1 Introduction

In recent years, there has been an increasing interest in applying Augmented Reality(AR) to create meaningful teaching and learning in intangible cultural heritage [1]. Cantonese Porcelain is one of the important categories in the intangible cultural heritage. The current practice in public education applied to Cantonese Porcelain is based on face-to-face teaching and student apprenticeship [2]. With the advent of the era of experience, people have a new motivation and anticipation of experience from Cantonese Porcelain the learning of Cantonese Porcelain [3, 4]. Learning is no longer transmission process of teachers and students, but rather it is a personalized learning process focusing on the individual needs of students with intent and conscious. Therefore, we need to explore a student-centered learning pattern to adapt to the learning of Cantonese Porcelain in a new context.

However, the main channel of learning Cantonese Porcelain is based on offline workshop teaching (see Fig. 1). This channel is mainly based on the text of the textbook to help users without a knowledge background to learn and not meet the user’s personalized learning needs. On the one hand, the Cantonese Porcelain production requires a clear understanding of the production process. The text-based textbooks cannot dynamically display the production process of Cantonese Porcelain, and it is difficult to realize the natural interaction between textbooks and users. On the other hand, the traditional forms of workshop teaching are still mainly face-to-face. Text-based textbooks always emphasize the learning of contents but lack of the attention to user experience in the learning process.

Fig. 1.
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Traditional craftsman is making face-to-face tutorials in offline workshops.

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In order to solve this problem, this paper proposes a personalized learning pattern based on AR technology for Cantonese Porcelain learning. This pattern integrates interaction technology (AR) with its visualization, user cognition and behavior, learning content (Cantonese Porcelain), and interaction context. The pattern will help users to enhance the Cantonese Porcelain learning experience in special interactive context. In this article,

  1. (1)

    we will be defining the current problems faced by traditional handicraft teaching and analyzing how AR can affect traditional handicraft teaching.

  2. (2)

    we will be exploring how users can personalize learning through AR interface in different stages of experience with a case study of traditional handicraft.

The following is the paper framework. In Sect. 2, we conduct a literature study including the application of AR technology in Cantonese Porcelain teaching, as well as the theory of experiential learning and personalization. In Sect. 3, we proposes a Cantonese Porcelain personalized learning pattern based on AR technology from the Kolb’s experiential learning theory. In Sect. 4, we analyses users’ AR application strategies in different stages of experiential learning based on personalized learning pattern with a case study of Cantonese Porcelain.

2 Related Work

2.1 Augmented Reality in Traditional Handicraft Teaching

The application of augmented reality technology in traditional handicraft teaching is mainly focused on the digitization of contents to enhance the user’s interaction and experience. Traditional handicraft teaching has been developed traditionally in learning scenarios where educators offer to scholars predetermined curricula using traditional teaching strategies. Kang (2012) developed AR Teleport, a mobile AR application that reorganizes destroyed historical and cultural sites in Korea based on movement-based interaction [11]. Puyuelo et al. (2013) presented the use of AR transcends its own specific functions to favorably create a renewed image of the monument, promoting the active perception of this historic site as well as the receptiveness of user groups who not frequently use these types of technologies [12]. Mendoza et al. (2015) presented the use of emerging technologies such as augmented reality in heritage education is promising in both formal and informal contexts, observing that heritage and natural environments are suitable for contextualized learning development processes [13]. Kim et al. (2016) presented contextualized content retrieval according to user preference will be possible for AR applications in the cultural heritage domain [14]. Dieck et al. (2017) presented AR is considered to be a way to preserve history, enhance visitor satisfaction, generate positive word-of-mouth, attract new target markets and contribute to a positive learning experience [15]. In the past 5 years, the rapid development of smart mobile devices has raised the potential for AR to move from the experimental development stage to deployment as a ubiquitous learning tool in traditional handicraft teaching.

Many studies corroborate the benefits of AR for improving the learning performance and motivating students [16,17,18]. The advantages of AR in educational settings includes learning gains, collaboration, increase the experience and just-in-time information [19]. However, these advantages need to be further explored in order to understand the real benefits of AR-based learning experiences. In this paper, we will discuss how augmented reality can improve the efficiency of user experiences in traditional handicraft teaching.

