods that would meet the needs of the complex
growing consumer environment. To prepare the students for the challenging designer's profession and
the contemporary business world, it is necessary to implement innovative methods of education such
as the Intensive practical Student teaching modules.” [11].
It can be assumed that creative training is simply not possible without creative workshops. Creative
workshops are treated by some researchers as an independent branch of art or a decidedly effective
method of creating an art/design object. The criteria for evaluating creativity and the problems of
performing creative workshops in science are extensively explored in the collection of articles by D.
Dutton and M. Krauszc[12]. These relevant topics are also addressed in M. Pelowski, H. Leder, P.P.L.
Tinio [13]. Following the quarantine in many European countries, the refusal to run Creative workshops
remotely was based on students 'and teachers' lack of materials and suitable facilities at home for such
activities, and surveys of creative teachers found it difficult to transfer practical knowledge or form the
necessary skills. skills at a distance, without the opportunity to demonstrate live the nuances of certain
actions taken. It turned out that the teachers are frustrated with the distance learning system and why
their creativity is declining, which in turn significantly influences the implementation of the study process.
How to overcome similar pedagogical problems arising in critical situations is analyzed by V. Žydžiūnaitė
[14]. The tasks and methodologies of the creative workshops carried out in the study programs were
improved, smoothed, developed, taken over from colleagues for many years of teaching practice by
conducting only contact workshops, but all this became of little use in the transition to distance learning.
The distance learning process is, first of all, a way of effective knowledge transfer using modern Internet
and software technologies and various factors relevant to the research are examined in the article V.
Davidavičienė, K. Al Majzoub, I. Meidutė-Kavaliauskienė [15]. There is a possible situation where the
performance of creative workshops in the teaching process is suspended for a short period of several
months for various reasons, but the implementation of a quality continuous process of creative studies
without similar practices is probably impossible. Due to this spontaneously widespread situation, there
was a need to examine the nuances of remote creative workshop execution. To determine the
environment for such activities, to study the technical and material possibilities of students and lecturers,
to find out the opinions of students and lecturers' groups about conducting creative workshops online,
and to develop and describe certain methodologies and recommendations.
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3 RESEARCH METHODOLOGY
Problem of the research. Researching the above-described issues of remote execution of creative
workshops raises questions: Is a distance learning workshop useful for the study process? In what ways
can the smooth running of a remote creative workshop be ensured? What tools and materials are
available / recommended for remote creative workshops, which are usually lacking for participants? In
what environment does the developer and/or teacher work during the creative workshops and what
environment could be recommended in such cases? Do the participants of the creative workshop feel
safe and secure during the process? In what ways can you create a good creative atmosphere during a
remote creative workshop?
In the course of the Conducting creative workshops online study, an attempt was made to answer these
questions and develop solutions to the problems encountered.
The object of the research: Creative workshops were held in higher education institutions during the
research period (process as an object of research). When surveys of participants in creative workshops
were conducted, the behavior of the participants (reaction to creative workshops conducted in other
ways) was observed. The physical environment of the research participants, the electronic environment,
and the objects created during remote creative workshops (works, exposition) are analyzed.
Aim of the research. By researching the specifics of remote ways of conducting creative workshops,
identify techniques and tools suitable for revealing the student's creative potential in performing contact
tasks in a virtual environment. It is important to reveal the importance of remote creative workshops in
teaching arts and creative students, the benefits to communities, especially during teleworking.
Tasks are: To review the projects carried out in the context of the research “Conducting creative
workshops online”; To reveal the methods and possibilities of remote creative workshops; To reveal the
importance of the development of remote creative workshops and their integration into the study process
in programs of various specialties and to review the results; Formulate recommendations for online
execution of similar processes.
Research Methods: empirical, sociocultural method, research group survey method, document (visual
material) content analysis, comparative analysis, case analysis, observation, statistical data analysis,
analysis of the results of creative workshops. It is proposed to conduct creative workshops remotely as
a research method, where the researcher researches not only a group of participants but at the same
time himself as a creative constantly evolving personality and teacher. [8] Study and analysis of scientific
and specialized literature dealing with similar problems.
Participants of the research: students and lecturers of art or creative specialties in higher education
institutions in the Baltic region, students of gymnasiums in the future who want to study art or creative
specialties, teachers leading creative disciplines.
Variables of the research: Independent variable: the environment of the subjects during creative
workshops, the creative task, the tools used by the participants. Dependent variable: results of remote
creative workshops, change of creative potential, created objects.
The environment of the research. The research was conducted in specialized spaces of educational
institutions (workshops, design laboratories) and in the electronic space, using various soft dedicated
virtual meetings.
