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Citation: Zabulis, X.; Partarakis, N.;
Demeridou, I.; Doulgeraki, P.;
Zidianakis, E.; Argyros, A.;
Theodoridou, M.; Marketakis, Y.;
Meghini, C.; Bartalesi, V.; et al. A
Roadmap for Craft Understanding,
Education, Training, and
Preservation. Heritage 2023,6,
5305–5328. https://doi.org/10.3390/
heritage6070280
Academic Editor: Andreas Aristidou
Received: 2 June 2023
Revised: 10 July 2023
Accepted: 12 July 2023
Published: 13 July 2023
Copyright: © 2023 by the authors.
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heritage
Article
A Roadmap for Craft Understanding, Education, Training,
and Preservation
Xenophon Zabulis 1, * , Nikolaos Partarakis 1, Ioanna Demeridou 1, Paraskevi Doulgeraki 1,
Emmanouil Zidianakis 1, Antonis Argyros 1, Maria Theodoridou 1, Yannis Marketakis 1, Carlo Meghini 2,
Valentina Bartalesi 2, NicolòPratelli 2, Christian Holz 3, Paul Streli 3, Manuel Meier 3,
Matias Katajavaara Seidler 4, Laura Werup 4, Peiman Fallahian Sichani 4, Sotiris Manitsaris 5, Gavriela Senteri 5,
Arnaud Dubois 6, Chistodoulos Ringas 7, Aikaterini Ziova 7, Eleana Tasiopoulou 7, Danai Kaplanidi 7,
David Arnaud 8, Patricia Hee 8, Gregorio Canavate 9, Marie-Adelaide Benvenuti 10 and Jelena Krivokapic 10
1
Institute of Computer Science, Foundation for Research and Technology Hellas (ICS-FORTH), N. Plastira 100,
Vassilika Vouton, 70013 Heraklion, Greece; partarak@ics.forth.gr (N.P.); idemer@ics.forth.gr (I.D.);
pdoulger@ics.forth.gr (P.D.); zidian@ics.forth.gr (E.Z.); argyros@ics.forth.gr (A.A.); maria@ics.forth.gr (M.T.);
marketak@ics.forth.gr (Y.M.)
2Istituto di Scienza e Tecnologie Della Informazione (ISTI), Consiglio Nazionale Delle Ricerche (CNR), Area
Della Ricerca CNR, 56124 Pisa, Italy; carlo.meghini@isti.cnr.it (C.M.); valentina.bartalesi@isti.cnr.it (V.B.);
nicolo.pratelli@isti.cnr.it (N.P.)
3ETH Zurich, Raemistrasse 101, 8092 Zurich, Switzerland; christian.holz@inf.ethz.ch (C.H.);
paul.streli@inf.ethz.ch (P.S.); manuel.meier@inf.ethz.ch (M.M.)
4Khora Virtual Reality Høkerboderne 8, 1712 Copenhagen, Denmark; matias@khora.com (M.K.S.);
laura@khora.com (L.W.); peiman@khora.com (P.F.S.)
5Centre for Robotics, MINES ParisTech, PSL Universite, 60 Boulevard Saint Michel, 75006 Paris, France;
sotiris.manitsaris@mines-paristech.fr (S.M.); gavriela.senteri@minesparis.psl.eu (G.S.)
6Histoire des Technosciences en Société, Conservatoire National des Arts et Métiers (HT2S-CNAM), Case
1LAB10, 2 rue Conté, 75003 Paris, France; arnaud64.dubois@gmail.com
7Piraeus Bank Group Cultural Foundation, 10558 Athens, Greece; riggasch@piraeusbank.gr (C.R.);
ziovaai@piraeusbank.gr (A.Z.); tasiopouloue@piraeusbank.gr (E.T.); danae.kaplanidi@gmail.com (D.K.)
8CERFAV, Rue de la Liberté, 54112 Vannes-le-Châtel, France; david.arnaud@cerfav.com (D.A.);
patricia.hee@cerfav.fr (P.H.)
9Technological Centre of Furniture and Wood of the Region of Murcia, Perales s/n, 30510 Yecla, Spain;
g.canavate@cetem.es
10 Madineurope SCRL, 116, rue Berckmans, 1060 Brussels, Belgium;
madina.benvenuti@madineurope.eu (M.-A.B.); jecakrivokapic9613@gmail.com (J.K.)
*Correspondence: zabulis@ics.forth.gr; Tel.: +30-281039-1696
Abstract:
A roadmap is proposed that defines a systematic approach for craft preservation and
its evaluation. The proposed roadmap aims to deepen craft understanding so that blueprints of
appropriate tools that support craft documentation, education, and training can be designed while
achieving preservation through the stimulation and diversification of practitioner income. In addition
to this roadmap, an evaluation strategy is proposed to validate the efficacy of the developed results
and provide a benchmark for the efficacy of craft preservation approaches. The proposed contribution
aims at the catalyzation of craft education and training with digital aids, widening access and
engagement to crafts, economizing learning, increasing exercisability, and relaxing remoteness
constraints in craft learning.
Keywords: traditional crafts; craft education; craft training; craft preservation
1. Introduction
A roadmap towards the understanding and digital documentation of crafting actions
and activities is proposed. A roadmap is required because understanding making activities
that include “care, judgement, and dexterity” [
1
] call for interdisciplinary contributions from
anthropology, cognitive science, art history, as well as physical and computational sciences
Heritage 2023,6, 5305–5328. https://doi.org/10.3390/heritage6070280 https://www.mdpi.com/journal/heritage
Heritage 2023,65306
to cover the multifaceted expression of crafts as living and developing heritage, as a source
of income, and as the expression of the mind through “imagery, technology, and sedimented
knowledge” [2].
The problem is challenging due to the multifaceted nature of crafts, which covers
a wide range of both tangible and intangible dimensions [
3
]. The proposed roadmap
recommends ways towards the documentation and sustainable preservation of crafting
techniques. Motivation stems from the declining numbers of craft practitioners and appren-
tices [
4
] due to a lack of awareness, difficulties in knowledge transmission, and economic
demotivation due to the lack of certificates and accreditation of qualifications [5].
Craft refers to the practice of making things using hands and tools. It involves the
use of techniques, tools, and materials to produce objects, often with a high level of skill
and attention to detail. Craft products are produced in small quantities, emphasizing
the individuality and uniqueness of each piece. Pye [
1
] defined “work of certainty” as the
predetermined actions outside the control of the operative and the “work of risk” as actions
that depend on practitioner care, judgement, and dexterity. Tools of certainty are molds,
hand presses, looms, stabilizing jigs, and measures, while tools of risk are scissors, knitting
needles, chisels, paint brushes, etc.
Computer-aided craft education and training are proposed to widen access, economize
learning, increase exercisability, and relax remoteness constraints in craft learning. The
proposed roadmap aims at the catalyzation of craft education and training supported
through immersive aids, craft simulators, and advanced, as well as high-end digitization
and visualization. These tools are planned to widen access, economize learning, increase
exercisability, train attention to safety rules, and relax remoteness constraints in craft
tutoring. Immersive interfaces are recommended as central in providing virtual craft
experiences due to the practical nature of crafting. As such, the integration of haptics into
these experiences is important to train craft actions and make explicit the tacit knowledge
employed in handiwork.
The simulation of crafting workflows is proposed to support material savings, part
reuse, and reduction in energy consumption. The purpose of a simulation is to predict
the result of new techniques of individualized tasks for part-specific operations. Safety is
important for the training of adult practitioners, but even more important for younger ages.
Today, workshop entry is prohibited for children. On the other hand, skills are more easily
developed when young and traditionally, craft skills were acquired during apprenticeships
at early ages. Therefore, realistic craft games and toys can interest and provide exercise
opportunities with safety from an early age. Last but not least, the proposed roadmap
targets social benefits that stem from the role of art and culture in our lives. Craft practice
is increasingly recognized as a positive influence on personal and communal well-being
when used as a vocational, leisure, and social activity [6].
The proposed roadmap stems from the implementation plan of a three-year research
project on traditional craft preservation funded by the European Commission under the
Horizon Europe Programme called Craeft, named after the old English term that means
art, force, and skill. The purpose of this work is three-fold. First, it provides an overview
of objectives and activities that exhibit the potential to contribute to craft preservation.
Second, it contributes to policy and decision-making and provides product authentication
and material provenance. Third, it serves as a resource for individuals or organizations
interested in craft preservation by exposing the proposed approach, methodology, and
techniques to criticism by the scientific and heritage communities, as well as to avoiding
duplication of efforts by other peers.