2.2 Experiential Learning Theory

“Experience” is an activity, and it is also a result of activity. ISO 9241-210 [20], defines user experience as “a person’s perceptions and responses that result from the use or anticipated use of a product, system or service”. User experience highlights non-utilitarian aspects of such interactions, shifting the focus to user affect, sensation, and the meaning as well as value of such interactions in everyday life [21]. Users gain knowledge and emotion through experiences of everyday life. Experiential learning is the process of learning through experience, and is more specifically defined as “learning through reflection on doing” [22]. Experiential learning differs from teacher-centered didactic instruction in that it emphasizes independent judgment, free thinking, and personal experience [23]. Through interactive learning processes, students gain personal experience from Cantonese Porcelain they derive an understanding of the core elements of learning tasks and explore the relation between activity concepts and implications. Learners convert the experience gained through the learning activity into an integral part of their lives, thus transforming their attitudes and prompting further reflection on extrinsic behaviors.

Beginning in the 1970s, David A. Kolb helped to develop the modern theory of experiential learning (1984), arguing that learning is a process of experience conversion [24]. The experiential learning cycle includes four cyclical learning stages (see Fig. 2): (1) concrete experience, (2) observation and reflection, (3) forming abstract concepts and generalizations, and (4) testing in new situations. Learners must go through this cycle to complete the learning experience. The four stages are continuous and experience occurs at any time. Each experience will affect the formation of future experiences.

Fig. 2.
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(image from University of Toronto Mississauga website).

Reflection Models and Learning Styles by David A. Kolb (1984).

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Experiential learning theory emphasizes the correlation between concrete experience and learning, Cantonese Porcelain matches the ostensive purpose of improving Cantonese Porcelain teaching. However, learning of Cantonese Porcelain is still based on text-based teaching, Cantonese Porcelain leads to low efficiency of learning and experience. Accordingly, this study seeks to integrate experiential learning into Cantonese Porcelain of the experience process and system design, thereby strengthening the effectiveness of experiential learning.

2.3 Personalization Motivation and Experiential Learning

Personalization for promoting an inclusive learning using AR is also a growing area of interest. Personalization is considered for meeting the needs and interests of the individual learners. A thematic analysis of the definitions of personalization include (a) a purpose or goal of personalization, (b) what is personalized (interface, content, etc.), and (c) the target of personalization (user, consumer, etc.) [25]. To enhance personalization, learning preferences as context in Cantonese Porcelain learning occurs were explored [26]. In addition, context-aware and engagement are also seen as one of the most important ways to personalize [27, 28]. In the educational arena, motivation can be defined as the student’s desire to engage in a learning environment [29]. Experiential learning enables users to acquire knowledge, enhance participation and achieve personalized user demands through their behavior [30, 31]. A key distinguisher of experiential learning from other learning approaches is the requirement for students to continually self-evaluate their progression in the learning process through constant reflection [32]. The process of Personalization motivation is the process of experiential learning, it will drive user to experience their activity.

Based on previous findings, the present study of experiential learning need to pay attention to how to realize personalization. Furthermore, we should focus on the factors of influences personalization, including content, functionality, user interface and channel/information access [33, 34].

3 Methodology

3.1 Personalized Learning Pattern Based on Augmented Reality

In the current workshop of Cantonese Porcelain teaching, text-based textbooks have greatly influenced the user experience, efficiency and usability. Therefore, to allow users to become immersed in environmental exploration and interaction with AR-enhanced learning information in workshops of Cantonese Porcelain, this study developed an innovative learning pattern, AR-based personalized learning pattern (ARPLP) for Cantonese Porcelain (Fig. 3). ARPLP integrates AR technology with the four stages of Kolb’s experiential learning cycle (Kolb, 1984) (concrete experience, reflective observation, abstract conceptualization, and active experimentation) [24] and interaction of online and offline experience. Furthermore, AR technology and mobile devices are coupled to build an experiential learning AR-based user interface framework. The framework plays three roles in experiential learning: (1) it helps users navigate the learning of Cantonese Porcelain and reduces user’s mistakes; and (2) realize real-time interaction of online and offline experience; and (3) convert physical content to virtual content of traditional handicraft to strengthen the impact of exploratory learning.

