Augmented Reality for All: Bring Your Artwork to Life with Adobe Aero | Darren Booth | Skillshare

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Augmented Reality for All: Bring Your Artwork to Life with Adobe Aero

teacher avatar Darren Booth, Illustration, Design, Lettering

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.



    • 2.

      Introduction to Augmented Reality


    • 3.

      Preparing Your Work


    • 4.

      Importing Your Work


    • 5.

      Adding Behaviors


    • 6.

      Adding Multiple Behaviors


    • 7.

      Saving & Sharing


    • 8.

      Interaction Demonstrations


    • 9.



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About This Class

Have you ever wanted to see your artwork in your surroundings? Or interact with it in real-time? Learn how to bring your creative work to into augmented reality with Adobe Aero!

This class is great for illustrators, lettering artists, designers, and other creatives looking to experiment with augmented reality without having to be intimidated by this new and exciting medium. You’ll learn how to prepare your work for AR, import it into Adobe Aero, and will get an understanding of the basic functions that helps make static work interactive and immersive.

This class would be useful for artists looking to:

  • Stand out on social media by bringing their work to life in a new way
  • Quickly prototype ideas in the space around you
  • Create an interactive experience with your work that wasn’t possible until recently

Whether you make imagery using software like Photoshop, Fresco, Procreate, Illustrator, or work in 3D, you’ll be able to bring your work into AR.

Note: To take the class, you’ll need Adobe Aero, which is free in the App Store.

Meet Your Teacher

Teacher Profile Image

Darren Booth

Illustration, Design, Lettering


Canadian illustrator Darren Booth has collaborated with some of the world’s most well-known brands,
and high-profile clients such as Steve Martin and Willie Nelson. Aside from being known for his lettering, Darren’s painterly-collage style work balances on the tight rope between illustration and art. It often appears in a wide variety of applications from coins, fabric, and murals, to packaging, and book covers. Always looking for new ways to evolve Darren often fills his spare time learning new things and doing small experiments that help steer his distinctive work into new and different directions, such as augmented reality. He recently completed an AR Artist Residency with Adobe. 

Darren graduated from Sheridan College’s renowned Illustration pr... See full profile