Process of the research. The research was carried out in three stages (3 projects) - moving from the
implementation of a contact workshop in accordance with the social distance to another project
incorporating contact implementation methods and ending with the result of distance learning.
4 RESULTS
4.1 Discussion and results of research “Conducting creative workshops online”
The first project. The first phase of the study can be described as a step in preparation for further
activities. During the Erasmus+ trip, a visit was made to the ESA University of Applied Sciences. There
was a contact interactive creative workshop called Excitement, during which the participants had to keep
a safe social distance and not get used to each other closer than 1 meter. Given the real circumstances
of the workshop and the problems encountered, an initial research questionnaire was developed to
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monitor the feasibility of contact workshops during the pandemic. The workshop on quarantine
restrictions was attended by 8 students of the Interior Design program and 2 creative lecturers.
Figure 1. Creating the interactive installation "Excitement" at the EKA University of Applied Sciences, Riga,
Latvia, 2020. Photos author V. Zvirble.
Problems of the project. The premises of the research institution are not adapted to the observance of
social distance. People fail to follow their actions closely and keep the necessary safe distance from
each other at all times. Communication poverty also occurs when each workshop participant works in
their own area - due to limited visual communication opportunities, the coworking effect is not fully
achieved, which means that the workshop result may not quite meet expectations.
Progress of the project. In the preparatory phase, a creative workshop was observed, where students
and teachers carried out a creative task formulated on site, using a brainstorming methodology and
using some materials purchased in-store but some found in the environment as a secondary raw
material. In the auditorium specially designed for creative workshops, working conditions have been
created to maintain a safe distance of 1-2 meters. The participants of the workshop were assigned
certain roles - some prepared the material, others produced the electrical installation and so on. Later,
the installation of the object took place in the environment, when the participants (due to limited space)
were divided into small groups of 2-3 people, changing the cabin elements each time adjusting the work
of the previous group. As a result of these actions, an original interactive installation, partly improvised
by air gusts, was created - an integrated ceiling luminaire "Excitement" covering an area of 10 square
meters, which lights up from the movement in the environment according to certain algorithms with the
help of PIR sensors (motion sensors).
Results of the research part performed in the context of the project. In the course of the experiment, it
was found that students and teachers performed coworking less than in normal (non-quarantine)
creative workshop laboratory conditions. Analyzing the results of the workshop, it was observed that it
is very important to communicate close enough to create installations of a similar nature, which is a very
common task in such multidisciplinary workshops. The planned result was not achieved quickly and
efficiently due to the requirements of social distance compliance. However, a surprise factor emerged
in the project. The interviewed project participants believed that they were successful in maintaining
social distance, communicating, and completing the project, but observing from the outside and later
analyzing the recorded visual material of the activity revealed that social distance was very often
vulnerable. Due to the constant psychological stress, trying to keep up with the distance, the
communication between the project participants deteriorated. Due to working in small groups,
implementing the project stages, without seeing and understanding the incentives of the previous group,
there were unplanned adjustments to the project, which seemed to create an artistic and unexpected
effect, but the object was slightly different from the planned one.
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Figure 2. Interactive installation "Excitement" at the EKA University of Applied Sciences expositions hall,
Riga, Latvia, 2020. Photo author J. Daveiko.
The second project. The task of creating a material object "Designer's luminaire". The second phase
of the study can be described as a mixed multidisciplinary workshop, which, as in the first, used the arts
and technologies of the environment and which was started in a contact way and completed at a
distance. 25 students participated in the project. The students' task became the design of original lighting
fixtures, from idea to implementation. There was contact brainstorming, sketching, sketch evaluation
and discussion. The further course of the project moved into a remote process. In consultation with the
lecturers, the students tried to virtually adapt the objects, waste, recyclable materials available in their
environment and create their own author's luminaire and integrate the electrical installation inside.
Figure 3. Examples of students-designed luminaires at the Vilnius College of Technologies and Design, Vilnius,
Lithuania, 2019. Photos authors V. Zvirble, Dominika Tomasevic, Renata Cernevic, Margarita Bogdanova.
Problems of the project. Students had difficulty solving certain nuances of the implementation of their
designed object, often did not have the necessary tools or materials, so they had to find different
solutions to the situation. Teachers did not have the opportunity to demonstrate at a distance some of
the required technological skills that should be taught through contact. There was more complicated
remote communication to clarify the problems encountered during the workshop task.
