VR Painting With Google Tilt Brush | David Miller | Skillshare
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8 Lessons (41m)
    • 1. Introduction to Google Tilt Brush

      6:07
    • 2. Tilt Brush Tools 1

      5:04
    • 3. Tilt Brush Tools 2

      5:04
    • 4. Material Types

      2:24
    • 5. Saving a Template

      2:13
    • 6. Building A Complete Scene

      12:45
    • 7. Labs and Photo Reference

      4:46
    • 8. Finalizing Your VR Painting

      2:59
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About This Class

Painting in Virtual Reality is a an amazing 21st century artform that currently is spearheaded by Google's platform Tilt Brush.  In VR you can step into your paintings, scale them to any size, view them from any perspective and utilize unique materials like lighting, fog and fire.  In this course you'll learn how all the tools can be used to maximize your creativity, learn how to make amazing immersive works, start perceiving art in 3 dimensional space that you can occupy, and share the works to the greater public.  

Meet Your Teacher

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David Miller

Multimedia Artist For Primordial Creative studio

Teacher

I'm David, a multimedia artist in Phoenix, and my studio is Primordial Creative.  

 

I have always been interested in the visual arts from an early age- drawing, painting, and clay- but around my high school years I became interested in photography for the social aspect of involving other people, the adventure inherent in seeking out pictures, and the presentation of reality that wasn't limited by my drawing skills.

 

One thing in my work that has stayed consistent over the decades since then is I have an equal interest in the reality of the lens next to the fictions we can create in drawing, painting, animation, graphic design, and sound design.  As cameras have incorporated video and audio features, and as Adobe's Creative Cloud all... See full profile