To achieve the aforementioned goals, literature from multiple relevant disciplines is
reviewed in Section 2. Technical, educational, and training recommendations, followed
by business and policy proposals towards craft preservation, are provided in Section 3.
In Section 4, validation and evaluation plans are provided. In Section 5, conclusions and
future outlooks are outlined.
Heritage 2023,65307
2. Related Work
The ambition of this work is to advance the understanding of crafting activities as
an intellectual and physical process that employs perceptual imagery, knowledge, and
technology. By formalizing this understanding, we wish to better document, study, teach,
preserve, and develop crafting skills, transmit this knowledge for posterity, and use it for
the prosperity of craft communities.
2.1. Data and Knowledge Collection
In 1990, UNESCO published a data collection guide for the documentation of tradi-
tional crafts [
7
], identifying the essential elements to be recorded: artefacts, materials, tools,
and the crafting process. Photographic documentation was deemed necessary to record
the practicalities of the crafting process, such as the way to hold a tool and manipulate it.
Since then, digital photography and cinematography have advanced the state-of-the-art
documentation of CH. The types of recordings and their individual recording parameters
must be adjusted to the craft of the study. We review the main recording technologies,
classified as to their use in the digitization of physical items, events, and documentation.
2.1.1. Data
Physical items are objects that remain static in time. In formal ontology, they are called
endurants or continuants, meaning that their observation is the same at any moment in
time. In the context of crafts, they are materials, tools, machines, products, information
carriers, and sites. Recording of endurants is achieved through photography [
8
,
9
] and
3D reconstruction [
10
]. Comprehensive guides in the photographic recording of cultural
heritage (CH) artefacts and sites are recommended for this purpose [
10
–
21
]. Additionally,
methods for the digitization of challenging materials such as transparent objects have been
proposed [
22
,
23
]. In [
10
], an approach to the full scope of 3D data curation through the
collection, processing, archiving, and distribution of multiple modalities is proposed. A
special case of endurants is information carriers such as books and manuscripts. Their
primary digitization is photographic. Subsequent analysis regards the extraction of their
verbal content conventionally through pattern recognition (OCR) as well as more advanced
methods targeting manuscripts [24,25].
In the digitization of intangible cultural heritage, efforts tend to focus on phenomeno-
logical digitization, targeting the recording of kinetic or vocal activities [
26
–
31
]. Cinemato-
graphic and 3D motion digitization enable the recording of performing arts in multiple
media and formats, exhibiting immersive qualities and interactive experiences [
32
,
33
] simi-
lar to musical content [
34
]. MoCap and Computer Vision are used to capture articulated
human motion in 3D, documenting body motion in dance and theater [
35
,
36
]. In crafts,
motion capture is employed for the investigation of crafting gestures [37].
2.1.2. Knowledge
Verbal reports aim to access the cognitive processes behind actions and can be carried
out either online, with the reporter talking as they work, or offline, where the reporter
comments retrospectively on their performance, often prompted by an audio or video
recording [
38
,
39
]. A key limitation is the articulation of the reporter [
40
], as the reporter
might not talk about what seems obvious to them, or they might alter their performance
because they are aware they will have to describe it [38].
In [
41
], it is recommended to create event logs for each recording session as soon as
possible after it. This urgency stems from the degradation of human memory, particu-
larly when introduced to a plethora of events and details. The logs promote immediate
reflection and a summary of actions that assist in later assessment and comprehension.
The logs should summarize activities and short-term observations to create a narrative of
the proceedings rather than a complete record. This has two outcomes: (1) an immediate
review of the session that would inform the next stage of the research and (2) facilitation
Heritage 2023,65308
of a subsequent review of the material. In [
42
], it is proposed that logs can help to search
digital records by content using a keyword search in the logs.
Interviews are widely used methods, but they are retrospective and dependent on
human memory. Unstructured interviews are useful for establishing rapport and an
overview of the activity but can result in large quantities of data [
38
]. Structured interviews,
where the same predetermined questions are posed in the same order, provide more
manageable data but require a deep knowledge of the domain and are time-consuming
to prepare.
2.2. Ethnography
Ethnography [
43
] identifies and describes the activities of social groups and their
members as “textual reconstructions of reality” [
44
]. After the advent of digital imaging,
the ethnographic study of crafts was modernized by Wood [
41
] to include digital recordings.
Recently it has been applied in workshops, with examples in carpentry [
45
], glasswork [
46
],
and textile manufacturing [47].
The interaction between the actions of the maker and the type, properties, and indi-
vidualities of the material is described as a negotiation [
48
,
49
] between the maker and the
material. It is further identified as one of the reasons for the uniqueness of craft products.
From the perspective of material agency, it is argued that craft practice is the result of a
negotiation between the material and the maker and that the bodily movements of practice
emerge from this dialogical act. In these works, it is recommended to investigate craft
processes from a perspective that uncovers how crafting actions occur through bodily
movements and material transformations. The emergence of the artefact is studied with
a focus on the relationship between the maker, material, and practice. This examination
enables an understanding of what happens in each contact moment between the maker
and the material.
Short-term ethnography [
50
] is an alternative to the traditional format that permits
a shorter length of fieldwork activity in return for intense engagement between the re-
searcher and their participants. The rich points that make up an ethnographic account
need to be actively sought in short-term ethnography. This can be achieved by utilizing
the prior construction experiences of the researcher. The researcher enters the field with
an emic insight that can be used to seek out events and allows the production of mean-
ingful ethnography from a shorter, more intense fieldwork period, learning much from
individual workers before they move on. Engagement extends beyond onsite interactions
through the use of video to record everyday activities by introducing attention to reflexive
ethnographic practice.
A recent craft ethnography method is that of [
45
], where it is argued that ethnography
has much to learn from artisans in order to advance the vision of artisan-inspired ethnogra-
phy. This work investigates what artisanal ethnography should be like, treats artisans as
ethnographic educators, and determines its tools, goals, and guiding principles.
2.3. Descriptions and Representations
Craft taxonomies are primarily material oriented [
6
] and, at a secondary level, classify
materials by origin. This classification does not facilitate the understanding of crafting
actions, as similar actions can be exercised on materials of different classes.
Craft descriptions are available for many crafts and in several formats. For example,
weaving instructions for mechanical were introduced in illustrated manuals in the 19th
century [
51
], instructions for glassblowing in the format of a graphic novel (comic) can
be found in [
52
] while, more recently, narrated videos for crafting can be found in several
popular video repositories online. A characteristic of this material is that it is oriented
to a specific craft, and, as such, a generalizable way to produce craft descriptions and
instructions is yet to be found, albeit many crafts share similar principles and actions.
Craft descriptions are classified into thin and thick. Thin descriptions are phenomeno-
logical observations of behavior. Thick descriptions include explanations of how these
Heritage 2023,65309
behaviors are interpreted by the participating actors. These explanations include descrip-
tions of intention, attention, judgement, and action modulation [53].
The representation of intangible dimensions of traditional crafts as processes were
proposed in [
54
]. In [
55
], it was proposed that craft representations should include semantic
descriptions of crafting plans and processes associated with recordings of these processes.
These approaches use activity diagrams to represent process steps that transform input
materials into output products for each step.
2.4. Cognitive Studies
Cognitive studies in this context aim to examine the cognitive processes involved in
traditional crafts, such as mental representations, problem-solving strategies, and expertise
development. The focus of these studies is the understanding of how craft knowledge
is acquired, organized, and transmitted, as well as how individuals acquire and develop
expertise. Moreover, cognitive studies focus on revealing the processes underlying skill
acquisition, perception, memory, attention, and problem-solving [56–60].
The perception–action circle is a means of identifying the phenomena taking place
during an action [
61
]. The perception–action cycle is the circular flow of information from
the environment to sensory structures, to motor structures, back again to the environment,
to sensory structures, and so on, during the processing of goal-directed behavior [
45
]. The
circle is comprised of four iterating stages: perception, prediction, action, and outcome.
This conceptualization has been used to achieve robotic perception and actuation [
62
–
64
],
and naturally, it applies well to crafting actions. We take good notice that this circle is a
conceptual tool and that attention is not passive but active, while also understanding that
actions give rise to additional perceptual stimuli. This is because the practitioner engages
the world through the interpretation of sensory images and not direct measurements of
the world. As such, experiments and observational studies are required to investigate how
practitioners perceive and interpret materials, plan and execute motor actions, and engage
in problem-solving.