Progress of the project. In the preparatory phase, a creative workshop was observed, where students
and teachers carried out a creative task formulated in advance, using a brainstorming methodology and
planning to use some materials purchased in-store but some found in the environment as a secondary
raw material. Brainstorming sessions were held in the design laboratory, as a result of which sketches
and projects of future creative objects (lamps) were developed. Following the announcement of the
quarantine regime, students successfully completed their facilities remotely.
Figure 4. Examples of students-designed luminaires at the Vilnius College of Technologies and Design,
Vilnius, Lithuania, 2020. Photos author J. Daveiko.
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Results of the research part performed in the context of the project. During the experiment, it was found that
students and teachers successfully communicated in the design laboratory, but some such obstacles were
caused by the requirements of safe social distance, because, as remotely with a webcam, it was difficult to
demonstrate technical tasks at a distance of 1-2 meters. performance features. After moving the project to a
distance, work on the site stalled for some time as both students and faculty had to adapt to the new
conditions. It has been observed that in another environment (i.e. at home), which is usually perceived as a
routine medium that does not contain anything original and interesting, a number of unexpected objects that
can be adapted to the original task can be detected. The communication of the group participants also
stopped and they lost the opportunity to see what the colleague was doing, which, in the opinion of the
researchers, became the incentive to create original objects. The luminaires created as a result of the
workshop were extremely unexpected and original, which we can observe (Fig. 4) and compare creativity
and originality with the previous workshop (2019) conducted live on the same topic (Fig. 3). Despite the fact
that the research group expressed frustration at losing the opportunity to communicate live with colleagues
and teachers, access to more difficult conditions seemed to stimulate their creativity and find more original
solutions due to the lack of a “collective” subconscious, uniform environment and working conditions. choice
of materials. These results suggest that placing a developer in more complex conditions potentially raises
his level of creativity and, in educational terms, provides an opportunity to see his environment and learn to
apply his intellectual powers to find a way out of a complex situation where the usual material base is lost.
The third project. Creative visual multidisciplinary workshop "Force of the light and shadows". The third
stage was marked by a series of creative workshops on various topics, which were conducted only
remotely. About 60 people took part in the research workshops: pupils of gymnasiums planning to study
art specialties, teachers leading creative subjects, lecturers and students of creative specialties. The
first - pilot workshops took place for 1-2 hours. periods. Later, after examining the behavior of the
subjects during the workshops, a creative workshop with new content was generated, which was
conducted and divided into stages lasting 4 days.
Figure 5. Examples for workshop participants. Photo author V. Zvirble.
Problems of the project. Students and lecturers, and especially pupils and teachers, had no special
measures necessary for the task. There was no way to perform contact brainstorming using
conventional methods.
Progress of the project. For the project, which started during the distance learning Erasmus+ program with
students and lecturers of Rezekne Academy of Technologies (Rezekne, Latvia), a special experimental
workshop concept was developed, in the context of which experimental activities with the first research
group took place. No measures were proposed to the group and no theoretical and material preparations
were made for the workshop. Only 1-2 smartphones or cameras were asked to have. On the first day, a
theoretical lecture was given on the interaction of light and shadow in architecture and design, examples
are shown (Fig. 5) and a general discussion on possible solutions to the task was conducted, and students'
questions were answered. A few hours later, the workshop group was launched and given the task of
creating a pictorial, artistic composition on an architectural theme with the help of light and shadows, from
objects or materials that would be detected in their everyday environment.
Figure 6. Examples of students home workshop environment Rezekne Academy of Technologies, Rezekne,
Latvia, 2020. Photos author Eugenia Melnika.
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The participants of the group had to study the environment, the properties of the observed and selected
materials, the textures of the objects, and take a fresh look at some elements of the environment. To
make a photo and video fixation of the cast or reflector of the created composition, to generate ideas
independently. However, participants were asked to communicate with family or close people in the
evening, find out what they think about the task they received, share ideas, ask for their opinion, ask for
help with the task... On the second day, ideas were presented, some students used family help. Selected
items and materials were demonstrated to help create compositions, comments and recommendations
from teachers. The lecturers of the academy also actively participated in the workshop. Such distance
activities involved the participants, they tried passionately to capture the most interesting moments
possible. The third day was devoted to independent work with selected objects, and the fourth day was
devoted to the demonstration and presentation of the final results in an online workshop. This workshop
was repeated several more times between students and pupils.
Figure 7. Examples of shadows fotofixations Rezekne Academy of Technologies, Rezekne, Latvia, 2020.
Photos author Baiba Medinika (Sinking ships), Viktoria Karzinina (Night City Life).