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Transcripts

1. Introduction to Google Tilt Brush: Hello, friends. Welcome to my studio. Primordial Creative. I am David Miller, multimedia guns in Phoenix, Arizona, metro area. This course is going to focus on virtual reality painting. Using an app called Google Tilt Brush, I first encounter Google tilt brush when I worked and an art experiences occupation place called Wonder Spaces. We had multiple interactive, 21st century kind of art pieces that people would pay an admission, come take part in. They go to the bar, they walk around with their drinks. They have a good time. It was supposed to be like an alternative to museums or movies, but feature art that was really cutting edge. It's the best way I can describe it, and we had to virtual reality experiences. One was animated one waas, a short film that has live actors, and it got me thinking, What could an artist do in the virtual reality space that wasn't necessarily like a video game or a short film? Or one of the other very commercial uses virtual reality. So investigation led me straight to Google's project called Tilt Brush, and I thought it looked amazing and then we hooked ourselves up in my household with the Oculus Quest. And this currently in 2020 January 2021 of filming. This is the cheapest VR set that includes hand controllers. There's something called the Oculus Go, which is very cheap, and it's a stand alone unit, meaning it doesn't attached to a computer. But the thing with the Oculus quest is it has hand controllers. The Oculus goat is not. If you don't have hand controllers, you're not gonna be able to use Google tilt brush. So we went ahead, got this set, and I want to teach you how to use Google till crush because a lot of reasons, but one primarily is that virtual reality painting is a new form of our expression that I think is gonna be a lot more popular. The more people get their hands on these devices. As an artist, I'm constantly frustrated by the notion that are is somehow confined to a rectangular frame , and I know we go in museums and galleries, and we see a lot of our work that isn't that way. But by far the majority of the artwork you encounter in the real world, whether it's in a museum, a gallery or on a screen is in a rectangular frame. All movies, for example, paintings up until the 20th century essentially are in rectangular frames, photographs so on and so forth. And having worked in an art experience place and seeing how immersive art be its virtual reality or installation, what have you actually connects to people who are not so inclined to appreciating rectangular frames on walls? It's pretty amazing. And because we have the technology to immerse people in artwork, I think we should. So that's one reason why abdicate for virtual reality painting with Google Tilt brush. Another reason is you are working with materials that you've never been able to work with. Four. Meaning you can paint with fog. You can paint with Starlight rainbows, regular light. Uh, I watched a video that Google put outs. They talked to designer Chip Kidd, very famous graphic designer to the dress park logo work with Batman and many other projects that are wonderful and he's just a great guy. I have not met him in person, but, you know, by all appearances he appears to be a very thoughtful artist. He compared his experience with Google tilt brush to works that public. Ah, so did in a photograph where he painted with a penlight. The camera shutter was left open for a long period of time as he drew his Picasso drawing in the air and then flashes pop to the last second. This is a really common photographic technique light painting, But nobody has really achieved anything quite like this where you can change the scale of perspective. Step into the painting. So on and so forth go. Speaking of stepping into paintings, there are a lot of videos on YouTube showcasing artists who used tilt brush to recreate Vincent Van Gogh pieces to recreate Gustav Clint pieces ever mook so on and so forth. And, well, I feel like new technology can do better than just recreate old art pieces. I get the appeal of transforming old works into things that we can experience in new ways. Certainly on YouTube VR, they have Salvador Dali paintings that you can now become immersed in. Look around every direction, see objects move in a way that they obviously didn't when Dolly did the paintings. So hopefully I've got you a little bit excited about virtual reality painting. Uh, once you dig into the process? I feel like you're not gonna need me to tell you how exciting it is. You're gonna find out how exciting it is for yourself to let's dive right in. 2. Tilt Brush Tools 1: When you step into Google tilt brush, you're gonna have your right controller in your right hand, your left controlling in your left hand. The left hand is going to contain all the menus, and the right hand is going to be your drawing tool, but also the thing used to select things off the menu. On your left hand, you can cycle through your menus using your some wheels and my experience with the Oculus questioners. Almost all the apse have very similar kind of approach to what? But do you use what joystick does so on and so forth? So let's talk about the menus that you will be facing as you enter Google Tilt brush from the first time you're going to see environments. This is where the space that is around you in your Oculus quest can be altered. You can have it be pure white. You can have it have mountains in the background, a star field that you're standing floating into space. You can have some color fields that have radiance, meaning they shift from one color to another. Whatever space you end up picking, you can alter the coloration of it, and you can alter the placement of the lighting that's around it. You also have an option called fog, which makes the objects further away more diffuse when you turn it up. So these things will become obvious when you actually use that. But I'm letting you know that whatever environment you want to work with you can build. And if any of those environments aren't quite working for you, then you can absolutely create shapes such as a sphere, a cube so on so forth. And by holding the to buttons here, you can scale that large enough that you could actually step into that environment and create what you want within their regardless of whatever environmental field is outside of that object. So if you wanted to create a room, all you would have to do is choose a cube and grow that large enough that you could walk