Applying Cognitive Load Theory to eLearning of Crafts

Abstract

Craft education and training are important for preserving cultural heritage and fostering artisanal skills. However, the pedagogical challenges in this domain are numerous. This research paper presents a comprehensive framework for applying Cognitive Load Theory to enhance craft education and training via eLearning platforms. In this study, practical guidelines based on CLT principles are provided to optimize the instructional design and content delivery. These guidelines scaffold craft learning experiences within eLearning platforms and encompass strategies to manage cognitive load, promote active learning, and facilitate gradual transition. Subsequently, the paper details the implementation of these guidelines within a popular eLearning platform, Moodle, emphasizing its adaptability and utility for craft education. It discusses the customization of Moodle courses to align with the cognitive load management principles, providing a practical blueprint for educators and instructional designers. The research culminates in a case study, wherein the guidelines are applied to a craft eLearning course using Moodle.

Full text

Citation: Partarakis, N.; Zabulis, X.
Applying Cognitive Load Theory to
eLearning of Crafts. Multimodal
Technol. Interact. 2024,8, 2. https://
doi.org/10.3390/mti8010002
Academic Editor: Kamran Sedig
Received: 22 November 2023
Revised: 19 December 2023
Accepted: 26 December 2023
Published: 29 December 2023
Copyright: © 2023 by the authors.
Licensee MDPI, Basel, Switzerland.
This article is an open access article
distributed under the terms and
conditions of the Creative Commons
Attribution (CC BY) license (https://
creativecommons.org/licenses/by/
4.0/).
Multimodal Technologies
and Interaction
Article
Applying Cognitive Load Theory to eLearning of Crafts
Nikolaos Partarakis * and Xenophon Zabulis
Foundation for Research and Technology Hellas, Institute of Computer Science, N. Plastira 100,
Vassilika Vouton, GR-70013 Heraklion, Crete, Greece; zabulis@ics.forth.gr
*Correspondence: partarak@ics.forth.gr; Tel.: +30-2810391754
Abstract:
Craft education and training are important for preserving cultural heritage and fostering ar-
tisanal skills. However, the pedagogical challenges in this domain are numerous. This research paper
presents a comprehensive framework for applying Cognitive Load Theory to enhance craft education
and training via eLearning platforms. In this study, practical guidelines based on CLT principles
are provided to optimize the instructional design and content delivery. These guidelines scaffold
craft learning experiences within eLearning platforms and encompass strategies to manage cognitive
load, promote active learning, and facilitate gradual transition. Subsequently, the paper details the
implementation of these guidelines within a popular eLearning platform, Moodle, emphasizing its
adaptability and utility for craft education. It discusses the customization of Moodle courses to align
with the cognitive load management principles, providing a practical blueprint for educators and
instructional designers. The research culminates in a case study, wherein the guidelines are applied
to a craft eLearning course using Moodle.
Keywords:
eLearning; cognitive load theory; traditional crafts; education and training; guideline
development; online learning; craftsmanship; skill development; pedagogy
1. Introduction
Crafts represent a valuable repository of cultural heritage, encapsulating the wisdom
and craftsmanship passed down through generations. These crafts encompass a diverse
array of artistic, functional, and cultural practices, ranging from woodworking and pottery
to textiles and basket weaving [
1
]. With their intricate techniques, cultural significance, and
historical context, crafts stand as a testament to human creativity, innovation, and cultural
preservation. In a world marked by rapid technological transformations, the preservation
of crafts is of significance for their safeguarding [2].
Training individuals in crafts poses various challenges. It is of paramount importance
to understand these challenges when trying to produce digital learning solutions that
aim to support such goals [
3
]. The main challenge lies in preserving the authenticity of
these crafts [
4
] while adapting to contemporary teaching methods. Other challenges are
related to the nature of craft concerning the modern globalized environment [
5
]. These
crafts are typically transmitted orally from one generation to the next, lacking a structured,
written format that facilitates systematic education [
6
]. The absence of written records
poses a significant risk of knowledge loss [
7
]. The mastery of crafts is a labor-intensive and
time-consuming endeavor, with a dwindling number of individuals showing interest in ap-
prenticeships. This decreasing interest in crafts raises concerns about their preservation [
8
].
Furthermore, the economic viability of these crafts remains limited, as they generally offer
low financial returns [
9
]. Challenges also include the procurement of appropriate materials,
adaptation to cultural changes, and the effective transfer of skills from experienced artisans
to younger generations. Ensuring consistency in quality, addressing competition from
mass-produced alternatives, and preserving the authenticity of crafts further complicate
the training process. Moreover, access to markets, government support, and the revital-
ization of interest in crafts within communities are critical factors [
10
]. These multifaceted
Multimodal Technol. Interact. 2024,8, 2. https://doi.org/10.3390/mti8010002 https://www.mdpi.com/journal/mti

Multimodal Technol. Interact. 2024,8, 2 2 of 28
challenges underscore the need for comprehensive training approaches in crafts, whether
technology-assisted or otherwise, to safeguard these invaluable cultural practices.
In this paper, a hypothesis is made that embracing eLearning in the realm of crafts
can offer significant advantages. First and foremost, it introduces accessibility to craft
education, breaking geographical boundaries. Learners from diverse locations can now
access instructional materials and interact with instructors and peers, fostering a global
exchange of craftsmanship. Moreover, eLearning platforms, such as Moodle, provide a
centralized and scalable approach to education. They serve as a repository of knowledge,
efficiently organized and cataloged for learners to explore. One of the most compelling
benefits of eLearning is its ability to accommodate diverse learning paces [11].
More specifically, concerning craft training, craft apprentices, often constrained by
the rigidity of traditional settings, can now tailor their learning experiences to match
their unique progress rates. eLearning ensures that learners are not overwhelmed by
cognitive overload, offering ample time for the vital process of cognitive processing. This is
particularly true when eLearning is designed to reduce intrinsic and extraneous cognitive
loads [
12
]. Incorporating multimedia elements, interactive simulations, and self-assessment
tools enhances the learning experience, keeping learners engaged and motivated [
13
].
A critical issue in eLearning with a special application to craft is the management of
cognitive load, a concept deeply rooted in cognitive psychology. Cognitive Load Theory
(CLT) offers an intricate framework for understanding how the human cognitive system
processes information and how the design of instructional materials [
14
] can shape the
learning experience. eLearning platforms have been proven sufficient for the integration
of principles from CLT, ensuring that instructional materials are thoughtfully designed to
optimize the cognitive load of learners effectively [15–18].
This research paper aims to bridge eLearning on crafts with CLT, serving as a com-
prehensive guide for applying CLT effects in eLearning settings. eLearning platforms
have revolutionized education, offering powerful tools and methods to enhance learning
experiences [
19
,
20
]. It is argued that craft education can benefit from the principles of CLT.
In the use cases described in this research work, the Moodle platform is employed [
21
]
but any other eLearning platform can be suitable for applying the ergonomic knowledge
developed by this research work. The rationale for selecting Moodle is the fact that it
is an open-source, completely free eLearning platform that is currently used to imple-
ment more than 170k eLearning sites and more than 46M. courses. Of course, any other
eLearning platform or CMS can be of use as a target system since the provided guidelines
are platform-agnostic.
The innovation in providing guidelines to support training on traditional crafts lies
in adopting a multifaceted approach that combines an established cognitive theory, such
as CLT, with modern eLearning platforms. This fusion allows for a comprehensive under-
standing of cognitive processes while creating digital content for eLearning environments.
These guidelines, rooted in cognitive phenomena, aim to optimize craft learning experi-
ences. Both the guidelines and their application on a widely used eLearning platform are
innovative dimensions in craft training. They offer a practical and scalable solution for
crafting educational content in traditional crafts. This approach not only acknowledges the
unique challenges of traditional craft education but also pioneers a new pathway for inte-
grating cognitive theories into the digital landscape, enhancing the pedagogical strategies
employed in training on traditional crafts.
2. Background and Related Work
Craft education and training are challenging since they introduce learners to a multi-
faceted world, where they must acquire skills, knowledge, and appreciation for cultural
heritage. Balancing these learning objectives is a cognitive challenge. At the same time,
the “low status” and “lack of prestige” of vocational options demotivate young people
from following craft training [
22
]. In this paper, we try to address the cognitive challenge
building on CLT, as conceptualized by John Sweller [
14
]. This theory offers guidance on