Results of the research part performed in the context of the project. In the course of the experimental
remote creative workshops, it was found that the participants were very positive about the innovations,
although they were a bit confused. An unexpected task for which the participants were not prepared
forced them to “get out of the comfort zone” and look around the world around them (Fig. 6). Participants
acknowledged that although the content of the creative specialty they are studying or teaching includes
ongoing environmental research, much of this workshop has become a new experience for them. A very
positive experience became brainstorming not performed by a group of artists with similar talents,
experiences and education, but when each workshop participant conducted independent brainstorming
with their families and friends, which allowed them to have original impulses to create and turn their
gaze towards completely unexpected objects. There was also a discussion among the participants -
whether such an art object has only one author, a specific creator, a participant of an experimental
group, or whether the authors of the work created as a result of the workshop are all those who
participated in the process - i.e. relatives who participated in the search for objects helped to create the
lighting of the composition, and so on. Analyzing the results of the performed experiment, it can be
concluded that despite the obvious discomfort of such a remote action, it seems to resonate with
creativity, as in the process participants were forced to perform other actions than usual and did not
dispose of almost any means. potential and intelligence. Analyzing the obtained visual material (Fig. 7)
and the feedback and emotions of the project participants, it was concluded that such a remote workshop
is not only recommended, but must be carried out not only in the context of creative specialties but also
by adapting them to students from other specialties.
4.2 Survey data
During the research, the project participants were provided with a specially created questionnaire, which
was used as an additional tool to analyze the data obtained and systematized during the research. The
survey was also presented to high school students who had the opportunity to participate in remote
creative workshops organized by their teachers during the quarantine. The survey involved 94 people
(students 55,32%, lecturers 24,47%, teachers 11,7% and last grade gymnasium pupils 8,51%). It was
found that the majority of the respondents participated in the creative workshops from the date of the
announcement of the quarantine (Fig. 8). The survey asked whether participants felt that being at a
distance or following a social distance influenced the results of their task, and 49.4% of participants felt
that these factors did not affect their results, while the rest chose different answers.
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Figure 8. Chart of survey
Project participants were asked what they think is the best object of a remote creative workshop and what
its optimal size might be, asked to express their opinion about the authorship of the object, when the
developer helps people attract it, remote creative workshops during quarantine. One of the most interesting
was the open question "Let's make some fantasy - what computer or software features did you miss while
attending a remote creative workshop?". This place received many original responses when participants
ran out of 3D drawing on screen options, virtual reality option or to create a new platform for workshops
where each student could participate like an avatar. The latter topics are particularly relevant and are
discussed in some detail in the article “User experience evaluation and creativity stimulation with
augmented reality mobile applications” [16]. Different answers were obtained by asking who could be the
object of the remote workshop (Fig. 9, participants could choose several answer options).
Figure 9. Chart of survey
The participants' feelings during the contact and non-contact workshops were taken into account, and it
was found that the participants felt safe enough to maintain social distance, but felt psychological
discomfort during the distance workshop due to lack of physical contact with group members and limited
choice of tools. When asked about the software used for distance learning, some of the apps most
commonly used by participants were singled out (Table 1).
Table 1. Apps used for different kinds of communication during the online workshops.
Hangout, Meet
MS Teams
Zoom
Moodle
Messenger
9
49
30
5
18
Examining the survey data, it turned out that a significant part of the respondents think that the size of
the remote creative workshop task object does not matter, even 46.8% of the respondents answered
the question “What tasks are more convenient to perform at a distance workshop?” - "Not matter, it is
important to find a good idea”, and 30.9% of project participants decided that compact objects were
Yes, once; 18; 19%
Yes 2 or more
times; 35; 37%
I don't remem ber;
4; 5%
No; 33; 35%
Other; 4; 4%
Have you alre ady participa ted in creative workshops since the
announcement of quara ntine in your country?
Thing; 62; 33%
View; 56; 30%
Soun d; 33; 18%
Other; 36; 19%
What do you think could be best object of creative workshop?
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more suitable for such events. These figures show that the participants of the workshops are quite clear
about their possibilities and soberly assess the situation, but the most important aspect for them,
however, remains the creative component of the project.
And one of the most interesting questions for the authors came up with the idea of an outdoor laboratory,
as the majority of respondents answered the question “Now describe the room you would like to actually
work in during remote creative workshops. What's in it?” Responded with the keywords: “open space”,
“outdoor”, “big ergonomic tables”, “plenty of space”, “lots of tools and materials”. This question made
authors think about the creation of a design laboratory that meets modern issues and it was decided to
undertake the development of a new concept. This could be an outdoor laboratory as part of a high
school (Fig. 10) located in the open air and without enclosed spaces, but equipped with various safely
placed equipment and engineering communications, as well as different purpose rooms and safe
workplaces where students can work and pandemic conditions.