2.5. Simulation
Simulation studies have been used to understand and analyze various aspects of
traditional crafts, including their production processes and material behavior. These
studies aim to gain insights into craftsmanship, improve techniques, and preserve cultural
heritage [
65
]. Focus is placed on modeling material behavior during crafting actions and
the impact of action parameters. These studies also aim to understand how different tools
and techniques affect the final product, optimize material usage, and reduce waste. An
important part of the simulation is the prediction of the behavior of materials under specific
action parameters, allowing the optimization of techniques.
Mechanical simulation is used in industrial manufacturing to reduce human effort,
energy, and materials. Finite element analysis [
66
] is the most widely used method in
mechanical simulations. To solve a problem, finite element methods partition systems
into smaller and simpler parts (finite elements). This is achieved by space discretization,
usually implemented by a mesh for each object involved. The method results in a system
of algebraic equations applied to predict the behavior of each element.
Craft simulators exist as digital games and are usually simplified as “play the carpen-
ter” games for mobile devices. Woodwork Simulator [
67
] introduces carpentry tools and
their function and accounts for action parameters (e.g., force) and material properties. A
review of craft simulation in games that includes an assessment of the realism of simulation
can be found in [68].
2.6. Training and Design
Vocational training employs digital asset annotation and workspace simulation. The
need for visual annotation upon photographic documentation, particularly in handicrafts,
is identified in [
69
]. Mixed reality (MR) and virtual reality (VR) environments are used
Heritage 2023,65310
to train professionals in manual tasks. Human motion is used for workspace design [
70
].
Avatars are employed in manual task collaboration [
71
]. VR is employed in maintenance
training [72]. Immersive storytelling has also been proposed for training [73].
Research efforts have focused on introducing innovative design tools to
architects [
74
,
75
], studying historical design and patterns as a source of inspiration and
craft preservation [
76
–
78
]. Traditional crafts in informal intergenerational knowledge trans-
mission often have a specific focus on product type and regulated style. The industry
creates novel design elements and styles, which are applied to multiple products, often
drawing inspiration from local tradition. Applied Art and Design schools stand in the
middle offering traditional and novel technique learning. The core ideas implicit within the
Bauhaus are reimagined, retrofitting them for the modern age and its challenges [79–82].
2.7. Sustainability
Immersivity and storytelling have been employed in CH engagement to create com-
pelling and memorable experiences, including location-based interactive presentations
and experiences [
83
,
84
]. Some of the attempts include combining 360
o
video with story-
telling [
85
], using immersivity to present maritime and underwater heritage [
86
], employing
emotions to enhance narrations on CH subjects [
87
,
88
], presenting stories that are part
of the intangible heritage of a community [
89
], and simplifying the design of immersive
CH presentations [
90
]. In the same context, other research efforts were focused on the
development of virtual guides with an emphasis on realism, emotional sensitivity, and
meaningful dialogue [91,92].
Existing work on the sustainability of CH collections and sites focused on connecting
CH collections in sustainable management [
93
], empowering CHIs with financial strate-
gies [
94
], assessing the socio-economic impact of digitization of CH goods and services [
95
],
providing business models for inclusive growth [
96
,
97
], creating cultural routes, promoting
local and sustainable materials, energy-efficient production, attachment of “green” cer-
tificates on products, and reducing training costs, energy, and material footprint using
immersive technologies and telepresence tutoring.
3. Method
Phenomenological recording (see Section 2.1) is sufficient for the reproduction of con-
tent but is not sufficient for understanding the experience of the performer or practitioner.
To record this experience, we recommend representing crafting actions rather than only
motions. That is to thicken the ethnographic description with entities and quantities found
in the mechanical and cognitive domains, as these have been specifically identified in the
following domains of the literature:
•
Physical and mechanical events involving motor-induced actions concerning the
crafting workspace and materials;
•
Cognitive events involving mental activities for the perception of the environment,
including predictions regarding possible actions, plans, and judgements.
Moreover, visual and semantic documentation is still distant. To better understand
and document crafting action, we recommend the semantic representation of the afore-
mentioned quantities and entities. We recommend using the MOP infrastructure [
55
] to
document craft instances in steps, associating phenomenological action recordings with
verbal descriptions.
3.1. Overview
In the context of this work, actions refer to the processes or acts of doing something
related to the creation of a craft product, according to the current situation, intention
towards creating a specific product, or aesthetic desire. Actions involve the execution
of physical, mental, or verbal activities to achieve a goal. Actions can be conscious or
unconscious, and they can be performed by individuals or groups. Movements of the
hands and body within the context of physical actions are referred to as gestures. In the
Heritage 2023,65311
context of physical actions, action parameters refer to variables that influence them. These
parameters provide details about how an action is performed, including properties that
affect its execution, such as speed, force, direction, and duration. Crafting actions upon
materials are mediated by tools and/or hands. Actions are events [98].
The goals of crafting actions refer to the intended outcomes that practitioners seek
to achieve through these actions. Mental imagery is central to goals and enables the
visualization and mental simulation of intended actions and outcomes. It involves mental
representations of actions without their physical execution. Goals are encoded in mental
imagery as the result of mental simulation, planning, or prediction.
Action plans refer to sets of organized steps designed to achieve a goal. They outline
the actions required to accomplish a goal. These plans provide a structured approach to
problem-solving, decision-making, and implementation of action. Moreover, action plans
regard hypotheses for the achievement of goals, such as the prescribed conditions on the
state and spatial arrangement of materials and tools. Action plans indicate affordances,
availed by working spaces, the human body, and tools, as well as agents of heat, moisture,
chemical reaction, or color pigmentation. Action plans prescribe the mechanism and the
parameters of execution. Special plans are made to handle errors.
We refer to the perception–action circle (see Section 2.3) to conceptualize crafting
actions. Our interpretation is illustrated in Figure 1and is as follows. During a physical
action, the practitioner attends to external (sensory) and internal (somatosensory) stimuli
that inform the course of the action. Due to action, more stimuli are generated. The practi-
tioner modulates action parameters accordingly. Mental imagery envisages the anticipated
sensory imagery, should the goal be achieved. The result is attended in perceptual imagery
created by the senses and judged against mental imagery associated with the action goal.
After an action, the practitioner compares mental and sensory imagery and updates or
reconfirms the action parameters. Upon completion of a process, the practitioner reflects
on its course and outcome and may update it.
Heritage 2023, 6, FOR PEER REVIEW 7
3.1. Overview
In the context of this work, actions refer to the processes or acts of doing something
related to the creation of a craft product, according to the current situation, intention to-
wards creating a specic product, or aesthetic desire. Actions involve the execution of
physical, mental, or verbal activities to achieve a goal. Actions can be conscious or uncon-
scious, and they can be performed by individuals or groups. Movements of the hands and
body within the context of physical actions are referred to as gestures. In the context of
physical actions, action parameters refer to variables that inuence them. These parame-
ters provide details about how an action is performed, including properties that aect its
execution, such as speed, force, direction, and duration. Crafting actions upon materials
are mediated by tools and/or hands. Actions are events [98].
The goals of crafting actions refer to the intended outcomes that practitioners seek to
achieve through these actions. Mental imagery is central to goals and enables the visuali-
zation and mental simulation of intended actions and outcomes. It involves mental repre-
sentations of actions without their physical execution. Goals are encoded in mental im-
agery as the result of mental simulation, planning, or prediction.
Action plans refer to sets of organized steps designed to achieve a goal. They outline
the actions required to accomplish a goal. These plans provide a structured approach to
problem-solving, decision-making, and implementation of action. Moreover, action plans
regard hypotheses for the achievement of goals, such as the prescribed conditions on the
state and spatial arrangement of materials and tools. Action plans indicate aordances,
availed by working spaces, the human body, and tools, as well as agents of heat, moisture,
chemical reaction, or color pigmentation. Action plans prescribe the mechanism and the
parameters of execution. Special plans are made to handle errors.
We refer to the perception–action circle (see Section 2.3) to conceptualize crafting ac-
tions. Our interpretation is illustrated in Figure 1 and is as follows. During a physical ac-
tion, the practitioner aends to external (sensory) and internal (somatosensory) stimuli
that inform the course of the action. Due to action, more stimuli are generated. The prac-
titioner modulates action parameters accordingly. Mental imagery envisages the antici-
pated sensory imagery, should the goal be achieved. The result is aended in perceptual
imagery created by the senses and judged against mental imagery associated with the
action goal. After an action, the practitioner compares mental and sensory imagery and
updates or reconrms the action parameters. Upon completion of a process, the practi-
tioner reects on its course and outcome and may update it.
Figure 1. An interpretation of the perception–action circle for the understanding of crafting actions.
Figure 1.
An interpretation of the perception–action circle for the understanding of crafting actions.