Multimodal Technol. Interact. 2024,8, 2 3 of 28
how to structure instructional materials and virtual environments to optimize the learning
process. Understanding and addressing the different facets of cognitive load when design-
ing eLearning courses [
15
] can foster effective learning [
16
], reduce cognitive overload, and
facilitate deep engagement with crafts.
The significance of integrating CLT within the realm of craft eLearning becomes
evident as we consider the vast potential to enhance the educational experience. Tailoring
eLearning materials and Moodle-based activities to accommodate the complexities of crafts
and the distinct needs of learners can empower individuals to engage more deeply with
these crafts. The successful application of CLT through Moodle stands as a bridge between
tradition and innovation, safeguarding the preservation, appreciation, and continuation
of crafts.
This section provides a comprehensive overview of the theoretical foundations and
existing research in the domains of CLT, craft education, and eLearning platforms, with a
particular focus on Moodle-based learning environments.
2.1. Cognitive Load Theory
CLT is a foundational framework in educational psychology that underpins our
approach to designing effective eLearning experiences for crafts. CLT delves into the
intricacies of how the human cognitive system processes information and how instructional
materials’ design influences the learning experience. The framework identifies three distinct
types of cognitive load: intrinsic, extraneous, and germane. Intrinsic cognitive load relates
to the inherent complexity of the subject matter, extraneous cognitive load pertains to the
load imposed by ineffective instructional design, and germane cognitive load concerns the
cognitive effort that leads to meaningful learning.
The core effects associated with CLT have a close relevance in eLearning contexts and
include the Split-Attention Effect, which underscores the significance of not overloading
learners with disparate sources of information [
23
]. The Modality Effect highlights how
presenting information through multiple sensory channels can enhance comprehension
and retention [
24
]. The Redundancy Effect emphasizes the negative impact of presenting
the same information redundantly in different modalities [
25
]. In contrast, the Expertise
Reversal Effect reminds us that what is effective for novices may not work for experts [
26
].
We will also consider the Guidance Fading Effect, which suggests that as learners gain
proficiency, guidance should be gradually reduced, and the Imagination Effect which
underlines the power of mental imagery in learning [
27
]. The Self-Explanation Effect
advocates for learners to articulate their understanding [
28
], and the Element Interactivity
Effect [29] focuses on handling complex, interactive topics.
2.2. Craft Education via Online Social Platforms
Currently, there are several platforms dedicated to teaching crafts. For example,
Craftsy is an online platform that offers video courses on a wide range of crafts, including
knitting, quilting, sewing, and more [
30
]. Users can access pre-recorded classes taught
by expert instructors. Udemy hosts a variety of online courses on crafts and DIY projects.
Instructors from around the world create and offer these courses. While the quality and
content can vary, it provides a diverse range of craft-related courses [
31
]. Skillshare is an
eLearning platform that offers a wide range of courses, including those related to crafts
and DIY. It is known for its creative and practical courses, with many focused on crafts.
The Great Courses offers a selection of video courses, and they have offerings related to
crafts. These courses are often taught by experts in their respective fields [
32
]. While not a
dedicated eLearning platform, YouTube has a vast library of craft tutorials. Many artisans
and crafters share their knowledge and skills through video tutorials [
33
]. This offers a
wealth of free resources for those interested in crafts. Some craft schools and workshops
have adopted eLearning and hybrid learning models. They offer both in-person and online
classes, making craft education more accessible to a wider audience.

Multimodal Technol. Interact. 2024,8, 2 4 of 28
2.3. Moodle as an eLearning Platform
Moodle is a versatile open-source eLearning platform renowned for its rich feature set
and widespread adoption in education and training [34]. Educators can seamlessly create
and manage online courses, incorporating multimedia content, interactive assignments,
and automated assessments. The user-friendly interface promotes easy navigation for
instructors and learners alike. Moodle’s flexible design allows for extensive customization
with themes and plugins, ensuring it can be tailored to diverse educational needs. Its
comprehensive gradebook and analytics tools facilitate learner progress tracking and
performance evaluation. Moodle’s robust security measures prioritize data protection, and
its mobile accessibility caters to various devices, making it an excellent choice for modern
eLearning. With a supportive global community and seamless integration capabilities,
Moodle remains a top choice for educational institutions, corporations, and organizations
worldwide [35].
2.4. Extending Learning Paradigms in Craft Education
In craft education, focusing on digital transformation while preserving the essence of
craftsmanship and cultural heritage is important. The landscape of learning paradigms in
craft education currently includes or has the potential to include in the future several novel
learning approaches such as:
Blended Learning Models: craft education often thrives on hands-on learning, appren-
ticeships, and the transfer of practical skills from one generation to the next [
36
]. The fusion
of practices with digital tools and platforms, such as Moodle, can create blended learning
models that combine the tactile experience of crafting with digital resources.
Microlearning and Skill-Based Learning: As the educational landscape evolves, mi-
crolearning has gained prominence [
37
] in the context of crafts. Delivering skill-based mod-
ules in small, easily digestible segments through eLearning platforms is such a paradigm.
Gamification and Interactive Learning: Interactive and game-based learning ap-
proaches [
38
] can engage learners and make the process of acquiring craft skills more
enjoyable. Gamified elements can encourage learners to explore the art of crafting while
mastering skills in an immersive, enjoyable manner [39].
Virtual Reality (VR), Augmented Reality (AR), and Mixed Reality(MR): New immer-
sive technologies have a good track record in education and training and have been used in
the field of Craft training [
40
–
47
]. eLearning as a digital form of education has the potential
to support or be combined with immersive learning experiences with the benefit of being
able to emphasize their ability to simulate real craftwork environments.
Personalized Learning and Adaptive Platforms: Personalized learning experiences
tailored to individual learners can be facilitated in contemporary education.
Lifelong Learning and Cultural Preservation: craft education often extends beyond
formal schooling, making lifelong learning essential.
2.5. Objectives
This paper aims to elucidate the principles of CLT and its various effects, highlighting
their relevance in the context of craft eLearning and applying these principles as encom-
passed into instructional design, learning strategies, and assessment methods. To do so, and
to provide practical guidance on the implementation of CLT effects, application guidelines
are provided for each of the theory’s effects. These guidelines are practically implemented
for the design of case study eLearning content for the use case of glassblowing.
In this context, it is important to highlight that creating efficient eLearning content
is essential for training heritage crafts since the learning subject heavily depends on the
interaction of the maker with the material, which cannot be replicated online. As such,
it is important to identify the most appropriate ways of transferring some aspects of
this knowledge through online courses. The ultimate goal is to prepare the trainee for a
mindful interaction with the material at later stages of training. Providing the appropriate

Multimodal Technol. Interact. 2024,8, 2 5 of 28
background knowledge and problem-solving skills can be essential for each learner’s
course to craft mastery.
In the subsequent sections, we delve into the theoretical foundations of CLT and
provide practical guidelines for implementing CLT effects. Then, the application of the
guidelines is illustrated through Moodle-enhanced eLearning experiences for craft ed-
ucation. The main aspiration is that through this research paper, educators, eLearning
practitioners, and cultural heritage advocates will be equipped with a solid framework to
enrich the teaching and learning of crafts in the digital age.
3. Effects of CLT Considered in This Work
This section provides a short introduction to the effects of CLT, before moving forward
to the definition of practical guidelines for their implementation in the eLearning context.
The Worked Example Effect refers to providing learners with worked examples or
step-by-step solutions to problems before they attempt to solve similar problems. This
effect aims to enhance learning and problem-solving skills by allowing learners to see
how a task or problem is solved before they try it themselves and is applied by (a) the
provision of exemplar solutions or models of how to solve a particular type of problem,
(b) Scaffolding Learning by providing learners with guidance and support, and (c) Gradual
Release of Responsibility by limiting over time the level of guidance provided.
The Problem-Completion Effect aims to ensure that learners pay sufficient attention
to the worked examples to provide learners with completion problems [
45
]. A comple-
tion problem is a partially worked example where the learner has to complete some key
solution steps. Sweller [
48
] asserted that completion problems are effective because they
incorporate a problem-solving component, prompting learners to engage with the problem
at a sufficient depth to grasp crucial information. This approach avoids overloading work-
ing memory by steering clear of complete problem-solving. In completing the problem,
learners are required to focus on and process the pre-solved portion before responding
to the unfinished steps. Essentially, completion problems represent a hybrid approach,
combining aspects of both a worked example and a problem to be solved [49].
The Split-Attention Effect occurs when learners need to divide their focus between at
least two sources of information that are intentionally separated either spatially or tempo-
rally [
50
]. Spatial split attention occurs when a learner is required to simultaneously focus
on two or more spatially separated sources of information. This occurs when information
that is essential for understanding a concept is presented in different locations or on differ-
ent parts of a display. In such cases, the cognitive load increases as individuals need to split
their attention between multiple sources, which can hinder comprehension and learning.
Temporal split attention refers to the division of a learner’s attention over time due to the
presentation of information at separate points in time. It occurs when critical information
is presented in a manner that requires individuals to remember and integrate information
from an earlier point in time when processing subsequent information.
The Modality Effect refers to the idea that people learn more efficiently when informa-
tion is presented in multiple modalities (e.g., text and spoken words). The rationale behind
the Modality Effect is that by engaging both the visual and auditory processing systems,
learners have more opportunities to encode and consolidate the information, resulting
in better learning outcomes [
51
]. This effect is related to the broader field of multimedia
learning theory, which explores how the presentation of information in multiple modalities
can impact learning and memory.
The Redundancy Effect refers to the principle that presenting the same information
through multiple modalities (typically, visual and auditory) can lead to cognitive overload
and reduced learning effectiveness. In other words, when learners are presented with re-
dundant information, where the same content is provided in both written text and spoken
narration, it can have a negative impact on their ability to comprehend and remember the
material [
25
]. The Redundancy Effect is the opposite of the Modality Effect, which suggests
that presenting information in multiple modalities enhances learning. The key distinction