Fig. 3.
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Augmented Reality-based Personalized Learning Pattern (ARPLP)

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3.2 Four Stage of Learning Cantonese Porcelain

Concrete Experience (Feeling and Watching)

The user’s perception of the Cantonese Porcelain includes the user’s understanding of the basic schema of the learning content (short-term memory), mainly through the perception of learning content. AR intervention can be digitized by learning Cantonese Porcelain content, including the schematization (decomposition and combination) of Cantonese Porcelain content and the natural human-computer interface design (dynamic display, gesture interaction). The purpose is to enable users to import schema of Cantonese Porcelain.

Reflective Observation (Watching and Thinking)

Users learn Cantonese Porcelain modeling, colors, patterns and other contents through the observation. Combined with the existing knowledge to deepen the cognition of Cantonese Porcelain. AR intervention to gain knowledge primarily through online video and interaction with offline of the authentic Cantonese Porcelains.

Abstract Conceptualization (Doing and Thinking)

Users acquire cognition primarily through interactive experience with Cantonese Porcelain. In this process, user obtain more knowledges through the practice of production for further memory (long-term memory). AR intervention to guide users through natural and efficient learning processes, including narrative teaching, real-time integration with offline experience, and natural human-computer interaction experience with the goal of enabling users to build custom behavioral memory.

Active Experimentation (Doing and Feeling)

Users gains cognition through self-reflection and re-creation of the creative learning process, Cantonese Porcelain is a further development. AR intervention can be based on the user’s learning data in real-time personalized recommendations similar to the custom content and interactive experience with offline content.

4 Cantonese Porcelain as a Case Study

4.1 Problem of Learning Cantonese Porcelain

Cantonese Porcelain is a traditional ceramic art in Guangzhou, China (Fig. 4). It is an important representative of China’s intangible cultural heritage. With the development of society, the teaching of Cantonese Porcelain workshop is facing many problems. Table 1, according to the channels learned from Cantonese Porcelain, current channels for learning Cantonese Porcelain mainly fall into two forms: online learning and offline learning.

Fig. 4.
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Flower butterfly plate Cantonese Porcelain in Qing Dynasty

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Table 1. Learning problems of Cantonese Porcelain
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Online Learning

Cantonese Porcelain online learning channels are mainly mobile applications and websites as the main learning context. The user learning through the online based on the process of simple work, which mainly exist online interactive mode of a single, lack of interactive experience with the offline and learning process cannot effectively promote the user cognition of Cantonese Porcelain.

Offline Learning

Cantonese Porcelain offline learning channel is mainly based on museums and other workshops and schools as the main learning context. Under the certain circumstances is face to face between the teacher and the user based on the contents of the teacher’s work to learn. In addition, there are relatively few optional contents for learning. Cantonese Porcelain is difficult to practice and has limited learning time and context.

4.2 Modeling

3D intangible culture modeling is the key to realize the system. Generally, fabrication of an intangible culture model requires the following steps: (1) Select exhibits (material object is the best or detailed picture information shall be required as support); (2) Collect information (take pictures of material object from different angles, summarize corresponding literature and images as background introduction); (3) 3D intangible culture model fabrication (use ads Max and CLO professional intangible culture modeling software to fabricate the model and save the model in fbx format); (4) Make maps (make maps on the basis of pictures taken in Step (2) with help of Photoshop and save them in jpg format); (5) Model format conversion (use unity 3D game engine to compose the documents in Step (3) and Step (4) into u3d format). (6) Upload model to background database of 3D somatosensory image matching system. After display system is started up, it would detect data updating and intangible culture model in the database can be downloaded via wireless network [35].

Based on the characteristics of Cantonese Porcelain be divided into color, Instrumental type and pattern (Fig. 5). There are five kinds of colors, eight Instrumental types, seven patterns. The above classification criteria reference Cantonese Porcelain authoritative books and master’s suggestion.