A crafting process is defined as the combination of actions in an “umbrella plan” [
2
]
called process schema or crafting activity. The proposed model brings forward the role
of prediction and mental imagery in the formation of action plans. An action model
suitable for representing crafts should be able to generate predictions or otherwise mental
imagery [2], which predicts and explains action execution and action results.
Heritage 2023,65312
3.2. Data Collection
The collection of knowledge on craft practice and the corresponding digitization of
tasks require the capture of observations that target the physical, bodily, and intellectual
entities involved. The basic means of this type of data and knowledge are verbal and
visual records of practitioners, in the form of testimonies and digitizations, respectively (see
Section 2.2
). This task exhibits interdisciplinary requirements. Anthropologists and cogni-
tive scientists must identify observations and interviews to describe the aforementioned
craft elements in an explanatory fashion; that is, to identify and describe sensory, tacit, and
intellectual entities. Information scientists will then model these entities as knowledge
classes and instances. In addition to the recordings described in Section 2.1, we propose
enhancing the recordings with data that foster the generative explanation as follows:
•Physical properties that represent the mechanics of crafting actions upon materials;
•Cognitive properties related to attention and control.
Understanding crafting actions as the negotiation of the maker with the material
calls for the enhancement of data collection with recordings that capture the quantities,
properties, and behavior of objects and materials involved in crafting actions. To achieve
this goal, the collection of the following data and descriptions is recommended.
3.2.1. Material Properties
Conventional digitization methods for tangible heritage include visual 2D, 2
1
2
D, 3D,
and 4D digitization of tools, products, and human motion (see Section 2). Digitizing
tangible heritage comes with challenges and limitations that need to be considered. These
include ensuring accurate measurements, managing data storage and processing demands,
and the requirement for specialized equipment and expertise. Exploring these aspects
provides a more balanced understanding of the digitization process. Pertinent signals
include surfaces, anaglyphs, solids, tool motion, material deformation, sounds, as well as
heat, humidity, and other environmental properties.
Material properties are crucial in the conservation and restoration of cultural her-
itage artefacts. Preservation efforts require a deep understanding of the original material
properties to ensure appropriate treatment and maintenance. For instance, understanding
how materials are susceptible to environmental factors such as humidity, temperature,
or light helps conservators establish proper storage conditions and develop conservation
strategies to prevent damage or decay. Material properties contribute to the authenticity
and accurate replication of cultural heritage artefacts. When recreating historical objects or
traditional crafts, knowledge of the original material properties is essential to achieve faith-
ful reproductions. Thus, the selection of material properties of relevance is craft-dependent.
Material properties can be extensive or intensive. Intensive material properties do not
depend on the amount of the material and may be mechanical (e.g., brittleness, ductility,
hardness, plasticity, and viscosity), manufactural (e.g., castability, machinability), but also
acoustical (e.g., absorption, speed of sound, and sound reflection), or other. Extensive mate-
rial properties may include mass, volume, heat capacity, temperature, velocity, tension, and
others. Material properties are quantifiable and, thus, can be estimated from measurements
or approximated from libraries. Capturing the properties of individual pieces of material
and tools enables us to study closer how the same action is instantiated and how the same
action is parameterized to cope with the individualities of each piece of material. Dynamic
material properties vary over time and refer to the object’s motion, material deformation,
and modal materials properties, such as stiffness, viscoelasticity, and others. They can be
initially approximated from open libraries (e.g., [
99
]) or measured. To capture the temporal
expression of these properties, a time-dependent representation is required.
3.2.2. Action Properties
Action properties refer to the parameters of the practitioner’s actions, such as grip
and body postures, crafting gestures, as well as the motor activity of the practitioner.
Typically, these parameters are dynamic because they refer to practitioner motion and
Heritage 2023,65313
action, though sometimes they may remain constant, such as a tool grip. Practitioner
motion is captured by vision-based marker systems, vision-based markerless systems,
and wearables. However, these technologies do not necessarily reveal the amounts of
force and effort of the practitioner; for this, we recommend the use of force or tension
measurements. This can be directly achieved by pertinent gauges or the use of wearable
haptic recorders. Indirectly, they can be estimated through the result of the action on the
material, given that pertinent physical properties are provided. Indirect descriptions can
be based on data that reveal human effort, such as facial expressions, posture, or even
sweat. Training datasets are recommended to associate the semantic representation of
actions with the recordings of their material expression (practitioner force and motion, tool
manipulation, artefact appearance and geometry, material transformation, and perceptual
annotations). The purpose is to bring the semantic and visual representations closer so that
similar examples can be associated but also to create semantically annotated datasets from
which the computer can learn action representation.
3.2.3. Cognitive and Embodied Properties
Capturing and conveying the practitioner’s viewpoint call for the identification of the
perceptual and action elements of crafting actions. Plans are also entities of interest and
include the execution of cognitive actions such as prediction and judgement. Cognitive
events are not directly observable; thus, their digitization is not simple. Attention to
environmental and somatosensory stimuli is an integral part of craft education and training.
Environmental stimuli can be recorded in conventional ways, as we can record pertinent
events from the environment using the aforementioned techniques. Environmental stimuli
can reveal details about crafting actions, such as sound in material processing or inspection.
For this reason, data collection should capture environmental stimuli that relate to the use
of sensory perception in crafting actions. The representation of somatosensory stimuli
can lead to the identification of environmental events that the practitioner pays attention
to. The most challenging entities to capture are sensations and perception because they
are “private” and cannot be recorded directly. However, memories of internal signals
(qualia) [
100
] can be verbally testified and recognized out of simulated imagery generated
by audio, visual, or haptic rendering. The notion is similar to facial composition software,
where by tuning parameters, the memory of a face can be synthesized. The particular
rendering is then a digitization of the sensory imagery the practitioner “feels” [101].
3.3. Understanding
A hybrid, semantic, and functional representation of the recorded crafting activities is
proposed. This representation combines the collected data with the semantic interpretation
of actions and with mechanical models of their function. The goal is to use semantic
annotations provided by practitioners to classify craft actions into types of mechanisms
and identify environment features and action parameters of relevance. In ethnography,
semantic interpretations will be requested from practitioners along with an explanation and
identification of the mechanical models to functionally model crafting actions. Making sense
of the recordings requires fitting the collected data and representations into interpretations
that explain the recorded actions and are collected by measurements. The interpretations
should primarily identify the type of mechanical affordance, the material properties of
relevance, and its execution parameters. The latter includes properties such as force, timing,
angle of attack, 3D shape, grip posture, and other pertinent properties.
3.3.1. Semantic
The semantic modeling of craft actions is based on a craft-specific ontology obtained
by extending the MINGEI ontology [
55
] with classes and properties needed to model the
sensory and mental imagery used in crafting actions. The ontology is implemented on
an online platform that extends the MINGEI Platform [
55
]. The ontology is an extension
of the ISO standard CIDOC CRM [
102
], a vocabulary extensively used for representing
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CH by the major European GLAMs (galleries, libraries, archives, and museums). In par-
ticular, we reuse some CRM classes and properties for modeling fundamental notions
and add our own as refinements of those in the CRM, for modeling concepts and rela-
tionships that are specific to the craft application domain. To increase interoperability,
we also use standard terminologies whenever possible. In particular, given its richness,
multi-linguicism, and widespread adoption from the CH sector, the Getty thesaurus is
adopted [
103
]. Furthermore, this thesaurus includes a comprehensive collection of action
labels. Nevertheless, the platform allows the use of any other online dictionary or thesaurus,
such as the one provided by UNESCO [
104
] or others provided by national authorities.
Thus, a knowledge entity can be associated with multiple meta-data from multiple sources
in the proposed implementation.
3.3.2. Functional
To reduce the complexity and enable the scaling of the proposed approach, we rec-
ommend creating an ontology able to represent the elementary actions that are common
in all crafting actions. Observed actions will be modeled as configurations of elementary
ones. The elementary actions are identified by the analysis of the mechanisms of interest
into simpler, archetypal mechanisms. In particular, actions are classified into add, subtract,
interlock, or transform operations (see Figure 2). Materials are correspondingly classified
by compatibility with practitioner actions as free-form (plastic) materials that take any
shape, fibers interlocked into fabrics, and solids that are reduced to a subset of their original
volume. A notable subclass of 3D solids is 2D surfaces. Some crafts combine actions and
materials of diverse types, as in the crafting of musical instruments.
Heritage 2023, 6, FOR PEER REVIEW 10
properties of relevance, and its execution parameters. The laer includes properties such
as force, timing, angle of aack, 3D shape, grip posture, and other pertinent properties.