Multimodal Technol. Interact. 2024,8, 2 6 of 28
is that while the Modality Effect advocates for using different modalities to convey comple-
mentary information (e.g., visuals and spoken explanations), the Redundancy Effect warns
against presenting the same information in redundant ways (e.g., showing on-screen text
and simultaneously reading it aloud). Both Modality and Redundancy Effects are a subject
of constant research as new media and learning technologies arise [52–55].
The Expertise-Reversal Effect describes how the impact of instructional methods can
change based on the level of expertise or prior knowledge of the learners. In essence, it
suggests that what is an effective teaching strategy for novices may not be as effective for
experts and vice versa [56].
The Guidance-Fading Effect involves gradually reducing the level of guidance pro-
vided to learners as they gain proficiency and expertise in solving problems or completing
tasks. The key elements of the Guidance-Fading Effect include: (a) guidance at the begin-
ning of the learning process with detailed step-by-step guidance, such as fully worked
examples or explicit instructions [
57
]; and (b) a gradual reduction in guidance so as for
learners to become more familiar with the problem-solving or task-completion process and
demonstrate proficiency, the level of guidance is progressively reduced. Independence is
the ultimate goal to empower learners to solve problems or complete tasks independently,
relying on their own understanding and problem-solving skills.
The Imagination Effect is a cognitive phenomenon in which individuals tend to remem-
ber information or concepts more effectively when they actively engage their imagination to
visualize or mentally simulate the content they are trying to learn [
58
]. By mentally creating
vivid images or scenarios related to the material, learners can enhance their understanding
and retention of the information. This effect suggests that imagination and visualization
can be powerful tools for encoding and recalling knowledge.
The Self-Explanation Effect is a learning and cognitive phenomenon that pertains
to the practice of self-explanation. It involves learners explaining concepts, problems, or
solutions to themselves in their own words as they engage with educational materials.
When individuals actively articulate and clarify their understanding, they tend to learn
and retain information more effectively [
28
]. Self-explanation helps learners identify
gaps in their comprehension and reinforce their grasp of the subject matter, promoting
deeper understanding.
The Element Interactivity Effect refers to the idea that the difficulty of learning and
understanding a particular topic or subject is influenced by the degree of interactivity
or complexity among the elements or components of that topic. This effect suggests
that learning is more challenging when the subject matter is highly interactive or when
multiple elements must be understood relative to one another [
29
]. The complexity and
interdependence of these elements can make it more difficult for learners to grasp the
material, particularly for novices or learners with limited prior knowledge.
4. CLT for Craft Practice Education and Training
Proposing craft-related guidelines for the application of the CLT effects in the eLearn-
ing context is the objective of this section. Although the proposed guidelines can be applied
to other eLearning contexts too, in the context of this work we are focusing strictly on how
to enhance eLearning in traditional craft contexts.
To simplify the understanding and application of these guidelines, we have kept the
same structure as in CLT and thus we are providing guidelines per effect. The consolidation
of these guidelines resulted in the definition of a small set of guidelines that can be applied
horizontally and these are presented in a separate section. The validation of the usage of
these guidelines is provided in Section 7through a use case of implementing eLearning
education and training material for a representative craft instance.
4.1. Method
The proposed guidelines are the results of working with craft practitioners, craft
communities, and craft training organizations in the context of the Horizon2020 project

Multimodal Technol. Interact. 2024,8, 2 7 of 28
Mingei and the Horizon Europe project Craeft. In Mingei, a protocol for craft representa-
tion and presentation has been developed as the outcome of the interdisciplinary effort
between heritage scientists, ethnographers, anthropologists, craft practitioners, digitiza-
tion experts, and experts on modern ICT technology [
59
]. This protocol sets the founda-
tions for understanding traditional crafts and presenting them for information, education,
and training.
Rooted from this protocol, in Craeft, the objective is to propose advanced ethnographic
strategies for craft understanding and the application of modern technologies in craft
training. Part of the scientific process was the analysis of current craft training curricula
in collaboration with craft training institutes in Europe such as the European Center
for Research and Training in Glass Arts (CERFAV). CLT was considered since it is well-
suited for digital training methods. In collaboration with craft training organizations,
we formulated the wireframes of exemplary courses that could bring part of the training
process in an eLearning context. These wireframes were then studied in conjunction with
the available digital material such as (a) ethnographic recordings from a glass workshop,
photographic documentation, (c) 3D models of tools, machines, and the workshop itself,
(d) rendered virtual representations of the workshop, (e) visual abstractions of fundamental
glassblowing actions in the form of rendered 3D animations, (f) visual abstractions in the
form of cartoonized images, and (g) educational material from textbooks regarding the
glassblowing craft.
The next step was to study the facilities offered by modern eLearning systems in terms
of authoring interactive and multimodal training material. This was important inorder to
identify the forms of training experiences that can be supported by the current state of the
art in conjunction with the availability of the aforementioned digital material. During this
study, the guidelines discussed in this section were authored to optimally bring together
digital material and training experiences.
4.2. Worked Example Effect
The Worked Example Effect can be applied to the eLearning context through the
application of the following guidelines:
•
G_WEE1. Provide craft-specific worked examples in the form of step-by-step demon-
strations of key techniques and processes;
•
G_WEE2. Use high-quality visuals and depict the fine details of the craft and use
close-up shots and visualization to help learners see intricate work;
•
G_WEE3. Include narration and explanation alongside the visual demonstrations to
explain the purpose and significance of each step, the tools and materials used, and
any historical or cultural context;
•
G_WEE4. Demonstrate variations in techniques and styles that are relevant to the
specific craft since different regions and cultures may have their unique approaches;
•
G_WEE5. Incorporate hands-on interactive activities that allow learners to practice
the techniques they have observed (through imitation) such as virtual workshops
and simulations;
•
G_WEE6. Provide progressive complexity on the worked examples and interactive ac-
tivities starting with basic techniques and gradually introducing more
complex skills;
•
G_WEE7. Offer information on the tools and materials used in the craft to explain
their purposes, how to select them, and where to obtain them;
•
G_WEE8. Emphasize safety guidelines and best practices, particularly for crafts that
involve potentially hazardous tools or materials;
•
G_WEE9. Organize field trips (including virtual trips) and invite guest artists and
crafts persons to share their experiences and expertise with learners.
4.3. Problem Completion Effect
The following guidelines are proposed for applying the Problem-Completion Effect:

Multimodal Technol. Interact. 2024,8, 2 8 of 28
•
G_PCE1. Introduce learners to craft projects that are partially completed, especially in
the case of complex or multi-step tasks;
•
G_PCE2. Ensure that the partially completed craft project clearly represents the initial
or starting state of the craft to help learners understand the project’s context and how
to proceed;
•
G_PCE3. Accompany the partially completed project with explanations of the tech-
niques and steps taken to reach that point to help learners understand the craft’s
methodology and thought process;
•
G_PCE4. After presenting the partially completed project, encourage learners to
actively engage with it. This can include asking them to complete the remaining steps,
add intricate details, or identify areas for improvement;
•
G_PCE5. Over time, gradually reduce the level of completion provided in the partially
finished craft projects to align with learners’ increasing proficiency and confidence in
completing similar projects independently;
•
G_PCE6. Offer constructive feedback on learners’ attempts to complete the partially
finished craft projects to reinforce correct techniques and address misconceptions;
•
G_PCE7. Present a range of craft projects with varying levels of complexity, gradually
increasing in difficulty;
•
G_PCE8. Encourage metacraftsmanship by motivating learners to think about their
craft process and reflect on the techniques and strategies they use, thus helping them
develop problem-solving skills specific to crafts;
•
G_PCE9. Scaffold craft learning by providing more guidance for novice learners in the
early stages of craft training and gradually reducing the level of support;
•
G_PCE10. Consider craft context by applying the Problem Completion Effect in a way
that aligns with the specific craft context and objectives. Different crafts may require
tailored approaches based on the craft’s nature and cultural significance;
•
G_PCE11. Encourage collaborative craftsmanship. Learners can work in pairs or
groups to complete partially finished craft projects, fostering discussion, sharing
traditional techniques, and peer learning within the craft community.
4.4. The Split-Attention Effect
When considering spatial split attention, the following guidelines come into use:
•
G_SAE1. Organize eLearning content effectively to reduce the existence of spatially
separated sources;
•
G_SAE2. Use visuals such as images or videos that are closely aligned with the
accompanying text or explanations to help learners integrate information from a single
source more easily;
•
G_SAE3. Minimize scrolling that may disrupt the flow of information and lead to
spatial split attention. Ensure that content fits within a single screen or provides clear
navigational cues;
•
G_SAE4. Provide sequential learning by presenting information in a logical sequence
and avoiding introducing concepts that depend on earlier content before providing
the necessary foundation;
•
G_SAE5. Maintain a consistent pace throughout a lesson and provide sufficient time
for learners to absorb the content before moving on;
•
G_SAE6. Segment instructions by dividing complex instructions into smaller, manage-
able steps or modules allowing learners to focus on one step at a time and build their
skills progressively;
•
G_SAE7. Provide redundancy by using multiple formats. Combine text explanations
with visuals or demonstrations, allowing learners to access the same information from
different sources;
•
G_SAE8. Ensure spatial contiguity by placing related information, such as written
instructions and visual examples, in close proximity;