into it and then create your room. Within that environment, Do you have the eyedropper? This is a color selector. It's the same icon that's in photo shop. If you've done anything in Adobe photo shop, it's very recognizable. Use this to pick colors. For example, if I did a painting of a person, and I needed to re sample their skin color after I've done a few other things put clothes on them. I could easily use the color picker to choose the color of their skin tone and then continue painting, even though it might have been some time since I last did any skin painting on that character have that color selected in the past? You can replace colors, meaning if I painted with skin on somebody and I realized it looked to Pinkett look too unnatural, and I wanted to replace it with something that was little more subdued are tan whatever. Then select my color replaced the color with it Easy peasy. The eraser tool is something you're going to utilize a lot. This sucks up any mark that you've placed so often time I treat my brush like a spray paint can where I hold the button down and I pay pay pay, pay, pay, pay, pay, pay, pay pay for a while. If I made one mistake there and I selected my eraser tool and I went ahead in the race, that one little mistake it won't shave off the one little mistake it'll suck up the entire flawed painting. So if you're somebody who's prone to mistakes, I encourage you not to treat it like a spray paint can where you hold the button down and sprays race, race, race. Very. I encourage you to put your work release, but you mark release, but America lease on. Then if you have mistakes, you can use the eraser tool to suck them up individually rather than two minutes worth of painting that you've done. 3. Tilt Brush Tools 2: telephone. So this is an icon of moving feet. When you're working with the Oculus, you're going to have an environment around you that you're free to move. This is called The Guardian. You set up the guardian every single time you put on the headset. And the unfortunate thing about guardians is if you're doing a painting, sometimes you can't access the other side of the pain that you need to work with. You need to stand over here, but it turns out I got a chair in the way. So I select Teleport placed my feet where I think I need to go Click it and I will leap to the other side of the painting. I don't personally move. I'm just moving within this virtual reality space that I've created, but that allows you to get anywhere and everywhere within your painting that you need to access. The mirror Tools are very useful if you're doing anything that you want symmetry to, for example, a technical drawing like a gun, a car spaceship, so on and so forth. You need one side of that object to mirror the other side. That's where mirror comes in similarly useful if you're doing technical drawings, is thes straight edge. This just allows you to create straight lines, as you would in real world if you had a ruler. Now Google has a website, polly dot google dot com, where you can upload your three D creations. You can also remix creations from other people, and by working with this particular website, you are able to import models into what you're going to work within tilt brush. So the Poly panel is where you access those other models. If they are remix herbal, if they are open for you to use, Not everything you find on polly dot google dot com is a remix, Herbal object or a remix will piece. But if you're starting out or you just think it's fun to remix other people's work, this is a great place to engage your creativity without having to start from scratch. Each time within the lights panel, you have three lights that you'll be working with the sun, which is your primary light, the moon, which is your secondary light, and then the fill light, which is the lighting within the shadow spaces. The sun is what cast the shadows the moon does not. You can place these lights wherever you feel on your object in your three dimensional space , and you can change what color those lights actually are. So you're not stuck with the sun being a natural, bright white light, you can alter it, so your primary light source is red is very de saturated. Whatever you feel like doing with these lights you can do. The guides are three basic shapes that you can place within your scene and then apply paint , too, in a way that sticks directly to those guides. So when I started out doing heads, I took the pill form. I reshaped it the best I could to accommodate human head. And then when I did my painting, when the cursor stuck onto that form as I maneuvered around, it didn't pull off a form it just painted directly on that shape. Really useful tool. The selection button. This is a little cursor icon. If you want to choose specific parts of what you've painted and duplicate those, this is where you can do it. For example, when I created this manic inform, I did too. Pill forms for the arms and then a sphere for the fist. I was able to select all three of those objects and duplicate it so I could create an arm for the other side of the body. You do have a choice to select all, which is everything in your scene. You choose to duplicate that. If you wanted to create some sort of mirrored piece or fractal ized piece, you could also inverse select. This is all stuff that's kind of familiar to people who utilize photo shop. Inverse selection simply mean it's everything but what you've selected. And that's sometimes an easier choice. When you have a really complicated scene, and instead of selecting a whole bunch of things, you could just pick, you know, a couple objects here and then select everything but those couple objects. 