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1. Introduction: It's not that long ago the idea of augmented reality seemed like something out of science fiction or from the distant future. But now it's actually here and it's becoming integrated into our daily lives. My name is Darren Booth and I'm an illustrator and lettering artist based in Ontario, Canada. Sorry, I apologize in advance for any excessive apologizing that I may do. Sorry, is how Canadians say hi, so hi. Over my career, I've illustrated everything from portraits to beer labels to surface designs. A lot of my lettering appears in magazines and on book covers. For the majority of my career, I worked traditionally and three years ago I started working digitally. This opened up a lot of new opportunities to experiment with my work, which has always been important for me as a growing artist and as somebody who's always trying to stay interested in their work. So one of these opportunities was an artist's residency with Adobe, where I was able to do a deep dive into Aero, which is their augmented reality app, and it's the app that we're going to be using in this class. I'm excited to teach you a lot of the tips and tricks that I learned along the way and help you get started with Adobe Aero. I'll share with you how to get started in AR using your own artwork. Learning this skill is important because you can use it to see your static work in a way that you haven't really seen before to help stand up from your competition, to enhance storytelling and make your work interactive and immersive. You can use it as a tool for prototyping ideas such as figuring out if your concept is actually going to look the same way that you envisioned it or help determine how large you want to create a piece in real life like a painting or a signage. I'll teach you how to prepare your work and how to import your work for Adobe Aero. I'll show you the tools to help add interactivity as well as lots of helpful tips and tricks that I've learned along the way. I'm excited to teach this class because AR is a new, exciting, and a unique medium that artists can explore and use to grow their work. Experiencing your work for the first time through a new lens such as augmented reality is a remarkable feeling because it is such a different medium from what we're accustomed to and help stroke that raw creativity, and that raw energy that only happens when we discover something new. 2. Introduction to Augmented Reality: Let's start quickly with some common misconceptions about augmented reality. First one, and this is probably the biggest misconception, is that augmented reality and virtual reality, VR, are the same thing, but they're not, they're very different technologies. AR enhances somebody's real-world environment with interactivity, whereas VR creates an imaginary world completely isolated from the real world. The second misconception is that AR is a fad, and I don't really see that being the case. The use of AR is increasing all the time and it has lots of useful applications, and let's be honest, things that are useful generally tend to stick around. Lastly, another common misconception is that AR is only for gaming. Again, that's not the case. In health care, education, retail, marketing are some of the industries that are doing really well with AR and I feel like the specific terms get a bit confusing because you have AR, you have VR, you have mixed reality, but who knows? I think simulated reality may become the umbrella term that we eventually use, but we'll see. I could be terribly wrong on that and this will be my public record that's going to follow me around for years to come. So all that said, augmented reality is a relatively new medium to explore, especially for creative people, makes it really exciting. The evolution of the technology is definitely making it more accessible for everybody, and we're already familiar with AR through Pokemon Go, which definitely helped raise AR's mainstream awareness. Retail also uses AR brands like IKEA, which I'll show you here. It lets you place products in your own space. Virtual Try-On is a lot of the direction that brands are starting to go. You can see what I mean in this app by Gucci, I'll put some lipstick or some hats on or something, and this one by Warby Parker that lets you try on eyeglasses. I'm curious too, freelancers will be able to use to try before you buy options with some of our own products at some point in the future. Let's not forget the fun face filters like on Snapchat, and Instagram, and TikTok. For example, like the face filter that I'm using right now has completely transformed me from a 60-year-old dude into a 40-year-old dude. I'm just catfishing you right now. To be honest, do you believe that these eyebrows are real? Don't answer that. AR is just starting to be used for artistic expression and it's changing really quickly, especially with apps coming out that are super easy to use like Aero. It's fun getting in on the ground floor of a new tech as well. For artists, I feel, we'll use AR to add new narrative layers and interactivity to children's books. New ways to experience and interact with hand lettering, illustration, design, maybe even photography, prototyping, and testing ideas for designs or products that'll be made into a physical object at some point for being able to experience the cover of, I don't know, The New Yorker or National Geographic, in a new and an immersive way. So before we jump into the first lesson, here's what I want you to think about. I'd like for you to approach this class like it's a series of experiments and not worry about creating a finished product. It's easier to learn with a bit of a blank Canvas instead of worrying about creating a high polished piece of art or having a fully formed idea and then getting really frustrated or pissed off that you can't actually execute it. I'd recommend using some of your existing designs, drawings, artwork, so you don't have to worry about making new artwork, and you can just jump right in and not overthink things, which I personally have a tendency to do. If you don't have any existing artwork that you'd like to experiment