Multimodal Technol. Interact. 2024,8, 2 9 of 28
•
G_SAE9. Ensure temporal contiguity by presenting sequentially information in a
logical order, allowing learners to integrate it as they encounter it. Avoid jumping
between past and present information;
•
G_SAE10. Segment complex craft projects or techniques into smaller, manageable
sections or modules to assist in the step-by-step understanding of crafts;
•
G_SAE11. Facilitate signaling by using clear cues or markers to highlight relationships
between different pieces of information such as arrows, connectors, or highlighting to
indicate connections between text instructions and accompanying visuals;
•
G_SAE12. Provide a short summary or an overview before or after presenting infor-
mation on a specific craft technique to help learners understand the big picture and
how different elements are related;
•
G_SAE13. Incorporate interactive elements into the eLearning materials and offer activ-
ities that allow learners to actively practice craft techniques, fostering
deeper understanding.
4.5. The Modality Effect
For the Modality Effect, the following guidelines come into play:
•G_MDE1. Accompany text with narration to enhance comprehension and retention;
•
G_MDE2. Use relevant visuals such as images, diagrams, and animations, alongside
text and narration, to illustrate craft techniques, materials, and finished products,
making the content more engaging and memorable;
•
G_MDE3. Maintain consistency and ensure that content is presented similarly across
different modalities (text, narration, visuals) to prevent confusion and reinforce learning;
•
G_MDE4. Organize information into smaller, manageable sections or modules to allow
learners to focus on mastering one aspect of the craft at a time, making it easier to
process information in different modalities;
•
G_MDE5. Incorporate interactive elements that encourage active engagement with
the craft material. Create interactive exercises, simulations, or crafting activities that
enable learners to apply what they have learned;
•
G_MDE6. Give learners control over the pace of their craft learning and enable them
to review and revisit content presented in different modalities as needed;
•
G_MDE7. Minimize unnecessary distractions that can interfere with the processing of
craft-related information presented in different modalities;
•
G_MDE8. Keep eLearning content engaging by using storytelling, real-life exam-
ples, and relevant craft scenarios. Create content that captivates learner’s interest,
motivating them to engage with multiple modalities;
•
G_MDE9. Test on various devices to ensure that the eLearning course is compatible
with various devices and screen sizes to accommodate different learning preferences
and environments, including those of craft enthusiasts who may access the course on
different devices.
4.6. The Redundancy Effect
For the appropriate use of redundancy, the following guidelines can be followed:
•
G_RDE1. Use redundancy sparingly and avoid presenting the same information in
both text and narration unless it is essential for clarity or accessibility reasons. In
the craft learning context, redundancy should be used judiciously, such as when
explaining complex techniques;
•
G_RDE2. Prioritize complementary information and leverage different modalities
to present complementary content. For example, use visuals (images or videos) to
visually demonstrate craft techniques while the narration provides explanations;
•
G_RDE3. Consider the diverse needs and preferences of your craft learners. Some
may benefit from redundancy, while others may find it distracting. Consider offering
options for learners to choose their preferred modality, such as providing text and
audio options;

Multimodal Technol. Interact. 2024,8, 2 10 of 28
•
G_RDE4. Emphasize key craft points by highlighting key craft techniques, important
terminology, or critical information. Emphasize the most vital content rather than
reiterating every detail;
•
G_RDE5. Allow craft learners to control the pace of content delivery. They should
have the option to skip or replay redundant information based on their understanding
and needs, promoting a personalized learning experience;
•
G_RDE6. Engage craft learners through interactive elements such as quizzes, dis-
cussions, and problem-solving exercises. Interactivity can reinforce learning without
relying solely on redundancy, making the learning experience more engaging.
4.7. The Expertise Reversal Effect
To ensure that all learners get content that is sufficient for their level of learning and
expertise, the following guidelines are suitable:
•
G_ERE1. Begin by assessing the learners’ prior knowledge and expertise in crafts. Use
pre-assessments, quizzes, or self-assessments to understand their current skill level
and familiarity with craft techniques;
•
G_ERE2. For novice craft learners with little or no prior knowledge, provide explicit
and structured instruction. Use clear explanations, step-by-step guidance, and scaf-
folded learning activities to build a solid foundation in craft techniques. Emphasize
foundational concepts, tools, and terminology commonly used in the craft;
•
G_ERE3. For learners with moderate expertise in crafts, offer a balanced approach that
combines guidance with opportunities for independent thinking and problem-solving.
Provide guided problem-solving activities that encourage critical thinking and the
application of craft knowledge to practical scenarios. Use real-world craft projects,
case studies, and more advanced techniques to deepen their understanding and skills;
•
G_ERE4. Highly knowledgeable craft practitioners should engage in open-ended,
exploratory, and problem-based learning approaches. Encourage independent explo-
ration, research, and self-directed learning, allowing experts to apply their advanced
knowledge to real-world craft challenges and creative projects;
•
G_ERE5. Utilize adaptive learning technologies or techniques that can adjust the level
of instruction based on learners’ responses and demonstrated expertise. This ensures
that each craft learner receives content and activities appropriate to their skill level;
•
G_ERE6. Provide options to mixed groups of craft learners with varying levels of ex-
pertise, consider offering multiple pathways or content modules that cater to different
expertise levels within the same course. This allows craft learners to self-select the
most suitable learning path.
4.8. The Guidance Fading Effect
To ensure that the level of guidance is always optimal while moving forward on a
learning path, the following guidelines can be used:
•
G_GFE1. Provide explicit and highly guided instruction for novice craft learners such
as complete worked examples, detailed step-by-step solutions, or comprehensive
instructions for craft projects. Clearly explain the concepts, techniques, and tools
involved in crafts to build a strong foundation;
•
G_GFE2. Continuously assess and monitor the progress of craft learners as they engage
with the materials and complete projects and look for signs of increased proficiency
and understanding. Use formative assessments, quizzes, or skill checks to gauge when
learners are ready for reduced guidance;
•
G_GFE3. Gradually reduce the level of guidance provided as craft learners demon-
strate growing competence and familiarity with craft techniques. Begin by omitting
some steps, providing fewer hints, or requiring more independent problem-solving;
•
G_GFE4. Scaffold the craft learning experience, maintaining a balance between support
and independence and adjusting the level of guidance according to the evolving needs

Multimodal Technol. Interact. 2024,8, 2 11 of 28
of craft learners. Consider individualized learning paths based on each craft learner’s
skill development;
•
G_GFE5. Use prompts and hints instead of providing complete solutions to nudge
craft learners in the right direction when they encounter difficulties. These prompts
should encourage them to think critically and apply their craft knowledge effectively;
•
G_GFE6. Challenge critical thinking for more proficient learners by introducing
open-ended or complex craft projects that require critical thinking, analysis, and the
synthesis of techniques. Encourage them to explore alternative craft techniques and
creative problem-solving strategies;
•
G_GFE7. Encourage reflection and metacognition by prompting craft learners to reflect
on their craft projects and the techniques they have applied. Encourage metacognition
to foster a deeper understanding of their own craft learning process. Ask them to
journal their progress and reflect on what they have learned;
•
G_GFE8. Be responsive to individual craft learner needs and offer support when
needed. If some learners are struggling with particular techniques or projects, be
ready to provide additional guidance or support to prevent frustration and ensure
successful learning.
4.9. The Imagination Effect
To ensure that imagination supports learning, the following guidelines are essential:
•
G_IME1. Visualize complex concepts by encouraging learners to visualize intricate
craft techniques or artistic processes by providing detailed, descriptive language in
the eLearning content. Use analogies or metaphors to simplify complex concepts
and stimulate learners’ imagination. Complement textual information with visuals,
diagrams, and multimedia that help learners create mental images;
•
G_IME2. Incorporate storytelling elements in your eLearning materials. Craft narra-
tives and scenarios that depict the historical context or cultural significance of crafts.
Engage learners’ imagination by creating relatable situations that illustrate the key
concepts and the creative journey of craftsmen;
•
G_ IME3. Utilize interactive simulations or virtual environments to immerse learners
in the world of crafts. This hands-on experience allows them to apply their knowledge
in realistic scenarios, making abstract concepts more tangible. Provide opportunities
for learners to experiment with craft techniques in a safe, virtual space;
•
G_IME4. Develop creative assignments that require learners to produce craftwork, or
understand other people’s craftwork. These assignments can encourage imaginative
thinking, problem-solving, and a deeper connection to the craft.
4.10. The Self-Explanation Effect
Developing critical thinking can be facilitated through the following guidelines
•
G_SEE1. Incorporate self-questioning by encouraging learners to ask themselves
questions as they study, such as “How is this craft technique applied?” or “Why is
this design element important?”. Self-questioning prompts active engagement and
self-explanation, helping learners articulate their understanding;
•
G_SEE2. Provide prompts within the eLearning content that guide learners in self-
explaining craft concepts. For example, include questions like, “Can you explain the
significance of this craft tradition in your own words?”. These prompts serve as cues
for learners to engage in self-explanation;
•
G_SEE3. Reflect and summarize by encouraging learners to periodically pause and
reflect on what they have learned in the context of crafts. They can create summaries,
mind maps, or written reflections to consolidate their understanding and explore how
craft techniques connect with cultural heritage;
•
G_SEE4. Incorporate opportunities for peer review and feedback on craft projects and
explanations. When learners explain craft concepts to their peers, it reinforces their
understanding and allows them to learn from one another;