4. Material Types: so those are the basic controls. Now, for the really fun part, we gotta dig into the materials because we're working in traditional our media, physical media. We're not always limited. I mean, if you work in any form of painting, you know that you could introduce physical objects like salt, rope collage, so on and so forth. But in virtual reality space, we're able to work with energy, essentially everything. We're working with his energy. And even though we have a limited materials palette, uh, I can see how that's going to grow in the coming years. Also, the materials we have our things that I've never had access to before. When doing my own illustrative work, you have very flat kind of materials such as ink markers, highlighters. You have the energy forms such as rain bows, stars, bubbles, fire, electricity. You have an audio reactive material which is away form, so you could actually have music playing in your environment azure painting. And it's going to pick up that music through the Oculus microphone and, uh, have the painting synchronized to what you're playing, and you have some material that is already three dimensional and has volume to. It isn't flat material you have material that reacts to light, such as diamond has little bit of a sparkle to it. Currently, you're lacking material that has a lot of texture to it. I'm hoping that in future iterations they figure out how to incorporate texture packs the way that, say, a video game that works in three dimensional space would incorporate texture packs and allowing a place those in there. But in the meantime, when you are doing textures, but in the meantime, you have a bunch of really cool materials to work with. The more you play with tilt brush, I think the more you ultimately will find your favorites that create a style of art that you want to make. 5. Saving a Template: we're gonna talk about creating a template that you can use and reuse for the basis of majority of projects. This one is just gonna be parts of a room. It's gonna be the back of the room and the two sides. I got this idea because of some of the YouTube videos out there where people are re creating, say, a painting of Vincent Van Gogh's and they need a room. So I used the stock cube template. I'm gonna paint it all one color and I'm gonna make sure that the cursor of my paintbrush goes right onto the template that happens when you move close enough to it. You'll see little point at the end of your paint cursor leap onto the template and you can just go from there. So the paint, all three sides of this, Then once I've gotten that far, I can turn off my grid. And now I've got my three walls. I'm going to save it. Using the disk icon, you take a photograph. Now I painted in a particular color, but I can absolutely replace the color, anything I wanted to be. And if I feel like saving those as their very own sketches. I certainly can so change it to Gray good to the save icon. Save as a new sketch. Take a photograph of that. Those are gonna be in my sketch library for ever. Basically, unless I erased the memory of the Oculus. That is something that when I do wanna call it up and add any details such as Windows, I absolutely conduce that and say that as a new sketch. It's very similar to how artists will have templates for, say, comic strips in Photoshopped that are just the boxes and they fill him in. Saving is something new, never erasing the original template and making sure they don't have to redo the same amount of work over and over and over again. 6. Building A Complete Scene: So now that we've gotten a handle on the tools of Google tilt brush, we're going to try and make an actual art piece and buy art piece. I mean something that is capital A are something that can be appreciated for its emotional quality, how it makes the viewer feel, and not so much like the simple sketches we've done of faces. Now, when you're working in virtual reality, it's immersive art. So it really lends itself well to creating environments. I want to create the kind of environment that evokes a strong emotion out of somebody, a couple things that I can think of that air good short, hands for motion are maybe a spilled ice cream cone on the sidewalk. Everybody has a memory from childhood that has that sort of sense of sadness and loss that comes from having a sweet treats bill straight onto the sidewalk. Also, being alone on a desert island with nobody else around is kind of like a cultural shorthand for loneliness, and so that is exactly what I'm gonna create. The first thing I'm going to do is pick an environment out of the library that Google told Brush has that I think is suitable for it. Very foggy night time environment where you can see all the stars. I think it's gonna work well, so to make some adjustments to the fog and the backdrop because it don't want to see mountains and resistance, things in the distance give people hope. And I really want to create something that is like very literal isolation and loneliness. So I'm going Teoh Fog out those mountains, make sure that you can't see them. I am gonna set it at night. I do love being in isolated areas where you can see all the stars and the Milky Way. And I have the opportunity to use that in Google tilt brush to create my island. I'm going to use one of the brushes that has a three dimensional quality to it. I'm going to make it sort of a neutral brown color. This particular three dimensional brush basically creates a cube with a tapered beginning and a tapered end. And until they have more tools that create hills and domes, this is gonna be the best I've got. For now. When I have the basic structure of my island, I'm going to create the ocean around it, and the way I'm going to do that is use a polygon tool to create a cube. I'm going to extend this cube as much as I can in both directions. And of course, since you can change this scale while using Google tilt brush, I'm gonna shrink down the overall environments in my cube eats up much space as it can once I have my Cuba position it. So there is a flat surface in the middle of the island horizontal middle. And then I'm gonna choose a paintbrush that creates 100% flat color all the way around most of the paint. Russia's use will have some sort of effect to them that looks like a paint brush. So when you paint over the same section, you get this kind of edged overlap. That might look cool if you're doing something that's like a more literal painting. But I really want flat water. And so I'm going to use the flat brush. That is the choice that works best. I'm painting the ocean as far as I can and the edge of the ocean. I am going to use the clouds tool to give it a sort of miss tiendas if this is an island lost in time that no one could find. Now it's helpful that I thought about this concept before I sat down with Google tilt brush and started working it out. As with any piece of art, the more you plan, the more you think about the concept, the easier it is for you to execute. I'm not against spontaneous art by any means do quite a bit of it myself. But when you're using tools that allow you to create an entire environments, it's good toe. Have pre planned a little bit to take a piece of paper, write down what characteristics you think are important or appropriate for the peace. Now one of the cool things about virtual reality paintings is you can position where your viewer is going to experience it, even though I can zoom often the