Figure 10. Outdoor design laboratory vision by J. Daveiko (2021)
The results of the survey confirmed the findings of the study and led to new concepts and further
development of online workshop methodologies.
4.3 Recommendations for conducting a remote creative workshop
The research and analysis of the results of all the discussed projects showed that the creative workshop
is a very important part of creative teaching and can be used to solve various problems of the studied
subject or to carry out artistic and educational research. However, the contact workshop is a fairly
common practice, but conducting a remote workshop has become a real challenge for many creative
teachers, as the quarantine has suspended a number of practical activities in creative laboratories,
severely limiting contact activities. Research has shown that creative workshops can be successfully
transferred to virtual spaces by reshaping creative tasks and creating a range of surprise factors for
participants. The need for such workshops is quite significant in educational institutions specializing in
creative specialties, as their students are particularly sensitive and emotional, extremely prone to social
depression. Similar events, especially in the context of various subjects, would increase the motivation
to study and encourage the growth of creative potential, attentiveness, environmental research skills
etc. However, one of the most important components of such activities should not be forgotten here: the
personal creativity of the teacher, when he / she becomes the object of inspiration for the students. [17]
The research carried out with the help of the workshop could serve the development of Lithuanian and
European science, involving students and lecturers from various fields of science and art in this activity
[8]. This would encourage interest not only in the specialty, but also in the nuances of other fields of
science and professions.
After analyzing the data obtained during the research, it would be possible to summarize the
methodological recommendations for remote creative workshop: Create an unexpected but easily
understood workshop topic. List the workshop plan and follow it, participants must “fit” into the set time
frame. Conduct a theoretical lecture in the introductory seminar of the remote creative workshop, provide
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participants with detailed information about the object of the workshop. During the introductory lecture,
carry out a short brainstorming process based on “Speed thinking” methods, when sample ideas are
generated that can be used or not used in the future task, but the action becomes like an impulse for
creativity. No material base is prepared for the remote creative workshop, but the participants are offered
to use hand tools, materials, tools, recycled raw materials. Group brainstorming methodology is replaced
by brainstorming in the circle of relatives, family, friends. Such an approach not only strengthens social
ties, but also "stretches the threads of creativity" beyond the creator's usual professional world,
community and concepts, and allows unexpected solutions to be found. Limit discussions between
project participants and joint generation of ideas. Limit joint presentations of project results by project
participants, as such performances lead to unconscious copying of ideas. Provide recommendations on
how to design equipment that would allow filming of the creative process from above and capturing
handwork. Unlimited use of the most unexpected tools. Unlimited in the form of a result - e.g. if a student
of an on-site visual installation has created an audio installation using the guidelines provided in the
assignment, this is a great result. Carry out tasks by inserting specific elements of adjacent and further
specialties (for example, knowledge of photography, soldering and electrical installation technologies is
offered for the tasks of design students during the workshop). Conducting non-contact workshops mixed
with contact ones will bring definite benefits in terms of fostering creativity. It is imperative to provide a
quality internet connection and online coworking programs, as technical glitches in the remote creative
process can severely unbalance participants and can harm the result.
5 CONCLUSIONS
After evaluating the research results discussed earlier, it is recommended to encourage students of
various specialties to concentrate in interdisciplinary creative groups and participate in remote creative
workshops and social projects, thus stimulating their creativity, developing the ability to socialize even
in conditions restricting communication. Such activities expand the erudition and intellect of students
and provide conditions for educational institutions (especially in the fields of arts) to prepare study
programs adapted to the problems of modern society. Distance creative workshops can be successfully
conducted in study programs where contact training is required. Workshops, which limit the joint
activities of participants with similar thinking, education, attitudes, and opportunities, encourage the
unfolding of individual creative powers and the achievement of original artistic results and eliminate the
possibility of unintentional plagiarism.
The development of remote workshop methodologies also allows for the expansion of international
projects without necessarily physically traveling to other countries, which is especially relevant at the
moment. Remote creative workshops based on similar ideas encourage internationalization and
unrestricted creative collaboration between representatives of various educational institutions. Bringing
workshop participants out of the "comfort zone" and creating strange, unusual rules encourages the
unleashing of creative potential and helps to avoid destructive and depressive moods during universal
quarantine and movement restrictions. The more discomfort the environment surrounding the
participants in the workshop tasks, the more their creative potential was revealed. Distance creative
workshops promote the recycling philosophy, teach the use of items that have been destined for
disposal, thus accustoming the young people studying to the ideas of sustainable development of
society, forming nature-friendly habits.
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