Multimodal Technol. Interact. 2024,8, 2 12 of 28
•
G_SEE5. Provide feedback on learners’ self-explanations to reinforce correct expla-
nations and offer guidance in areas where learners may need further clarification.
Feedback promotes self-improvement and the development of nuanced understand-
ings of crafts;
•
G_SEE6. Integrate active learning activities that require learners to solve problems,
complete craft exercises, and explain their thought processes as they work through the
material. Active participation enhances self-explanation and hands-on craft learning;
•
G_SEE7. Teach metacognitive skills that help learners monitor their understanding
of crafts. Encourage them to reflect on their learning strategies and adjust their
approaches as needed. Metacognition is closely tied to the self-explanation effect and
can lead to more effective self-regulated learning.
4.11. The Element Interactivity Effect
For the Element Interactivity Effect, the following guidelines can be considered
•
G_EIE1. Assess the learner ’s prior knowledge before designing your eLearning course
on crafts. Gauge the appropriate level of complexity and interactivity based on the
learners’ expertise;
•
G_EIE2. Break down complex topics related to crafts into smaller, manageable chunks
of information. Present these chunks in a logical sequence or order, ensuring that
learners grasp one concept before moving on to the next;
•
G_EIE3. Use visual aids, diagrams, charts, and graphs to represent the relationships
and interactions between elements of crafts. Visuals can make complex content more
accessible and understandable, especially when explaining intricate crafting tech-
niques or designs;
•
G_EIE4. Provide explanations and examples that accompany the presentation of
complex concepts in crafts. Use real-world examples or scenarios to illustrate how
various elements interact within craft processes;
•
G_EIE5. Incorporate interactive simulations or scenarios specific to crafts that allow
learners to explore the interactivity of complex crafting systems. This hands-on experi-
ence can deepen their understanding of crafting techniques and artistic processes;
•
G_EIE6. Offer structured guidance and scaffolding as learners work through complex
craft topics. Provide hints, prompts, or step-by-step instructions to help them navigate
intricate crafting methods and cultural contexts;
•
G_EIE7. Encourage peer collaboration and discussion among learners studying crafts.
Learners can benefit from sharing their understanding of crafting traditions, artistic
interpretations, and techniques, providing different perspectives, and helping each
other navigate the interactivity of crafts;
•
G_EIE8. Offer opportunities for learners to pause and reflect. Encourage them to think
critically about how the various elements of craft-making and cultural significance
interact and how their understanding of crafts has evolved;
•
G_EIE9. Implement frequent assessments and quizzes that focus on the interactivity of
elements within the subject matter of crafts. Assess learners’ ability to apply crafting
techniques and understand the cultural context of crafts;
•
G_EIE10. Provide feedback on assessments and encourage learners to review and re-
visit complex topics in crafts as needed. Feedback can help clarify misunderstandings
about crafting processes and the historical background of crafts;
•
G_EIE11. Teach metacognitive skills that help learners monitor and adjust their
learning strategies, especially when dealing with highly interactive content related to
crafts. Encourage learners to reflect on their learning experiences;
•
G_EIE12. Encourage critical thinking and problem-solving skills, especially in the
context of crafts. Complex and interactive subjects often require learners to think
analytically, creatively interpret crafting techniques, and apply their knowledge in
culturally meaningful ways.

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4.12. Horizontal Guidelines
In general, the following horizontal guidelines can be applied when creating educa-
tional material in eLearning contexts:
•
G_HG1. Regularly review and revise your eLearning craft content and adapt your
eLearning materials on crafts based on learner feedback, performance data, and
evolving needs. Keep the course content up-to-date and aligned with best practices in
instructional design for craft education;
•G_HG2. Receive and offer feedback.
a. Gather feedback from craft learners to understand their preferences;
b.
Provide timely and constructive feedback on learners’ craft projects and tech-
niques. Highlight what they did correctly and suggest improvements to enhance
their craftsmanship;
c.
Encourage learners to critique each other’s work constructively, fostering
improvement;
d. Encourage learners to take ownership of their craft learning journey.
•
G_HG3. Encourage discussion, sharing, and peer learning. Create forums or discus-
sion boards where learners can share their imaginative interpretations and associations
related to crafts. Encourage learners to discuss their creative ideas, inspirations, and
the emotional connections they form with the craft. Encourage peer collaboration
and discussion within the craft learning community. More experienced craft learn-
ers can assist those with less expertise, creating a valuable learning experience for
all participants;
•
G_HG4. Be mindful of accessibility. Make the eLearning course content accessible
to individuals with various learning needs, including those who may rely more
on one modality than another. In certain cases, redundancy may be necessary to
accommodate individuals with different learning needs, such as those with visual
or auditory impairments. Ensure your craft eLearning course is accessible to all
learners by providing alternative formats and options. Achieving such compatibility
would require that web content is authored following the web content accessibility
guidelines [
60
], which, of course, requires expertise, time, and resources. More analysis
on adhering to these guidelines is out of the scope of this research work; however,
we provide here some basic guidelines that would enhance the accessibility and
usability of eLearning content and are easy to apply and integrate into your eLearning
authoring workflow.
a.
Make sure that standard web-based content complies with basic accessibility
guidelines. Use headings, provide alternative texts for all visual elements, avoid
using tables for layouts, use simple language, etc. Facilitate accessibility checkers
embedded in html editors and check your content before publishing;
b.
Make sure that your web-based content is easily located within a page. Use a
screen reader to evaluate the accessibility of your navigation and whether users
can easily locate eLearning content;
c.
Provide audio-only alternatives for eLearning content by facilitating online
text-to-speech facilities;
d.
Provide descriptions of what is presented in video elements, and author subtitles
for videos. Use video transcript tools to simplify authoring and provide access
to the text of the transcript;
e.
Provide users with control over the size of text and contrast settings to enhance
visibility for users with reduced visual acuity;
f.
Support text translations in multiple languages including translations of audio-
visual contents, subtitles, alternative texts, and media element descriptions;
g.
Ensure that eLearning site navigation is seamlessly and consistently presented
across different languages;

Multimodal Technol. Interact. 2024,8, 2 14 of 28
h.
Follow the guidelines presented in the previous sections to enhance the usability
of web content. This will happen automatically since usability is strongly bound
to the reduction of cognitive load.
•
G_HG5. Evaluate learning outcomes. Assess the effectiveness of the instructional
approach by measuring learning outcomes and learner satisfaction. Use feedback and
data to make continuous improvements to the eLearning experience for crafts;
•G_HG6. Do not disregard the context.
i.
Include case studies and craft history context to showcase the significance of
crafts from a cultural or historical perspective;
j.
Highlight the importance of preserving and documenting crafts. Discuss the
role of contemporary technology in documenting and promoting these crafts;
k.
Promote respect for tradition and cultural sensitivity and encourage learners to
appreciate the heritage and significance of crafts.
•
G_HG7. Celebrate independence. When craft learners reach the point of completing
projects independently and mastering craft techniques, celebrate their achievements
and emphasize the value of self-directed craft learning.
5. Good Practice Guide on Applying the Provided Ergonomic Knowledge
5.1. Working with Guidelines
Guidelines, serving as directives for individuals to perform specific tasks effectively
and efficiently, can provide a framework guiding designers and developers in making
appropriate decisions [
61
]. For many years, guidelines have constituted an inexpensive
and widely used tool. However, despite the indisputable value and importance of such
knowledge, several studies investigating the use of guidelines and standards by designers
and developers have concluded that they are frequently ignored. This is partly attributed
to the challenging exploitability of such knowledge and partly due to the medium of
its embodiment, which often gives rise to issues of ineffectiveness and a lack of user-
friendliness [62].
To combat this issue, we have followed a dual approach in this research work. The
first is to provide in this section a good practice guide that provides the basic principles for
reusing these guidelines. The second is to provide use-case examples of their application in
actual circumstances, which is the subject of the next section. Use-case examples fall in the
category of the Worked Example Effect discussed in the previous section.
5.2. Good Practice Guide
5.2.1. Familiarization and Preparation
The first step in applying these guidelines would require the designer to achieve a
basic understanding of the concepts of the effects of CLT through a one-page introduction,
such as the one provided in Section 3. This introduction aims at providing basic orientation
and being capable of following the guidelines provided per effect. The second step is to
become familiar with the guidelines by simply studying them to understand how each
effect should be considered during the design of the eLearning content.
Having achieved a familiarization with the concepts described by the guidelines, the
next issue to be considered is the availability of instructional content or the capacity to
develop different forms of instructional content. This is essential to define the basic tool set
that will be used during authoring instructional content.
The next issue to be considered is the end users of the educational content and how
these can be grouped based on their knowledge and expertise. This grouping will support
the scaffolding of the training courses.
Next, how progress should be evaluated and the forms of exercises, assignments, and
projects that are of interest for the specific eLearning content should be considered. A
generic understanding of what is expected to be evaluated is sufficient for this phase of
the design.

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5.2.2. Design of Educational Content
Based on the aforementioned information, the designer of the eLearning course can
start by defining an appropriate categorization. For this purpose, the guide provided in
Section 6.2. can be of support. The category structure will provide the basic principles
of scaffolding, will define the basic educational sections, and will guide the selection of
modalities. At the same time, it will support the visualization of the type of assessment
that will support the evaluation of the learning outcomes for each category. This will act as
a good starting point for the creation of actual educational content.
Regarding the creation of such content, it is highly advised that the examples provided
in Section 6.3 are studied. These examples do not cover exhaustively all the types of
courses that can be authored by following these guidelines but are considered a good
starting point. Studying these examples provides information on how to apply most of the
effects presented in the previous section except for the Expertise-Reversal Effect and the
Guidance-Fading Effect, which are most efficiently covered through scaffolding learning.
Regarding the evaluation of educational outcomes, studying the examples of
Section 6.4
can provide useful ideas on different forms of assignments that can support different effects
and achieve various educational goals.
5.2.3. Creativity in the Design of Educational Content
Although the application of the aforementioned guidelines is considered important
in this research work, it cannot guarantee the success of the authored courses. As in any
human activity, creativity plays a significant role in the authoring of craft educational
content and can influence both the design and delivery of content. Crafting, by its nature,
is a creative endeavor, and incorporating creativity into educational materials aligns with
the hands-on and expressive aspects of traditional crafts. Creative authoring involves not
only presenting factual information but also engaging learners’ imaginations and fostering
a deep connection to the craft. By infusing creativity into content creation, educators can
employ diverse and innovative teaching methods that resonate with learners, making the
educational experience more engaging and memorable. Creative instructional materials,
such as visually compelling presentations, interactive simulations, and imaginative sce-
narios, capture learners’ attention and facilitate a deeper understanding of craft concepts.
Most of these aspects fall under the Modality Effect and cannot be simply dealt with by
adhering to the provided guidelines. In this context, creativity can promote a dynamic and
adaptive approach to content delivery, ensuring that educational materials remain vibrant
and responsive to the evolving needs of learners.
5.2.4. Enhance Acceptability through a User-Centered Design Approach
Incorporating a user-centered design approach, involving a small set of users from all
targeted user groups in all stages of the design process, can greatly enhance the effectiveness
of educational materials. Seeking feedback in the initial phases becomes a fundamental step
in ensuring that the content is not only relevant but also aligns with the preferences and
needs of the intended audience. Early involvement of users allows for the identification
of potential challenges, misconceptions, or areas that require improvement, promoting
a collaborative and learner-centric development process. This iterative feedback loop,
integral to user-centered design, ensures that the final educational materials resonate well
with users, enhancing engagement and overall effectiveness. By actively involving learners
from the outset, educators and instructional designers can create content that is not only
accurate and informative but also tailored to the specific requirements and expectations of
the target audience.
6. Use Case: Applying Guidelines in the eLearning Context
This section targets the demonstration of the usage of the aforementioned eLearning
guidelines for the implementation of an eLearning course.