Fig. 5.
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Modeling of Cantonese Porcelain

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4.3 The Process of AR-Based Learning

The production of the AR-based instructional channel was also an analytic activity as it addressed the learning process from three perspectives:

Online Experiential Learning: (Fig. 6)

E-learning is mainly based on the virtual content being learned by the user prior to the beginning of a practical activity through the mobile device. It contains historical background and process characteristics and production process learning of Cantonese Porcelain. This stage is mainly experiential learning early from concrete experience (feeling and watching) to reflective observation (watching and thinking).

Fig. 6.
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Learning content display based on AR

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Offline Experiential Learning: (Fig. 7)

It is a real-time interaction between the user and Cantonese Porcelain in the real environment based on the AR recognition function in the mobile device. Users acquire information through scanning real objects. In addition, users can also scan images 2D and then the system will automatically convert to 3D. This stage is mainly experiential learning mid-term from reflective observation (watching and thinking) to abstract conceptualization (doing and thinking).

Fig. 7.
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Model from 2D to 3D based on AR

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Mixed Online and Offline Experiential Learning: (Fig. 8)

This stage is mainly experiential learning mid-term from abstract conceptualization (doing and thinking) to active experimentation (doing and feeling). Users can experience the creation of Cantonese Porcelain online through mobile device. After having a certain knowledge base, users can go to offline workshops for creative practice. They can personalize their own work based on personal interests.

Fig. 8.
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Virtual and realistic interaction based on AR

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4.4 User Interface Design

Chinese characteristics are kept in the user interface design of display system and symmetric layout is used in the main interface and secondary interface (Fig. 9) to highlight traditional intangible culture. Four columns in the main interface are clearly arranged from top to bottom and different columns are connected by the hick lines and blurry clouds. It shows different themes are associated somehow. Illustration is used in the secondary interface. Form features of different intangible cultures are outlined by simple lines and simple and light colors match their themes accordingly.

Fig. 9.
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User interface AR-based of Cantonese Porcelain

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The first level application page includes three levels of understanding, production and testing. The module of understanding is mainly linear history dynasties show Cantonese Porcelain works. The module of production be divided into color, Instrumental type and pattern of Cantonese Porcelain through the dismantling and combination of schema. The module of testing is order to learning of Cantonese Porcelain through the graphical jigsaw puzzle and unit questionnaire to test the user level.

5 Discussions

After testing, it is found that augmented reality technology has some limitations in the traditional handicraft teaching. For example, showed limitation in the studies reviewed are “difficulties maintaining superimposed information”. Students may feel frustrated if AR application does not work properly or the device in order to see the augmented information. Another limitation, the use of AR applications allows users to rely on virtual information and reduce the interaction with the real world. These effects will limit the user’s natural interaction with the real world. In addition, a case study of Cantonese Porcelain: limitations are “designed for a specific knowledge field” and “users cannot create new learning work”, and so on. In summary, the suggestion of this research is that the development of augmented reality mobile application should be centered on the user’s behavior and cognition. Integrating the cultural connotation of traditional handicraft and the cognitive psychology of users, we can effectively realize the mixed interaction and experience both online and offline.

6 Conclusions and Future Work

Traditional handicraft are treasures of China and important component in traditional Chinese culture. AR technology brings a new presentation form for intangible culture and endows traditional culture more exuberant vigor. To make up for text-based textbook limitations, we used augmented reality to dynamically render traditional handicraft content: static display changes to dynamic display. In order to enhance the user experience and cognition, the study proposes a theory based on experiential learning: from content-centric to experience-centric, and design a personalized learning pattern for traditional handicraft. To explain the personalized learning pattern, we designed a learning scheme that stimulated students’ creative design learning motivation, and a case study of Cantonese Porcelain. We also designed the user experience interface by referring to the characteristics of AR application. Users can learn content through AR applications interacting with the real world to create an effective AR scenario.

In future work, we will examine the personal and environmental factors that affect personalization and creative design. At the same time, we will improve the AR prototype system of this study, which will be applied to the local traditional arts and crafts teaching classroom. In addition, we will focus on the natural interaction and experience of AR mobile applications online and offline in the traditional handicraft teaching environment, and enhance the interactive experience value of mobile applications. Thus, our aim is to ensure that AR technology plays an increasing role in the future of general technology personalized (creative) learning courses.