distance with Teleport Aiken go high up in the sky. Control totally changed the scale of everything. When you have it uploaded to Polly, you can set where you expect the viewer to see the range of the painting, so I'm expecting somebody to stand in center of this island. Look out in the distance. Feel that isolation because they're going to be on the island. Wanna make sure have a lot of details to it? I'm using this stippled brush. This is the one that has the really impressionistic effect. And I've noticed most of the VR artist that I follow on social media make extensive use of this particular brush. It just feels most artistic that most textured of the available brushes in Google's help brush. I'm going to utilize a couple different colors and various sizes of the brush, as well as various scales that I paint at because I want this to have kind of a randomized feel to it. I want it to be what you'd experience on a really island best I can. And because it has this naturalistic look, it counteracts sort of the political early PlayStation type three D graphics you get when using something that has mawr, sharp edges and Cubists political look like what I've currently constructed my island with . I've used the dots brush to put some thoughts around the environment, so the water appears to be reflecting something, and in the distance I'm going to add streamers thes our squiggly little lines. They kind of remind me of electric eels. I had thought about placing them right on top of the water, and I made an attempt to do that. So it looked like there were fish swimming around the island, but ultimately it looked a little silly in a natural. And when I put them way off in the distance alongside the clouds, I felt like that was a better fit for where the streamers could give some life to this painting but still be something that's away from where the viewer is meant to stand now. No desert island would be complete without a single lonely tree, and so I'm going to use the icing brush. This has a little bit of a texture to it, and it also is a three dimensional brush meeting that it creates a column. It's meant to a vote cake icing, I believe, but for my purposes, it certainly looks like a curvy palm tree. Then I'm going to set up a mirror and use the pedal brush. Now, this is one of my favorite set of tools to work with, because most plans follow a sort of blooming sequence. It's known as the Fibonacci sequence. I'm not necessarily following that exactly. But I think the pedal brush is really elegant on attractive looking. And by setting up the mirror in the middle of my tree, I'm able to blooms that mirror each other. And the overall goal is to introduce a level of believability into the piece. Now, whether these pedals are exactly what a natural palm tree has is relevant to me. I just want to make sure it looks like it has some life to it. I'm going to stick some coconuts in there. As soon as I'm done with my pedals. The coconuts will be designed around a sphere. And once I've designed one coconut, I'm going to use the select tool, select it, duplicate it and each coconut I make. I'm going to make a little bit of an alteration. I'm gonna reposition it. I'm going to change its size. It's up to you. You want to be hyper detailed. You could certainly create multiple spheres and paint them all slightly different. I don't think that's necessary for this particular piece. I'm gonna place some of them on the ground around the tree and replace some in the tree re scaling each one. And as soon as I've done my placement, I kind of look around to see if there's something really unnatural about them. For example, if they're just hanging in thin air, if they're not actually attached to the tree, that's something I need to correct using the select tool. So now the piece is really coming together, and the tree itself is the center point of everything. But I feel like it needs to stand out a lot more. Even though it has some texture from icing, it doesn't have enough. So I'm gonna go back to my textured brush. I'm gonna go back to my textured brush called course bristles. And once again, I am going to use a variety of size of the brush. I'm gonna re scale the painting, but I'm gonna put some course bristles all the way around this tree trunk. I think that's really gonna make it pop out. And I'm using a lighter color for contrast when everything I'm gonna paint from different directions. So I'm doing what you would traditionally think would be straight on painting. I'm also gonna turn my joystick sideways, all in service of getting a variety of textures along the tree trunk. At this stage, I feel like I've done as much as I can think of in the moment with the tools that I have available. But I'm gonna take a look over in the Poly Library and see if there's anything that is free for me to use. That somebody else is designed that could enhance my piece. And ah, lot of what's in the Poly Library is kind of silly. I mean, we've got Alfred Hitchcock and really don't want to borrow Alfred Hitchcock and stick him on my island. That's meant to evoke a specific sense of isolation. I did find this cool grass piece that I personally am not capable of designing. I feel like we go to the Poly Library to find things that way. Ourselves might have a little bit of trouble creating. I'm gonna position this grass piece pretty low within my island. It's not gonna float above it in any section. I'll stretch it out, scale it, place it and then I'll go back to the Poly Library and pick another piece of grass and have that one be perpendicular to my previous peace. I also think it's cool that there would be rocks and grass that aren't specifically on the island, but you know, a few feet out in the water, as would be realistic. In real life, there would be shoals and rocks that aren't part of the main island. Grass would poke up from the bottom. Lighting is really important in evoking any kind of mood, whether it's a photograph or a VR painting. Through playing with the colors and the placement of these lights, you can see what lends itself best to whatever mood you're trying to evoke. If everything was perfectly lit and super bright, you probably would think of this as a tropical vacation. But when it's very subdued and shifts towards the cooler colors, I feel like that supports the concept that I'm going for in this painting. 