Multimodal Technol. Interact. 2024,8, 2 16 of 28
6.1. Description of the Use Case
In the presented use case, the craft of glassblowing will be examined. In this use case,
the material used for creating eLearning material is composed of:
•
Ethnographic recordings from a glass workshop utilizing various such as mobile
phones, cameras mounted on a tripod, and close-up views with handheld cameras;
•
Photographic documentation of the workshop tools, machines, and layout including
photographic documentation acquired during the creation process to capture key
moments of the object’s creation;
•3D models of tools, machines, and the workshop itself;
•Rendered virtual representations of the workshop;
•
Visual abstractions of fundamental glassblowing actions in the form of rendered
3D animations;
•
Visual abstractions in the form of cartoonized images composed in the form of a comic
book presenting the creation process;
•Educational material from textbooks regarding the glassblowing craft.
6.2. Using Guidelines to Create an Appropriate Category Structure for an eLearning Course
The application of the developed guidelines started by creating an appropriate cate-
gory structure for structuring the eLearning courses. During this process, several guidelines
were followed to provide a clear picture to the learners of what to expect in terms of educa-
tional units. The analysis of the category structure and some exemplary course structures
per category are presented in Figure 1. Figure 1also provides a mapping of the guidelines
followed to visually demonstrate how an appropriate category structure can act as the
point of departure for a successful eLearning course on glassblowing.
Multimodal Technol. Interact. 2024, 8, x FOR PEER REVIEW 17 of 29
Figure 1. The proposed category structure.
As shown in Figure 1, for the glassblowing case, we provided a scaffolding strategy
decomposed into three levels, each one corresponding to a different expertise level in
terms of craft education. The first level is introductory to the craft instance and contains
lessons on the social and historical context (contextual information) and also introduces
the tools, materials, and glassblowing machines. The knowledge acquired is reinforced
through critical thinking and problem-solving assignments. Each level is completed
through student evaluation tests and an open round of discussion and feedback that al-
lows the learners to provide feedback on the course and the course editors to provide
feedback on the learners based on the performed assignments and evaluation tests. The
completion of this level provided a generic yet clear understanding of the craft instance to
be studied.
Levels 2 and 3 are consistent in terms of structure and are formulated under the per-
spective of sequential learning, allowing learners to keep their own pace but at the same
time follow a well-defined learning path. This distinction remains throughout the levels,
maintaining the same scaffolding strategy. For simplicity, we will analyze level 2 having
in mind that the same information stands true for level 3.
Level 2 starts with an introduction to the techniques that will be studied, which in
the case of level 2 are the fundamental techniques of glassblowing. Then, the techniques
are presented in the form of visual abstraction, which in our case is a 3D representation of
the techniques in the form of an animated scene that presents only the tools and their
interaction with the material. This form of presentation provides craft-specific worked ex-
amples and at the same time minimizes the distractions from the environment. When
Figure 1. The proposed category structure.

Multimodal Technol. Interact. 2024,8, 2 17 of 28
Throughout this section, inline codes within the screenshots and textual descriptions
are used to provide information on the conformance with specific guidelines.
As shown in Figure 1, for the glassblowing case, we provided a scaffolding strategy
decomposed into three levels, each one corresponding to a different expertise level in terms
of craft education. The first level is introductory to the craft instance and contains lessons
on the social and historical context (contextual information) and also introduces the tools,
materials, and glassblowing machines. The knowledge acquired is reinforced through
critical thinking and problem-solving assignments. Each level is completed through student
evaluation tests and an open round of discussion and feedback that allows the learners to
provide feedback on the course and the course editors to provide feedback on the learners
based on the performed assignments and evaluation tests. The completion of this level
provided a generic yet clear understanding of the craft instance to be studied.
Levels 2 and 3 are consistent in terms of structure and are formulated under the
perspective of sequential learning, allowing learners to keep their own pace but at the same
time follow a well-defined learning path. This distinction remains throughout the levels,
maintaining the same scaffolding strategy. For simplicity, we will analyze level 2 having in
mind that the same information stands true for level 3.
Level 2 starts with an introduction to the techniques that will be studied, which in the
case of level 2 are the fundamental techniques of glassblowing. Then, the techniques are
presented in the form of visual abstraction, which in our case is a 3D representation of the
techniques in the form of an animated scene that presents only the tools and their interaction
with the material. This form of presentation provides craft-specific worked examples
and at the same time minimizes the distractions from the environment. When these
visualizations are studied, we continue by presenting the same techniques as executed in the
environment through audiovisual recording in a glassblowing workshop in which a glass
master is performing the same techniques in the context of creating a glass artifact. These
demonstrations enrich the previously studied visual abstractions and complement them
through additional sources of information. The course continues with immersive training
on basic techniques, which inevitably should happen outside the eLearning platform by
using some form of immersion. In the context of the Craeft research project, 3D and VR
3D are to be integrated for immersive training complemented with haptic devices for
transferring information from the digital world to the learner and vice versa.
After this first round of training, the course proceeds to combine basic techniques to
formulate complete glassblowing examples. These are presented in the form of both visual
abstractions and recordings in the same way presented above. Then a second round of
immersive training is to take place where the learners are required to imitate what they
learned previously in a virtual environment. The level continues with critical thinking and
problem-solving exercises. These are both assignments that can be executed offline and
assignments that can be integrated with workshop study lessons on-site. In both cases,
these result in the submission of assignments by students. The level completes with the
evaluation tests and the open two-way feedback round.
Already for the creation of the structure, we have applied or foreseen the application
of more than 30 of the aforementioned guidelines. The following example will deep even
more into the formulation of specific courses.
6.3. Exemplars Courses
6.3.1. Course in the Form of a Multimodal Document
In this example, the basic structure of a simple course will be presented and authored
in the form of a multimodal document (see Figure 2). The objective of the example is to
emphasize key craft points by presenting the basic glassblowing techniques. The course is
composed of several topics, each focusing on a single subject—in this case, a fundamental
glassblowing technique—minimizing the need for the learners to split their attention in
simultaneously presented techniques.

Multimodal Technol. Interact. 2024,8, 2 18 of 28
Multimodal Technol. Interact. 2024, 8, x FOR PEER REVIEW 18 of 29
these visualizations are studied, we continue by presenting the same techniques as exe-
cuted in the environment through audiovisual recording in a glassblowing workshop in
which a glass master is performing the same techniques in the context of creating a glass
artifact. These demonstrations enrich the previously studied visual abstractions and com-
plement them through additional sources of information. The course continues with im-
mersive training on basic techniques, which inevitably should happen outside the eLearn-
ing platform by using some form of immersion. In the context of the Craeft research pro-
ject, 3D and VR 3D are to be integrated for immersive training complemented with haptic
devices for transferring information from the digital world to the learner and vice versa.
After this first round of training, the course proceeds to combine basic techniques to
formulate complete glassblowing examples. These are presented in the form of both visual
abstractions and recordings in the same way presented above. Then a second round of
immersive training is to take place where the learners are required to imitate what they
learned previously in a virtual environment. The level continues with critical thinking and
problem-solving exercises. These are both assignments that can be executed offline and
assignments that can be integrated with workshop study lessons on-site. In both cases,
these result in the submission of assignments by students. The level completes with the
evaluation tests and the open two-way feedback round.
Already for the creation of the structure, we have applied or foreseen the application
of more than 30 of the aforementioned guidelines. The following example will deep even
more into the formulation of specific courses.
6.3. Exemplars Courses
6.3.1. Course in the Form of a Multimodal Document
In this example, the basic structure of a simple course will be presented and authored
in the form of a multimodal document (see Figure 2). The objective of the example is to
emphasize key craft points by presenting the basic glassblowing techniques. The course
is composed of several topics, each focusing on a single subject—in this case, a fundamen-
tal glassblowing technique—minimizing the need for the learners to split their aention
in simultaneously presented techniques.
Figure 2. An example of a course authored in the form of a multimodal document.
Figure 2. An example of a course authored in the form of a multimodal document.
Furthermore, the course is configured so that only one topic is presented on each page
to organize information in small manageable sections and minimize the need for scrolling
throughout the content. Following these guidelines, we have achieved the specific course
to eliminate the need for scrolling. Navigation between topics is provided both on the left
side of the course where the course structure is presented and inline where navigation to
the previous and the next topic is provided both on top and after the content of the topic
(see Figure 2).
Moving to the content of the course, as seen in Figure 2, the course is a collection of
well-defined textual information organized based on their subject (Process, Use, Observa-
tions, cognitive processes, etc.). This offers a well-defined sequential flow of information
and provides the ability for learners to study each subject separately. Furthermore, by
integrating cognitive and perceptual information into the description of techniques, we
create mental information that is stored in long-term memory. This information is retrieved
in the working memory when actually performing the techniques in a physical setting.
To ensure spatial contiguity, visual information is presented right next to textual
information to be studied in parallel. Regarding the use of visuals, complementary infor-
mation is prioritized. The objective, in this case, is to provide alternative views of the same
process from different viewpoints, thus ensuring that the same actions of the practitioner
can be studied from complementary views, which is extremely important when studying
gestural information.
6.3.2. Courses Embedding Audio-Visual Components
In this example, a course that presents visual abstractions of glassblowing processes
is studied. A visual abstraction can be thought of as a 3D scene that contains only the
tools and material and employs animation to mimic the events of a crafting process. By
abstracting the process from the context, we can focus only on its essential parts.
An example of the blocking process in glassblowing is presented in Figure 3. To
enhance the understanding of the content to be presented, the techniques and the steps
followed are introduced shortly before the presentations of visual abstractions and shortly
after to enhance self-questioning on the presented information. To further simplify the
presentation of the technique, visual content is split into three steps, each presented indi-
vidually, and the learner can control playback to study each step again and again. After