3.3.1. Semantic
The semantic modeling of craft actions is based on a craft-specic ontology obtained
by extending the MINGEI ontology [55] with classes and properties needed to model the
sensory and mental imagery used in crafting actions. The ontology is implemented on an
online platform that extends the MINGEI Platform [55]. The ontology is an extension of
the ISO standard CIDOC CRM [102], a vocabulary extensively used for representing CH
by the major European GLAMs (galleries, libraries, archives, and museums). In particular,
we reuse some CRM classes and properties for modeling fundamental notions and add
our own as renements of those in the CRM, for modeling concepts and relationships that
are specic to the craft application domain. To increase interoperability, we also use stand-
ard terminologies whenever possible. In particular, given its richness, multi-linguicism,
and widespread adoption from the CH sector, the Gey thesaurus is adopted [103]. Fur-
thermore, this thesaurus includes a comprehensive collection of action labels. Neverthe-
less, the platform allows the use of any other online dictionary or thesaurus, such as the
one provided by UNESCO [104] or others provided by national authorities. Thus, a
knowledge entity can be associated with multiple meta-data from multiple sources in the
proposed implementation.
3.3.2. Functional
To reduce the complexity and enable the scaling of the proposed approach, we rec-
ommend creating an ontology able to represent the elementary actions that are common
in all crafting actions. Observed actions will be modeled as congurations of elementary
ones. The elementary actions are identied by the analysis of the mechanisms of interest
into simpler, archetypal mechanisms. In particular, actions are classied into add, sub-
tract, interlock, or transform operations (see Figure 2). Materials are correspondingly clas-
sied by compatibility with practitioner actions as free-form (plastic) materials that take
any shape, bers interlocked into fabrics, and solids that are reduced to a subset of their
original volume. A notable subclass of 3D solids is 2D surfaces. Some crafts combine ac-
tions and materials of diverse types, as in the crafting of musical instruments.
Figure 2. Classication of actions and materials.
We follow the craft ontology [55] to represent knowledge entities for actions and ex-
tend it so that actions include the tools, materials, and products of each action. Tools are
modeled as aordances to cope with the fact that diverse tools can provide the same func-
tionality and that a single tool may also avail multiple functionalities. For example, a nail
can be driven into wood with a hammer or an adz, while pliers can be used to drive a
screw or cut a wire. Aordances are modeled as Archimedean simple machines, which
comprise a small and simple vocabulary that can model all mechanical tools.
Figure 2. Classification of actions and materials.
We follow the craft ontology [
55
] to represent knowledge entities for actions and
extend it so that actions include the tools, materials, and products of each action. Tools
are modeled as affordances to cope with the fact that diverse tools can provide the same
functionality and that a single tool may also avail multiple functionalities. For example, a
nail can be driven into wood with a hammer or an adz, while pliers can be used to drive a
screw or cut a wire. Affordances are modeled as Archimedean simple machines, which
comprise a small and simple vocabulary that can model all mechanical tools.
As actions are events, the representation of the knowledge obtained from recordings
of craft practice is used in the instantiation of these entities. The interpretation and analysis
of these recordings provide direct input to the instantiated entities, as the analysis of
recordings can reveal the action parameters used. For example, computer vision algorithms
disentangle such properties by learning appearance across the modulation of contextual
properties. Generation disentangles such properties and encodes material appearance in
disentangled space to predict appearance. Existing approaches learn embeddings for 3D
objects, mass-preserving transforms from structural constraints (connectivity and stability),
texture transfer, and differentiable rendering [105–108].
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3.3.3. Cognitive
The term sensory imagery refers to all senses and not solely vision [
2
]. Practitioners
use their senses to acquire information concerning material properties and events. Mental
imagery is the mechanism by which we mentally simulate perceptual experiences and
refers to the sensory images of the “mind’s eye” (or finger, ear, etc.) [
2
]. Sensory imagery,
or qualia, are sensed, e.g., “hand-feel”, softness, and smoothness, can be recognized, and
recalled as mental imagery, such as when thinking about the color of amber, the feel of
satin, or the timbre of the oboe. Action plans are formulated as generative hypotheses that
can be used to simulate “mental images” of the anticipated results. Their representation
of both has a pedagogical value in the training of crafting actions and particularly in the
“education of attention” [109].
3.3.4. Validation
Part of the proposed methodology is close collaboration with practitioners and the
co-creation of obtained knowledge with them. This is a critical point in the validation of
the obtained knowledge. For this reason and as dictated by the Mingei protocol, each step
of this approach is co-designed with practitioners and validated afterwards with them. In
this work, this requirement is taken a step further by involving craft tutors in the co-design
of educational and training curricula. To ensure the validity of knowledge collection by
craftspersons, the proposed roadmap recommends the engagement of craft tutors that
shall enable the explanation of recorded actions. This task is planned to take place in three
temporal stages. The first regards an interview before the recording where the craft master
shall explain the actions to be performed. The second regards the ability of the craftsperson
to explain the actions during this recording. This particular step is to be encountered with
great caution as explaining while performing may alter the performance of the crafting
action. Third, and most importantly, the practitioner shall watch the recording with an
ethnographer to clarify the actions performed in the recording and ensure the validity of
the ethnographic representation.
3.4. Simulation
A way to validate and better understand crafting is simulation. Simulation has a
significant role in both education and training because validating the understanding of a
cognitive process is the ability to recreate it [
110
]. The inclusion of simulation is two-fold.
The first is to recreate the prediction process or the practitioner’s planning. The second is to
use the simulation as an educational, training, and design tool. To simplify implementation,
we model actions to be comprised of elementarily, each one defined by an “archetypal”
simulator that implements the action principle. The implementation of each craft-specific
simulator will be based on the instantiation of archetypal simulators according to the
parameters implementing each case. The simulation result, a realistic virtual artefact, is
regarded as simulated mental imagery.
It is important to ensure that the simulated results align with real-world outcomes.
Simulating this real-time adaptability and responsiveness can be challenging since the inter-
actions between different materials and their dynamic responses can be complex, especially
when considering non-linear material behaviors or variations in material properties.
3.4.1. Archetypal Simulators
Archetypal simulators are used to digitally re-enact the basic classes of actions, ab-
stracting mechanics via computational modeling. They are based on existing mathematical
abstractions for the operation principles regarding (1) add/subtract by constructive solid
geometry, (2) interlock by knot/textile algebras, and (3) free-form by mass-preserving, free-
form 3D and 2D transforms [
111
–
114
]. Achetypal simulators model mechanical affordances
as Archimedean simple machines [
115
] (e.g., a knife is a wedge) or physical and chemical
(conditioning) agents, i.e., heat, moisture, chemicals, etc.
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3.4.2. Craft-Specific Simulators
Archetypal simulators are instantiated into craft-specific simulators by estimating the
relevant range action parameters and predicting the results. Craft-specific simulators visu-
alize techniques, enable modulation of action parameters, space, and time, offer inventories
of tools, and predict the results of the action on the material. An example of a subtractive
operation is illustrated in Figure 3.
Heritage 2023, 6, FOR PEER REVIEW 12
interactions between dierent materials and their dynamic responses can be complex, es-
pecially when considering non-linear material behaviors or variations in material proper-
ties.
3.4.1. Archetypal Simulators
Archetypal simulators are used to digitally re-enact the basic classes of actions, ab-
stracting mechanics via computational modeling. They are based on existing mathemati-
cal abstractions for the operation principles regarding (1) add/subtract by constructive
solid geometry, (2) interlock by knot/textile algebras, and (3) free-form by mass-preserv-
ing, free-form 3D and 2D transforms [111–114]. Achetypal simulators model mechanical
aordances as Archimedean simple machines [115] (e.g., a knife is a wedge) or physical
and chemical (conditioning) agents, i.e., heat, moisture, chemicals, etc.
3.4.2. Craft-Specic Simulators
Archetypal simulators are instantiated into craft-specic simulators by estimating the
relevant range action parameters and predicting the results. Craft-specic simulators vis-
ualize techniques, enable modulation of action parameters, space, and time, oer inven-
tories of tools, and predict the results of the action on the material. An example of a sub-
tractive operation is illustrated in Figure 3.
Figure 3. Similar material subtraction actions across dierent crafts.
Two approaches are evaluated for the implementation of rening archetypal simula-
tors into craft-specic simulators. The rst is to model physical and mechanical laws using
nite elements. The action parameters and material properties for the instantiation of an
archetypal simulator will then be provided from the data collection task (see Section 3.1).