with, you're more than welcome to create something new for the class. But, of course, there's always a but, it doesn't have to be anything really complex. These experiments are designed to help you get comfortable with the Aero interface and just start understanding the basics of working spatially before you move on to a more complex build, just think of it as you're just learning to walk right now before you start running. I've literally drawn scribbles and dots, and I've gotten some really cool results just with simple things like that, and you can achieve some really interesting results with very simple elements, and if something doesn't work the way you were expecting it to, that's okay because you'll discover that Aero allows us to do quick iterations and corrections along the way. 3. Preparing Your Work: Welcome to Lesson 1, preparing our work. Now that you've heard me ramble on about Aero a little bit, let's get down to some of the fun stuff. I'm going to walk you through preparing your images for Aero and the goal of this lesson is to just become familiar with the file types resolution, sizes, and just some of the things to be mindful of with regards to your images. Maybe this goes without saying, but the images that we are going to be using aren't actually created in Aero. Aero is the place to assemble and add the interactivity to the assets that we're bringing in from other programs like Photoshop, Illustrator, Procreate, Fresco, or even painted and scanned in. You may have an idea of the artwork you'd like to use, but before you go digging through your hard drive for it or drawing it, here's a few things to keep in mind. Use an image that doesn't have a background or one that you can eliminate the background from somehow like by turning those layers off or erasing it out, especially if it's a scan. Let's just keep things simple and exploratory to start. Again, I want to emphasize that you don't necessarily need finished illustration or a fully rendered 3D model or a design. Like I mentioned earlier, I've literally just drawn scribbles before that made for some super cool results. Files don't need to be high resolution, 72 DPI and in a square format, work the best. Anywhere between 1000 pixels squared and 2,000 pixels squared. Here's a list of the file types that work in Aero. Most of them you're likely familiar with and some of them you may have never even heard of in your life before. For the 2D images that I'll use in the demo, I'm going to use the common ones that we're most familiar with, like PNGs. For the layered ones, I'm going to use PSDs. I'm going to walk us through preparing some of the images that we're going to be using in the class. Let me just get comfortable here. Important to have good posture and then I'm not leaned over like Quasimodo. Here I have my first image called up in Photoshop. I'd like to prep this image so it's just a flat 2D image when we bring it into Aero. That means it's only going to be one layer in total. I'm going to collapse a few of these layers and then delete some of the extra layers that I don't need right now and that includes the background layer. The reason for deleting the background layer is because I don't want the white background to be there when I bring this into Aero. I want to see this chartreuse colored shape. If the background is there, I feel like it'll interfere with one of the fun things about AR, which is senior work overlay with the actual environment, as opposed to looking like a flat poster that blocks out part of your environment or your space. Now that I have the layers prepped the way that I would like a double check the size and the resolution. Aero works with screen resolution images, which means 72 DPI. For the size, I'm going with 1024 by 1024. You don't even have to use 1024, but use something in between a 1,000 pixels squared and 2,000 pixels squared. But in my personal experience and in my experience through the Adobe residency, Aero does work best with images kept within a square. That might have something to do with the way that arrow compresses the images. I don't really know. Let's prepare a layered image now. Here's another iteration of the same piece I just prepared. I did make a few copies to the original file, so I don't have to worry about messing up and overriding them by accident. If you would like to try to use a layered PSD either now or one of your future experiments, I'd recommend limiting the layers to approximately six for now and that's just to make things a little bit easier and a little bit easier on Aero as well. If you have a file with tons of layers, be selective about how you're going to flatten and bake some of those layers and those layers groups together. Let's talk about stacking order for a minute. Because it does matter the layers at the top of your stack, we'll be your foreground layers and layers at the bottom are going to appear furthest from you. Here's a quick tip too, make sure your layers don't have duplicate names. There's two types of people in this world, those who name their layers and those who don't. I usually fall into the latter category but today, I feel special and I named my layers just for you guys. If you're using a scan of an image that you drew or painted old-school like with actual paint and no command Z. Do your best to separate out the background, clean up the edges, and then prep the file to the specs that I mentioned. If you're working in Adobe Illustrator, you may have an extra step. If you're Illustrator file has multiple layers, you'll need to export as a Photoshop PSD first, and then double-check those specs in Photoshop. There's a few ways to save out our files and have them ready for Aero. One, if you're using a newish version of Photoshop or dimension, you can simply use the built-in Aero export file, File Export, Export for Aero, and save it out to somewhere that's accessible from your device. In my case, I'm going save it out to Creative Cloud. Two, the other option is exporting your image or layers manually. If you're in Photoshop, you can go to "file", "export as", and then choose PNG or SVG, GIF, what have you. If you have multiple layers, you'll need to turn off all