Multimodal Technol. Interact. 2024,8, 2 19 of 28
completion, the student is prompted to confirm whether he has acquired the subject and
wishes to move forward to the next subject or whether he wishes to be transferred to the
next course in which the same technique is shown as practiced by actual practitioners. In
this way, the learners can control the pace of their learning and information provision and
define alternative ways of browsing information by navigating between courses. General
considerations in eLearning craft courses are maintained in this lesson too by keeping the
same course structure and a consistent pace through the presentation of the course content,
eliminating whenever possible distractions and scrolling.
Multimodal Technol. Interact. 2024, 8, x FOR PEER REVIEW 20 of 29
Figure 3. Example of a course embedding audio-visual components.
6.3.3. Course in the Form of an Interactive Book
In this example, we are building on the h5p content compatibility of the eLearning
platform to create two paradigms of interactive books.
The first paradigm is authored following principles of visual abstraction (see Figure
4). To do so, key frames from a glassblowing process are used as a summary of each action.
To make content more interesting, the key frames are simplified using a cartoonification
filter. The results are combined to author a comic book. Action sequences are comple-
mented using inline textual descriptions following standard comic book principles. Using
the capabilities offered by h5p content, we use the images illustrating each page of the
comic to author an interactive book. To ensure that complex concepts are segmented into
smaller and more manageable parts, each page of the interactive book has been authored
in a way to presents only one step of the process. The placement of images follows the
logical sequence of the steps. Inline visual annotations are used to highlight important
parts of each action and the interaction between the craftmaster, tools, materials, and
workshop. The textual descriptions act as narrations of the visual information. Key loca-
tions are also enhanced by linking to the source audiovisual captures of the process to
further study important steps.
Figure 3. Example of a course embedding audio-visual components.
6.3.3. Course in the Form of an Interactive Book
In this example, we are building on the h5p content compatibility of the eLearning
platform to create two paradigms of interactive books.
The first paradigm is authored following principles of visual abstraction (see Figure 4).
To do so, key frames from a glassblowing process are used as a summary of each action. To
make content more interesting, the key frames are simplified using a cartoonification filter.
The results are combined to author a comic book. Action sequences are complemented
using inline textual descriptions following standard comic book principles. Using the
capabilities offered by h5p content, we use the images illustrating each page of the comic to
author an interactive book. To ensure that complex concepts are segmented into smaller
and more manageable parts, each page of the interactive book has been authored in a
way to presents only one step of the process. The placement of images follows the logical
sequence of the steps. Inline visual annotations are used to highlight important parts of
each action and the interaction between the craftmaster, tools, materials, and workshop.
The textual descriptions act as narrations of the visual information. Key locations are also
enhanced by linking to the source audiovisual captures of the process to further study
important steps.

Multimodal Technol. Interact. 2024,8, 2 20 of 28
Multimodal Technol. Interact. 2024, 8, x FOR PEER REVIEW 21 of 29
Figure 4. Example of a course in the form of an interactive comic book.
The second example builds on the same visual abstractions used for teaching indi-
vidual glassblowing techniques now combined in a complete worked example that pre-
sents from the beginning to the end the implementation of a complex glass object, which
in this use case, is a glass carafe. The same principles of organization in steps and of the
provision of information sequentially are maintained in this example too. An indicative
screenshot from this interactive book authored in the H5P format [63] is presented in Fig-
ure 5.
Figure 4. Example of a course in the form of an interactive comic book.
The second example builds on the same visual abstractions used for teaching individ-
ual glassblowing techniques now combined in a complete worked example that presents
from the beginning to the end the implementation of a complex glass object, which in this
use case, is a glass carafe. The same principles of organization in steps and of the provision
of information sequentially are maintained in this example too. An indicative screenshot
from this interactive book authored in the H5P format [63] is presented in Figure 5.
6.4. Assignments and Student Evaluation
Student evaluation follows the method of assignments and tests enhanced through
digital media to make them more engaging. In this section, examples of alternative evalu-
ation means will be presented starting from plain old-fashioned multiple-choice quizzes
and moving to more creative forms such as interactive video quizzes, problem-solving
exercises, and creative assignments.
6.4.1. Multiple-Choice Quizzes and Interactive Video Quizzes
Multiple-choice quizzes are not the target of this research work and have been thor-
oughly studied by previous research works (e.g., [
64
–
66
]). In this work, we focused on
providing through interactive quizzes various levels of feedback during the test to provide
real-time information to the learners regarding their selections and thus transform the test
into yet another form of learning. Several guidelines are easy to apply here too, such as
maintaining a consistent pace in the presentation of questions, ensuring that no scrolling is
required, using simple and consistent wording, providing incremental difficulty, etc.

Multimodal Technol. Interact. 2024,8, 2 21 of 28
Multimodal Technol. Interact. 2024, 8, x FOR PEER REVIEW 22 of 29
Figure 5. Example of a course that presents a complete worked example as a visual abstraction of
steps.
6.4. Assignments and Student Evaluation
Student evaluation follows the method of assignments and tests enhanced through
digital media to make them more engaging. In this section, examples of alternative eval-
uation means will be presented starting from plain old-fashioned multiple-choice quizzes
and moving to more creative forms such as interactive video quizzes, problem-solving
exercises, and creative assignments.
6.4.1. Multiple-Choice Quizzes and Interactive Video Quizzes
Multiple-choice quizzes are not the target of this research work and have been thor-
oughly studied by previous research works (e.g., [64–66]). In this work, we focused on
providing through interactive quizzes various levels of feedback during the test to provide
real-time information to the learners regarding their selections and thus transform the test
into yet another form of learning. Several guidelines are easy to apply here too, such as
maintaining a consistent pace in the presentation of questions, ensuring that no scrolling
is required, using simple and consistent wording, providing incremental difficulty, etc.
Conversely, interactive video quizzes are considered a more innovative alternative
to this research w ork since mu ch of the craft training depends on observation, understand-
ing, and mimicking. Such tests were created as part of this work using footage from actual
practitioners and in our example, the creation of a glass carafe is studied. The footage used
regards the demonstration of its creation process in the workshop by a glassmaster and
his assistant. The video is interactive, employing pausing to several key frames to allow
the student to be prompted with a question that is based on their understanding of the
glassblowing process (see Figure 6). Thus, pausing by itself introduces a partially
Figure 5.
Example of a course that presents a complete worked example as a visual abstraction
of steps.
Conversely, interactive video quizzes are considered a more innovative alternative to
this research work since much of the craft training depends on observation, understanding,
and mimicking. Such tests were created as part of this work using footage from actual
practitioners and in our example, the creation of a glass carafe is studied. The footage used
regards the demonstration of its creation process in the workshop by a glassmaster and
his assistant. The video is interactive, employing pausing to several key frames to allow
the student to be prompted with a question that is based on their understanding of the
glassblowing process (see Figure 6). Thus, pausing by itself introduces a partially completed
problem that allows the learner to exercise knowledge and critical thinking. Questions
are formulated in the form of asking for a justification from the learner and questions
provide several justifications of a phenomenon. In the case of success, the interactive video
continues, while in the case of failure, feedback is provided to the learner to enhance their
understanding of the phenomenon under study and the question itself.