The second is to use machine learning to simulate actions from annotated datasets. Gen-
erative learning methods, such as variational autoencoders and generative adversarial
networks [116–119], create novel text, images, and videos from training data. In crafts,
estimators for articulated hand motion for hands that manipulate objects use annotated
datasets to create simulators that can be rened with additional data for similar actions
on diverse materials [120–122] to realistically decompose and simulate pose, shape, tex-
ture, and lighting.
Simulation developers can practice their techniques, experiment with dierent ma-
terials and tools, and rene their skills without the risk of damaging physical objects or
wasting resources. They can explore dierent design possibilities, evaluate material
choices, and visualize the outcome of their actions. By digitally recreating the crafting pro-
cess and understanding the material properties involved, conservationists and restorers
can develop appropriate conservation strategies. Simulators can be utilized in the design
process to explore dierent variations and possibilities, aiding in the creation of innova-
tive craft products or techniques.
3.4.3. Implementation
The software that will host the design of simulators will be called Craft Studio and
will be used to instantiate craft-specic simulators from archetypal simulators. Craeft Stu-
dio will be an authoring platform where action simulators will be combined into process
Figure 3. Similar material subtraction actions across different crafts.
Two approaches are evaluated for the implementation of refining archetypal simula-
tors into craft-specific simulators. The first is to model physical and mechanical laws using
finite elements. The action parameters and material properties for the instantiation of an
archetypal simulator will then be provided from the data collection task (see
Section 3.1
).
The second is to use machine learning to simulate actions from annotated datasets. Gen-
erative learning methods, such as variational autoencoders and generative adversarial
networks [
116
–
119
], create novel text, images, and videos from training data. In crafts,
estimators for articulated hand motion for hands that manipulate objects use annotated
datasets to create simulators that can be refined with additional data for similar actions on
diverse materials [
120
–
122
] to realistically decompose and simulate pose, shape, texture,
and lighting.
Simulation developers can practice their techniques, experiment with different ma-
terials and tools, and refine their skills without the risk of damaging physical objects or
wasting resources. They can explore different design possibilities, evaluate material choices,
and visualize the outcome of their actions. By digitally recreating the crafting process and
understanding the material properties involved, conservationists and restorers can develop
appropriate conservation strategies. Simulators can be utilized in the design process to
explore different variations and possibilities, aiding in the creation of innovative craft
products or techniques.
3.4.3. Implementation
The software that will host the design of simulators will be called Craft Studio and
will be used to instantiate craft-specific simulators from archetypal simulators. Craeft
Studio will be an authoring platform where action simulators will be combined into
process simulators, organizing actions and bringing together partial results, considering
fabrication constraints (e.g., order, concurrency, and decision points) and spatial constraints
of the workshop. In this context, state-of-the-art methods for the simulation of dynamic
environments incorporate differentiable physics for actions on non-rigid objects and long-
horizon tasks [
123
,
124
]. Craeft Studio will be used to provide simulation analytics that log
the material quantity used or wasted and the energy and time spent. A challenge is the
computation of FEMs that could hinder the real-time execution of interactive simulations.
However, this can be countered by precomputing results for a range of parameters and
invoking the appropriate ones based on user input.
By simulating the behavior of materials and structures, developers can identify areas
of potential weakness, inefficiency, or excessive material usage. Simulation developers and
analysts can make informed decisions regarding the most suitable materials that meet their
Heritage 2023,65317
requirements while minimizing waste and maximizing efficiency. Simulation developers
can identify areas where material waste occurs or where process inefficiencies exist.
3.5. Education
Craft education regards theoretical craft knowledge, which includes tool inventories,
material conditions and properties, material preparation recipes, and, in general, the
knowledge that can be acquired by verbal communication. Simulation environments
can be used to create educational courses with e-learning capabilities. These courses
introduce vocabulary, material treatment, workspace configuration, measurement tools,
and, ultimately, crafting processes. The association of semantic annotations with digital
assets can be used to generate verbal descriptions and instructions that are illustrated
with visual examples. The purpose of 3D and immersive illustration is to place focus
on “skilled monitoring” or otherwise “the ability to evaluate changes brought by practitioner
actions and decide if they conform to images of how the work should look at any given stage of
production” [
1
]. The motivation is to develop critical thinking and judgment on treating craft
as a problem-solving process, covered by principles of continuous design [
125
]. Educational
material acknowledges mistakes and uncertainty as part of skill development. Specifically,
commonly occurring errors and their handling are often included in this material.
“Declining numbers of practitioners and apprentices” [
1
] are due to a lack of aware-
ness, difficulties in knowledge transmission, and economic demotivation due to a “lack of
certificates and accreditation of qualifications, particularly for high-quality training and
standards of practise” [
5
]. Certification and skill acknowledgement educational programs
will be aided by the adoption of digital aids in knowledge transmission. To acknowledge
educational and training experience, we recommend using the Proof of Attendance Pro-
tocol [
126
], a standard by which projects can award personal (“soulbound”) badges that
represent participation in events with a role (e.g., students and instructors).
3.6. Training
Mastery, tacit or embodied knowledge [
127
], and perception are recognized as the
skills to “move work as quickly as possible with a minimum of physical errors” [
2
]. The way
people master skills is through repeated practice. Central to the development of dexterity
are the experience of performing motor actions and learning interpretations of stimuli. The
main interface for training exercises will be an immersive software environment called
“Apprentice Studio”. Apprentice Studio will provide experiences that comprise craft-
specific interactive educational materials. Visual immersive interfaces will include AR
and VR. Various haptic feedback actuators will simulate the sensations created from the
interaction of tools with materials across combinations of physical and virtual instantiations.
The system will economize the development of monitoring and action skills by enabling
(a) practice away from the workshop, (b) repeated practice on virtual materials, and (c)
immersive telepresence of an instructor. Immersion will be used for safety training before
visiting the workshop.
3.6.1. Action
Apprentice Studio will support exercises of crafting actions along with the provision
of feedback. Training regards the development of dexterous manipulation for tools of
risk. In handwork, tactile interaction is essential to achieve realistic and beneficial training
experiences for training. To increase the immersion, realism, and efficacy of actions, the
environment will support haptic interfaces in addition to conventional 3D multimedia
and XR interfaces. This environment will support the training of action, coordination, and
synchronization through opportunities for repeated practice, particularly for free-hand
operations. A basic component shall be training on efficient and ergonomic handling of
tools prescribed in these exercises. For this purpose, prior knowledge provided by literature
will be incorporated for hand-driven tools [
128
]. To provide haptic interfaces for design
tools to capture the delicacy of human touch, increase design possibilities, and prepare for
Heritage 2023,65318
actions to take place in the workshop, Craft Studio will be used as an audio, visual, and
haptic rendering engine to develop a 3D virtual workspace for the design, manufacturing,
and presentation of artefacts. Furthermore, it will integrate craft-specific 3D editing tools
that will mimic actions on virtual materials.
3.6.2. Perception
Training attention regards learning to detect and attend to perceptual stimuli and
interpret their meaning in the monitoring and control of the action at hand. These stimuli
can be (a) external (e.g., audio/video), signifying material qualities, properties, and events,
or (b) internal (e.g., proprioceptive and tactile), on awareness of hand and body posture,
modulation of applied force/tension, incidence angle, etc. Haptic rendering will simulate
inspective tactile sensing and feedback using simple hardware [
129
]. As bimanual coordina-
tion is crucial in the majority of tasks, we will draw ideas from bimanual haptic controllers.
We propose the combination of haptics with immersive environments to introduce the
affordances provided by hands and tools and their degrees of freedom and guide students
through action variability on different pieces of material.
3.6.3. Time
Time awareness is central in many crafts due to the change in material properties
over time (e.g., blacksmiths and glassblowers “think hot” as material viscosity decreases
as it cools). Simulators will operate in real-time but can be retarded or accelerated for
training purposes. Stress destabilizes the learning process [
130
]; thus, training simulators
will “slow down the time” to ease the practical challenge, similar to music where practice
initiates with a slow tempo. Finally, social interaction in the workshop is important for
knowledge transmission. Craft materiality imposes a need for co-presence to teach the
interpretation of stimuli. Communication is important because part of this knowledge is
tacit and understood by the common stimuli shared by the instructor and apprentice.
3.7. Development
To support the design process of craft products, an authoring environment that enables
the design of crafting workflows, the testing of new ideas, and the fabrication of material
aids is proposed. The software that will implement this is called Design Studio and will
employ computer-aided digital design and fabrication. The goal is to conserve practitioner
time and to reduce energy and material consumption through the development of work-
flows and designs. In this context, we recall that the design and fabrication processes are
interwoven; thus, Design Studio will support practitioners in exploring workflows that
lead to the fabrications of an incepted or given design.