7. Labs and Photo Reference: deep within Google tilt brush are a few hidden options that are pretty cool. You can access them in the lower right corner of your menu. It says More options where the three dots are the main thing. We're gonna addresses the labs, but I want to show you view the settings. You can alter the positioning of your brush so either points forward like a regular pencil , or you can have it point straight downward. Here, you can add some ruler lines to your straight edge. Pretty simple stuff. Let's go back to the labs, though, because there is one particular special feature that I've been using quite frequently in the VR paintings that I do. And that is a photo reference accessed through the media library. Now your media library is something that can contain videos, photos. You need to fill it up when you have it connected to a computer. The Oculus quest that I'm running Google tilt brush on runs on Android when I connected to a Windows computer. I have a regular file system, as I would any sort of external hard drive, because I mainly use a Mac book pro. I have a specialty program called Android File Transfer, And this just simply allows me to access the file hierarchy. When I have my Oculus quest plugged into my Mac book pro, you can drag and drop your photographs into the Oculus Media Library section. Once you have them there, you can open them up in your painting. You can scale it. You can essentially trace it. You can use the color sampler to pick the colors, as I've done with this young woman's hair. This is a lien on one of the models that I work with most frequently over the last four years. Whenever I do something with photo reference, I always have this strong desire to make a replica of the original photo. But by the time I'm done with any of my VR paintings using photo reference, I've added tentacles or something really crazy because ultimately, I realized that you can make a stranger, inferior version of a photograph, or you can take advantage of the tools that you have with the media you're working with to make something that's really different from the photo. I want to make a version of this that I could not have possibly done when I photographed her in person. So after I've done some of the basics of the face using the color sampler and various brushes, I'm going to add some energy effects, and I'm gonna disregard some of the features that are actually on this photograph. I don't think I want to do a pleasant picture of a woman holding a leaf. I want to do something that's exciting and vibrant and could only be done with Google Tilt brush VR. I'm going to give the rest of her body kind of a ghost like apparition. Lower half. I'm gonna have it spiral down and it looks like she's a spirit coming out of something. I'm gonna have her come out of some fire, so I'll put some embers around her. This is the embers. It will be coming out of my fire. I'm gonna build a fire completely around her, make sure I have some smoke. And because the energy effects in Google tilt brush are so bright that they kind of overwhelmed the peace and they catch the eye. I'm going to use ink splatter and cover up some of that with some dark silhouettes stuff. Make sure that you're not completely drawn to the fire, but you still get a sense of the energy. I'm gonna add some life to her eyes because so far in my own paintings, the eyes have looked really dead. They don't have that spark that I'm able to get in some of the other media that I create artwork in. So I'll add light to them dots. I'm gonna add smoke to rise. I've done this in almost every portrait I've done of somebody. Ultimately, I have a piece that sort of evokes the notion of burning a witch. I'm not saying my friend looks like a witch, but I am saying that it's got a lot of fire and vibrancy, and I think that most people who look at this and they see ah, woman in flames will either think of the X Men character, Phoenix or they're going to think of the sort of classic urban legend of pilgrims burning in which at the state there you have it, how toe access and operate with photo reference, feel free to be is faithful to your own photo references that you placed within Google tilt brush. I just felt like having a lot of fun with this stuff and making pieces that take advantage of all the tools that I have access to until brush. 8. Finalizing Your VR Painting: the final part of working with Google. Tilt brush involves saving and then up loading your sketch. Now, if you want to save an upload your sketch, but you think you're gonna work on it more in the future, that absolutely is possibility. You never really have a finalized sketch, and the ones that you upload to Google site Polly can be private. They don't need to be public, so you can always have access to them without worrying that they're not finalized for public consumption. When you go to Pauling in the upper left corner, you have access to your uploads and your likes. When looking at your uploads, you can edit details such as where the viewer is standing. So in my case, it automatically put me way above my island. I need to get down deep in there the use of my track pad going to edit details and publish when I'm in the edit menu, I am going to make some adjustments to where I want the can replacement to stay re title. My works. She's a category so other people can find it. Now I would call this part, except we do have a choice called places and scenes, and I feel like people that are going to find this piece interesting or probably gonna find interesting in places and scenes rather than art visibility And allowing remixes means that other people can open up your work in their Google told Brush and make some cool adjustments. When you're ready, click publish up tough. Once your work is published, you can export gifts at a variety of sizes. You can do it as a widescreen format as something that is aspect ratio 4 to 3 and something that is aspect ratio. Oneto one Various speeds Download for sharing I want to thank you for your time watching this course on Google Tilt Brush. It's a really exciting new art form. I know it's still in its infancy, but that's when a lot of art forms are at their most exciting. And I'm sure that Google will incorporate new features as time goes on and more and more very creative artists will get their hands on VR tools. Tilt brush create works that rival what's currently on Polly. Now, if you want to see some of the amazing works that other people are doing, I encourage you to explore Polly, get some ideas for what you may do with your own pieces because there's a lot of amazing stuff out there. And once you see what somebody else does, it gives you a lot of fodder for what you could do in your own works. Once again, thanks for watching Talk to you next time.