Multimodal Technol. Interact. 2024,8, 2 22 of 28
Multimodal Technol. Interact. 2024, 8, x FOR PEER REVIEW 23 of 29
completed problem that allows the learner to exercise knowledge and critical thinking.
Questions are formulated in the form of asking for a justification from the learner and
questions provide several justifications of a phenomenon. In the case of success, the inter-
active video continues, while in the case of failure, feedback is provided to the learner to
enhance their understanding of the phenomenon under study and the question itself.
Figure 6. A video quiz and the relevant guidelines conformed to.
6.4.2. Problem Completion Assignments
In this example, we mainly study the Problem Completion Effect, in which the learn-
ers are introduced to a partially completed problem and prompted to practice their capa-
bilities to fill in the missing pieces of information (see Figure 7). The presentation of the
problem starts with a description of the context that the learners should focus on and a
short description of the assignment. Then, explicit instructions on how to proceed with
the assignment are provided alongside information on how their assignment will be as-
sessed. The partially completed project is provided in the form of a partially filled answer
template that the students should use as a starting point for their assignment. Further-
more, learners are strongly advised to work in groups to practice interpersonal collabora-
tion and problem-solving skills. The structure of the aforementioned assignment is de-
signed to support scaffolding learning by deactivating parts of the assignment based on
the learner’s level. Thus, for novice learners, the assignment has the exact structure and
content as shown in Figure 7, while for moderate users only the instructions and an empty
template are provided. For experts, only the objective of the assignment and an empty
template are provided.
Figure 6. A video quiz and the relevant guidelines conformed to.
6.4.2. Problem Completion Assignments
In this example, we mainly study the Problem Completion Effect, in which the learners
are introduced to a partially completed problem and prompted to practice their capabil-
ities to fill in the missing pieces of information (see Figure 7). The presentation of the
problem starts with a description of the context that the learners should focus on and a
short description of the assignment. Then, explicit instructions on how to proceed with
the assignment are provided alongside information on how their assignment will be as-
sessed. The partially completed project is provided in the form of a partially filled answer
template that the students should use as a starting point for their assignment. Furthermore,
learners are strongly advised to work in groups to practice interpersonal collaboration and
problem-solving skills. The structure of the aforementioned assignment is designed to
support scaffolding learning by deactivating parts of the assignment based on the learner’s
level. Thus, for novice learners, the assignment has the exact structure and content as
shown in Figure 7, while for moderate users only the instructions and an empty template
are provided. For experts, only the objective of the assignment and an empty template
are provided.
6.4.3. Creative Assignments
In this example, we study the creative assignments that develop critical thinking and
analytical skills. The structure of the assignment, as shown in Figure 8, is divided into
two sections. The first presents the objective of the assignment, while the second presents
instructions in the form of a step-by-step walkthrough of how to execute the assignment.
These step-by-step instructions allow the authors of the assignment to integrate strategic
sub-tasks that, through their execution, can assist in the development of critical thinking
and analytical skills rather than expecting this to magically happen. For example, the
assignment provides specific instruction on what should be researched for each art artifact
and the research itself is a way of transferring knowledge to the learner not only on this
subject but in general on how to establish a new paradigm of collecting and evaluating
knowledge from external sources. At the same time, it guides the learner with further
instructions to focus on things that are considered essential, such as the artistic intent and
the design elements, which can assist in cultivating creative thinking when composing
works of art and in general creativity by identifying creative elements and their contribution
to the composition. These instructions further provide incentives to the learners to search
deeper into artistic creation and provide time for self-questioning since understanding and

Multimodal Technol. Interact. 2024,8, 2 23 of 28
judging what you see is essential while gathering information on what to see. Combining
inner beliefs with external knowledge can become a generator of new ideas, designs, and
creative concepts. Of course, the learners are strongly advised to discuss with their peers
since through discussion, research, and consolidation, a more holistic understanding can
be achieved.
Multimodal Technol. Interact. 2024, 8, x FOR PEER REVIEW 24 of 29
Figure 7. An example of an assignment focusing on the application of the Problem Completion Ef-
fect in crafts eLearning.
6.4.3. Creative Assignments
In this example, we study the creative assignments that develop critical thinking and
analytical skills. The structure of the assignment, as shown in Figure 8, is divided into two
sections. The first presents the objective of the assignment, while the second presents in-
structions in the form of a step-by-step walkthrough of how to execute the assignment.
These step-by-step instructions allow the authors of the assignment to integrate strategic
sub-tasks that, through their execution, can assist in the development of critical thinking
and analytical skills rather than expecting this to magically happen. For example, the as-
signment provides specific instruction on what should be researched for each art artifact
and the research itself is a way of transferring knowledge to the learner not only on this
subject but in general on how to establish a new paradigm of collecting and evaluating
knowledge from external sources. At the same time, it guides the learner with further in-
structions to focus on things that are considered essential, such as the artistic intent and
the design elements, which can assist in cultivating creative thinking when composing
works of art and in general creativity by identifying creative elements and their contribu-
tion to the composition. These instructions further provide incentives to the learners to
search deeper into artistic creation and provide time for self-questioning since under-
standing and judging what you see is essential while gathering information on what to
Figure 7.
An example of an assignment focusing on the application of the Problem Completion Effect
in crafts eLearning.

Multimodal Technol. Interact. 2024,8, 2 24 of 28
Multimodal Technol. Interact. 2024, 8, x FOR PEER REVIEW 25 of 29
see. Combining inner beliefs with external knowledge can become a generator of new
ideas, designs, and creative concepts. Of course, the learners are strongly advised to dis-
cuss with their peers since through discussion, research, and consolidation, a more holistic
understanding can be achieved.
The assessment of such an exercise is a reflective essay in which the learners are asked
to summarize their analysis of the selected artefact highlighting key points focused by
following the instructions and new creative directions generated throughout their re-
search. The creative essay acts as a form of self-explanation, inviting the learners to explain
to themselves while preparing the essay the path, focal points, and decisions made during
their research.
Figure 8. An example of a creative assignment.
7. Conclusions
In conclusion, in this research, the main objective was to address the pedagogical
challenges inherent in craft education and training by proposing a comprehensive frame-
work grounded in CLT. The preservation of cultural heritage and the nurturing of arti-
sanal skills require innovative approaches to adapt to the evolving educational landscape
especially when working with modern eLearning environments.
The presented guidelines, rooted in CLT principles, offer a systematic and practical
approach to optimizing instructional design and content delivery within eLearning plat-
forms. By carefully managing cognitive load, promoting active learning, and facilitating a
gradual transition to digital environments, these guidelines aim to bridge the gap between
Figure 8. An example of a creative assignment.
The assessment of such an exercise is a reflective essay in which the learners are asked
to summarize their analysis of the selected artefact highlighting key points focused by
following the instructions and new creative directions generated throughout their research.
The creative essay acts as a form of self-explanation, inviting the learners to explain to
themselves while preparing the essay the path, focal points, and decisions made during
their research.
7. Conclusions
In conclusion, in this research, the main objective was to address the pedagogical chal-
lenges inherent in craft education and training by proposing a comprehensive framework
grounded in CLT. The preservation of cultural heritage and the nurturing of artisanal skills
require innovative approaches to adapt to the evolving educational landscape especially
when working with modern eLearning environments.
The presented guidelines, rooted in CLT principles, offer a systematic and practical ap-
proach to optimizing instructional design and content delivery within eLearning platforms.
By carefully managing cognitive load, promoting active learning, and facilitating a gradual
transition to digital environments, these guidelines aim to bridge the gap between the rich
heritage of crafts and the opportunities afforded by contemporary eLearning technologies.
The practical demonstration of this research is conducted as part of a case study in
which the proposed guidelines are applied for the authoring of eLearning courses using
Moodle. The results not only demonstrate the feasibility of integrating CLT principles

Multimodal Technol. Interact. 2024,8, 2 25 of 28
into existing platforms but also highlight the potential for enhanced learning experiences,
ensuring the transmission of artisanal skills and cultural knowledge in a digital era.
In essence, the combination of craft education and contemporary eLearning, guided
by the principles of CLT, can benefit the transmission of craft skills as part of our intan-
gible cultural heritage. This research contributes to the broader discourse on innovative
pedagogical strategies, emphasizing the adaptability and utility of eLearning platforms
like Moodle in the context of crafts. In the intersection of tradition and technology, the pre-
sented framework serves as a valuable resource for educators, instructional designers, and
stakeholders committed to the sustained vitality of cultural craftsmanship in the modern
educational landscape.
While this research lays a foundation for the integration of CLT into eLearning plat-
forms for craft education, there are two crucial areas that warrant further exploration in
future research.
The first area regards enhancing the accessibility of craft eLearning courses. As we
strive for inclusive education, it is imperative to delve into how these courses can be made
more accessible to a diverse audience. Factors such as language barriers, technological
constraints, and varying levels of digital literacy may pose challenges to learners, particu-
larly those from different cultural and socio-economic backgrounds. Exploring strategies
to address these accessibility challenges involves:
•
Accessibility of web content is achieved by following the web content accessibility
guidelines and testing the authored content using assistive devices and software (e.g.,
screen-reader and braille display, binary switches, etc.);
•Multilingual translations of both website and eLearning content;
•Personalization of eLearning content to the profile and expertise of each individual;
•
Real-time adaptation of eLearning content based on a goal-based and skill-based ap-
proach that monitors the learning progress and gracefully adapts to enhance individual
learning curves;
•
Usable and intuitive user interfaces that reduce cognitive load and bring the learning
process into focus;
•
Incorporation of tailor-made multimedia elements with targeted learning objectives
created to support specific and well-defined learning objectives.
The second area of future research regards a more extensive evaluation of the proposed
CLT-based framework within diverse educational contexts. While the case study provides
a promising glimpse into the potential efficacy of the guidelines within a specific craft
eLearning course, a broader exploration is needed. This entails conducting comprehensive
evaluations across various craft disciplines, educational levels, and cultural settings. By
systematically assessing the impact of the proposed CLT-guided approach, researchers can
gather valuable insights into its generalizability and effectiveness. Additionally, exploring
the long-term retention of artisanal skills and cultural knowledge acquired through this
approach will contribute to a nuanced understanding of its educational impact. Compara-
tive studies between teaching methods and the proposed eLearning framework can further
illuminate the advantages and potential limitations of digital adaptation.
Author Contributions:
Conceptualization, N.P. and X.Z.; methodology, N.P. and X.Z.; validation,
N.P. and X.Z.; formal analysis, N.P. and X.Z.; investigation, N.P. and X.Z.; resources, N.P. and
X.Z.;
writing—original
draft preparation, N.P. and X.Z.; writing—review and editing, N.P. and
X.Z.; visualization, N.P. and X.Z.; supervision, N.P. and X.Z.; project administration, N.P. and X.Z.;
funding acquisition, N.P. and X.Z. 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.
Institutional Review Board Statement: Not applicable.

Multimodal Technol. Interact. 2024,8, 2 26 of 28
Informed Consent Statement: Not applicable.
Data Availability Statement: Data available upon request.
Acknowledgments:
The authors would like to thank the anonymous reviewers for contributing to
the enhancement of the quality of this manuscript.
Conflicts of Interest: The authors declare no conflicts of interest.
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