3.7.1. Design and Workflow
Design Studio will implement a “sketchbook” metaphor to support the creative pro-
cess. Design Studio will employ computer-aided design for the development and testing
of new ideas, techniques, and styles. This functionality will reduce experimentation costs,
as it will include visualization of the results predicted by a given action or process, using
the simulators of Craft Studio. The design process will be further assisted through the
provision of craft-specific conventional design templates as well as style transfer [
131
] that
may stimulate inspiration. Workflow implementation in Design Studio will emphasize
the fact that craft products are often comprised of parts and pieces. This is important for
the functional preview of designs as well as for the study and optimization of the crafting
workflow. The goal is to improve the functional preview of craft products.
3.7.2. Digital Fabrication
Design Studio will incorporate design tools and drivers for digital fabrication. The
purpose is three-fold. First, to provide the capacity to create fabrication aids. Second, to
automate the fabrication of craft artefact parts that are simple to “print”. Third, to explore
Heritage 2023,65319
possibilities of hybrid artefacts, e.g., [
132
]. To achieve this, Design Studio will interface
with additive and subtractive manufacturing protocols and formats so that 3D models can
be directly printed.
To achieve a realistic preview, the interaction of artefacts with lighting will be simulated
using conventional computer graphics methods. Moreover, a True-AR infrastructure is
recommended so that the predicted artefact appearance can account for the environment of
the client.
3.8. Preservation
Craft preservation means the continuation of practice and, thus, the existence of
motives to do so. The main motivator for producers of craft products is the increase in their
income. We propose several ways to increase practitioner income through the divarication
of their income streams.
3.8.1. Digital Dimensions
Linking craft products with online content or “digital dimensions” increases their
value. These shall include the following. Creator signage and certificates of compliance
with material composition naming and production principles, indicating aspects of design
uniqueness, authenticity, and cultural heritage that they express, as craft products embody
the cultural heritage, traditions, and stories of a particular region or community. Certificates
of compliance with protection indicators, manufacturing legislation and regulations, as
well as “green” certificates of production, material provenance, use of sustainable and
ethical practices, incorporating eco-friendly materials, and use of fair-trade practices [
133
].
Moreover, contextualization content, in the form of narratives, will be provided to support
storytelling regarding the product, its maker, the materials used, or the cultural significance.
We recommend two ways to achieve this implementation. The first is through conventional
means, such as barcodes or QR codes in the form of stickers glued on the product. The
second is through visual recognition, either of the artefact’s appearance or any type of
signature or identifier inscribed by the creator upon the product.
3.8.2. New Products
Digital games and physical toys are recommended for the support of craft introduction,
recreation, and the development of crafting capacities. Educational toys can be accompa-
nied by instructions in paper or electronic formats. Combined with online courses, they
can cultivate creativity and transmit the values of care, judgment, and dexterity, as well
as local traditions for students and cultural visitors. Toys will be designed and developed
in Design Studio, either simplified for younger audiences or designed to engage creative
activities for elders. The digital blueprints of these toys can be marketed in printable
formats or as electronic products. Digital games can be created by reusing craft-specific
simulators to create simplified or serious games in the realm of electronic creation and
design. Digital creations will be encoded in formats importable in common virtual worlds
and metaverses used by both youngsters and adults. A benefit of such products is the
simplified and ‘safetified’ introductory content enabling the training of practitioners before
entering the workshop.
3.8.3. Tutoring
Craft tutoring supports practitioner income. We recommend the appropriation of
conventional teleconference but also immersive telepresence to support tutoring services.
In addition, the recording of workshops and masterclasses can be streamlined by author-
ing tools for educational material and skill development media compatible with hybrid
participation [
134
]. This will be a valuable addition to “how-to” instructions and designs
from dedicated SoMe, video repositories, and illustrated instruction repositories, e.g., [
135
],
for creative recreation and to improve skills.
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3.8.4. Recreation
Reward and motivation play crucial roles in crafting. Reward refers to the positive
outcomes or incentives associated with completing a particular task or achieving a specific
goal. Motivation refers to the driving force behind crafting. The following aspects are
recommended to be addressed in applications targeting craft preservation.
Crafting activities can be driven by intrinsic and extrinsic motivation. Intrinsic mo-
tivation comes from internal factors, such as personal enjoyment, creativity, and a sense
of accomplishment. Extrinsic motivation stems from external factors such as recognition,
praise, or tangible rewards. As crafting activities are guided by goals, setting clear and
achievable goals provides a sense of direction and purpose, enhancing motivation. Ad-
ditionally, analyzing larger crafting projects into smaller, manageable tasks with specific
milestones creates a sense of progress and accomplishment along the way, acting as intrinsic
rewards that fuel motivation.
Regular feedback is essential for maintaining motivation during the crafting process.
Feedback can come from personal evaluation, constructive criticism from others, or even
the tangible results of crafting efforts. Positive feedback or visible progress acts as a reward,
reinforcing motivation and encouraging continued engagement in the craft.
Crafting involves learning new skills and techniques. The desire to improve one’s skills
and achieve mastery in a craft is a motivator. As individuals see their skills progressing, they
may experience a sense of accomplishment and intrinsic reward, fuelling their motivation
to continue crafting and pushing themselves to new levels. Moreover, crafting can provide
social rewards and a sense of belonging. Sharing crafted items with others, receiving
compliments or recognition from peers [
6
], or participating in crafting communities and
events enhances motivation and fosters satisfaction.
Reward and motivation intertwine in the elaboration of crafting actions. Rewards,
whether intrinsic or extrinsic, help reinforce motivation, while motivation drives indi-
viduals to engage in crafting activities, set goals, seek feedback, develop skills, and find
satisfaction in the craft.
4. Validation and Evaluation
Ways of validating and evaluating the efficacy of the proposed roadmap are proposed.
A set of representative craft instances (RCIs) spanning the range of craft techniques will be
used for this task. It is proposed that a collection of such RCIs should include glassmaking
and pottery, as representatives of free-form actions, stone and metal sculpting, as repre-
sentatives of subtractive actions, carpentry and metalsmithing, representatives of additive
operations, as well as textiles and tapestry, as representatives of interlocking actions. Com-
parative studies regard actions that are employed in similar materials, such as pottery using
clay and porcelain, material subtraction in the context of marble sculpting, silversmithing,
and woodcarving, or interlocking fibers to create textiles, wicker, or tapestry.
4.1. Validation
To validate the generality and expressiveness of the approach, three pilots will cover a
range of RCIs and compare them across similar techniques and materials employed in their
context. The recommended pilots are focused on the following goals.
4.1.1. Preservation
While conservation regards digital documentation in international and open standards
for digital libraries, preservation regards the continuation of the practice. The objective
of this pilot is to catalyze the continuation of practice through craft education, training,
and awareness. Central in craft preservation is the provision of education and training
opportunities for new practitioners. This includes formal training programs, apprentice-
ships, workshops, and mentorship programs where experienced practitioners pass on their
skills and knowledge to the next generation. The pilot should provide digital aids that
are appropriate for the training program of RCIs. The enhanced program will be evalu-
Heritage 2023,65321
ated in comparison with the training programs of RCIs and improved based on feedback.
Validation will assess the efficacy of the developed training materials by measuring the
time saved in training and the degree to which these materials assist craft education and
training. Moreover, it will measure the interest in remote tutoring and technical assistance.
4.1.2. Valorization
Product valorization regards the increase in product value for the customer and the
reduction in cost for the practitioner. The increase in product value will measure the
practitioner income created by craft products enhanced with digital dimensions and new
products, as well as income created by computer-aided tutoring. Reduction in production
cost will measure material energy savings due to the development of efficient workflows,
reduction in tutoring cost, gains from refurbishment and remanufacture, and new designs
that reuse parts for a circular economy.
4.1.3. Craft Development and Revival
The development and revival of crafting and design skills regard learning from tradi-
tional techniques, reusing design inventories, using traditional techniques in contemporary
products, and the reduction in experimentation costs. The objective is to revive traditional
techniques and develop novel designs and fabrication possibilities. As such, craft-specific
digital design and fabrication aids that help the acquisition of insight from the exploration
of new designs and aid contemporary product making, as well as new materials and
fabrication possibilities, are central. The pilot will measure preview realism, fabricated aids,
traditional techniques utilized, and savings due to the reduction in experimentation time
and cost.
4.2. Evaluation
Since the contribution of the proposed work regards the generality of the approach, the
primary evaluation will address the degree to which the full range of crafts and materials is
successfully applied. The assessment will evaluate the number of curricula and the degree
to which digitally enhanced craft education and training are employed for the proposed
approach to all RCIs.
In terms of preservation, it is proposed to evaluate how income streams are increased
and diversified due to computer-aided tutoring, design, and fabrication, as well as the pen-
etration of products in diverse markets. It is recommended to measure the crafting actions
represented, the craft-specific simulators developed, the fabrication aids implemented, and
the artefacts enhanced with digital dimensions.
To assess how the proposed approach motivates craft continuation and preservation, it
is proposed to evaluate the response to requests for tutoring, as well as the market demands
for products that blend tradition with contemporary needs from utilitarian items. Thus,
the assessment measures the number of digitally enhanced education and training aids
rendering learning of crafts more accessible, effective, and affordable.
The assessment of craft products valorization is proposed to be assessed by the dig-
ital dimensions of craft products through online content and certificates, the games and
toys developed, as well as the products which serve personal expression, wellness, and
recreation. In terms of cost reduction, it is proposed to measure the number of workflows
that save materials and conserve energy, as well as the reduction in training and testing
of techniques in simulation before the workshop. Moreover, it is proposed to measure the
economic impact by assessing any increase in market demand, improved income opportu-
nities, and the development of sustainable craft-based enterprises. Economic indicators
regard revenue generation, employment rates, and market growth.
The sustainability of the proposed approach regards relationships and networks
between research and heritage sites, cultural and creative sectors, universities, research
institutions, regional/national authorities, and enterprises relevant to innovation and
sustainable growth. This impact can be measured by the number of practitioners, creative
Heritage 2023,65322
industries, enterprises, and academia interested in the proposed approach. Moreover,
the cultural significance can be measured by community engagement, gauged by factors
such as increased awareness, participation in preservation activities, and inclusion of craft
techniques in cultural events or exhibitions. In this context, it is proposed to measure the
number of collaborations and partnerships due to the proposed approach, collect feedback,
and compare with similar initiatives in other regions or countries. At the same time, it is
important to gather feedback from users, such as trainees and practitioners. Feedback can
help identify areas for improvement, ensure that the tools and resources meet the users’
needs and expectations, and evaluate the knowledge exchange and dissemination efforts
associated with the roadmap.
The methodology and tools proposed in this work will be integrated into the curricula
of craft training institutions. Two rounds of user feedback are proposed in this work. The
first regards the validation of the acquired data. The second regards the evaluation of the
educational value of the interventions.
5. Conclusions
The proposed roadmap aims to outline a series of steps, strategies, and interventions
necessary to safeguard and revitalize traditional crafts, including documentation, skill
development, community engagement, policy advocacy, and integration of crafts into
sustainable market channels. Policy recommendations for supporting craft preservation
efforts providing financial incentives, fostering market access, and aiding cultural heritage
policies and education curricula are provided. Compared to traditional approaches, the
benefit of this work stems from the use of digital technologies in ethnographic methods to
facilitate the accurate capture of crafting artefacts and manufacturing methods. Using the
proposed approach, this capture assumes not only a phenomenological observation but
strives to acquire a first-person perspective, that of the practitioner. Moreover, the obtained
semantic representation conforms with the standards of the CH community, namely the
CIDOC-CRM and EDM data models, making it extensible for future researchers to amend.
In this context, this work identifies challenges faced in the preservation of crafts and
proposes preservation approaches that are generic to the type of craft and material through
the provision of an abstractive and generative approach to the modeling and simulation
of crafting actions, as well as ways to motivate the craft practice continuation through the
diversification of practitioner income streams, digitally fabricated manufacturing aids, and
resource economization.
Moreover, the importance of long-term sustainability to craft preservation is stressed.
This involves considering the environmental, social, and economic dimensions of craft
practices. This includes encouraging the use of sustainable materials, fostering cultural
entrepreneurship, and creating markets for new craft products and services.
The need for an interdisciplinary approach to craft preservation that leverages in-
terdisciplinary expertise, resources, and perspectives is underscored. This is due to the
importance of integrating traditional craft knowledge with contemporary approaches, e.g.,
modern materials, technologies, and design principles to ensure the relevance and viability
of crafts in contemporary contexts.
It ought to be pointed out that employing expensive equipment is not the case in
this work. Most of the tasks described in this work require merely a digital camera and
photogrammetric software. Indeed, commercial photogrammetric software is more user-
friendly; however, open photogrammetric software is equivalently as good, albeit more
tedious to operate. The most expensive component is the MoCap equipment which can
be indeed judged as expensive, albeit market prices for such equipment are within the
range of a typical budget of an ethnographic institution. Still, these solutions can be
substituted by computer vision methods. The difference is in the accuracy of motion
capture; however, this is not a critical factor for the documentation and reenactment of
traditional crafts. Furthermore, the operation of this equipment is not at all dependent
on expert users. First, the Mingei handbook cited in this work addresses such issues by
Heritage 2023,65323
providing detailed instructions for non-expert users on how to conduct the required data
acquisition. Second, although the operation of some equipment does require some training,
this is not restricted to experts, as these products are off-the-shelf and accompanied by
detailed manuals and video tutorials. Third, a series of hands-on tutorials will be authored
to illustrate best practices in the use of technical equipment and digitization methods. These
will be accompanied by tutoring sessions that will promote the developed technologies in
the context of their marketing to the community.
This work emphasizes the significance of preserving traditional crafts by recognizing
their cultural heritage and treating them as economic assets and knowledge. Thus, the
preservation of craft diversity and cultural identity are key for sustainable local economies
and, thereby, craft preservation.
Author Contributions:
Conceptualization, X.Z. and N.P. (Nikolaos Partarakis); methodology, X.Z.
and N.P. (Nikolaos Partarakis); software, X.Z. and N.P. (Nikolaos Partarakis); validation, X.Z., N.P.
(Nikolaos Partarakis), I.D., P.D., E.Z., A.A., C.M., V.B., N.P. (NicolòPratelli), C.H., M.M., P.F.S., M.K.S.,
L.W., S.M., G.S., A.D., C.R., D.K., D.A., G.C., M.-A.B., P.S., P.H. and J.K.; formal analysis, N.P., X.Z.,
E.T, E.Z., and N.P. (Nikolaos Partarakis); investigation, X.Z., N.P. (Nikolaos Partarakis), I.D., P.D., E.Z.,
A.A., C.M., V.B., N.P. (NicolòPratelli), C.H., M.M., M.K.S., L.W., P.F.S., S.M., G.S., A.D., C.R., D.K.,
D.A., G.C., M.-A.B., J.K., M.T., Y.M., A.Z., P.S., P.H. and E.T.; resources, X.Z., N.P. (Nikolaos Partarakis),
I.D., P.D., E.Z., A.A., C.M., V.B., N.P. (NicolòPratelli), C.H., M.M., P.F.S., M.K.S., L.W., P.F.S., S.M.,
G.S., A.D., C.R., D.K., D.A., G.C., M.-A.B. and J.K.; data curation, A.D., C.R., D.K., M.-A.B., J.K., M.T.,
Y.M., P.S., P.H, A.Z. and E.T.; writing—original draft preparation, X.Z. and N.P. (Nikolaos Partarakis);
writing—review and editing X.Z., N.P. (Nikolaos Partarakis), I.D., P.D., E.Z., A.A., C.M., V.B., N.P.
(NicolòPratelli), C.H., M.M., P.F.S., M.K.S., L.W., P.F.S., S.M., G.S., A.D., C.R., D.K., D.A., G.C., M.-A.B.,
J.K., M.T., Y.M., A.Z. and E.T.; visualization, X.Z., N.P. and E.Z.; supervision, X.Z., N.P. (Nikolaos
Partarakis), C.M., C.H., M.K.S., G.S., A.D., C.R., D.A., G.C. and M.-A.B.; project administration, X.Z.
and N.P. (Nikolaos Partarakis); funding acquisition, X.Z., N.P. (Nikolaos Partarakis), I.D., P.D., E.Z.,
A.A., C.M., V.B., N.P. (NicolòPratelli), C.H., M.M., P.F.S., M.K.S., L.W., P.F.S., S.M., G.S., A.D., C.R.,
D.K., D.A., G.C., M.-A.B., J.K., M.T., Y.M., A.Z. and E.T. All authors have read and agreed to the
published version of the manuscript.
Funding:
This work was implemented under the project Craeft which received funding from the
European Union’s Horizon Europe research and innovation program under grant agreement No
101094349.
Data Availability Statement: Access to data is available upon request.
Acknowledgments:
The authors thank the three anonymous reviewers for their helpful comments
and their constructive criticism.
Conflicts of Interest: The authors declare no conflict of interest.
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