of your layers first and then turn on only the layer you want to export. If you try to export a layer and another layer is turned on at the same time, it'll export them together as a single image. Again, that's "File", "Export As" and then you can choose your file type, PNG, SVG, just go with PNG. There's one more thing. I want to add another type of file for us to work with, because I think this will be an option that a lot of you taking this class will be really interested in learning. That is of course, animated GIFs, the internet's favorite thing. The ability to use animated gifs or GIFs if that's your thing, wasn't always available in previous versions of Aero, but it is now, so I mean, we might as well use it. There's a few different ways we can achieve the look of an animated GIF. First one is, well, using an animated GIF and many of you are already familiar with how to make animated GIFs using your typical image-making software. We're going to skip that and we're going to go to the other way that you can emulate animated GIFs, which is by using a PNG sequence. Let's make a simple one using the artwork from before. I'm going to use these three base colors for our PNG sequence. First, I'm going to turn off all the layers and only turn on the blue one, because that's the first one that I want to export. Let's go to "file" and let's use "Quick Export as a PNG" this time. The reason we can do that is because we know that the file is setup correctly from before. We'll need to put these into a folder. Let's make a new folder and call it Animated Base and we can finish saving out the blue one as base 01. Then we'll go back and turn off the blue layer and turn on the green layer and export it to our Animated Base folder again, and we'll call it base 02. Let's do the same for the yellow one, the last one, which we'll export and call base 03. You'll notice that I numbered those sequentially, and that's exactly what we need to do in order for this to work. Next we'll take our animated based folder and then we'll zip it into an archive, and that's it for now. Eliminate your background from your image, double-check your specs and makes sure that they aren't high resolution. Export each layer or use the export for Aero options. PSDs is you'll need to save somewhere like Creative Cloud, but if you have a single 2D flat image, you can AirDrop that to your device's camera roll too. Remember we're focusing on just learning the basics of Aero so you can start to understand how to apply them to your own work. This is a safe space where you can make mistakes and just explore. Don't worry about treating this two preciously at all. Next lesson we'll cover importing the work into Aero. Some of you may have already jumped ahead as the app is pretty intuitive. For now, make sure you have your work and your files prepped the way that they need to be and have them saved out and ready to go. If you're feeling ambitious, which maybe you are, prep a few extra pieces and give yourself more options to experiment with. 4. Importing Your Work: Welcome to Lesson 2, where we're going to import the artwork that we prepared in Lesson 1. This is relatively easy, but there are a few small things to be aware of, which we'll talk about now. I'm sure some of you have noticed that the app is pretty intuitive, so you may have already jumped ahead a little bit. Let's open up the Aero app on our device and we'll press the blue plus sign to create a new scene. You'll see that it's asking us to pan around slowly because it's looking to establish an area in which we can build our scene. For this demo, I'm going to scan the floor here in my studio. If I want to expand the area, I can simply move around and scan a bit further. You can scan small areas like a desk or a chair, or even large areas like a room or even a backyard. If you're having problems scanning, make sure there's enough light and an open enough area with some contrast and textures. You may have noticed on your own that it can also scan vertical surfaces. But for this demo, we're going to use the horizontal surfaces because it's easier to build a scene on, especially, when you're first starting out. Once it finds a surface, tap and add the anchor pin near the middle of your scan. Now, we can tap the blue plus sign to find the artwork we prepared and saved. The artwork will now appear and you can move your device around to try and place it near your anchor point. Now that it is placed, you get full control to adjust it. Tap it to highlight it, and to move it around, you use one finger to go left or right. One finger up or down will move it further or closer to the camera. Scale it with two fingers, pinching and zooming and rotate it with two fingers twisting, and three fingers will move it up or down. If you place it far from the anchor, the next time you open the scene, it might have wandered off out of the frame. If you want more precision over anything you import, you can into these Move and Rotate buttons in the menu and fine tune them. Next, let's import the layered PSD version of this. It's the same process as we did with the first one. Tap the blue plus sign and import the file. Let's move this yellow one out of the way for a bit. If we wanted to, we could use this little hamburger menu thing over here and hide the layer. If you tap on this and go to layers in the menu, you can see how easy it is to manipulate. The X offset moves the layers left to right. Y is north and south, and the Z space are depth. You can track this out really far or tighten it up and have it be very subtle or even reverse it if you want. But I'm going to make this one around three or four, because that's what feels about right, and it's all about the feels. Lastly, let's import our animated base PNG sequence that's in the doc zip file. You'll see that it doesn't automatically play the animation and that's because we haven't assigned a behavior to it yet. But don't worry, we'll learn that very soon in the next lesson. To recap, once you start new scenes, scan around slowly and remember to have a decent amount of light so your device can properly detect a surface, then place it close to your anchor and adjust it to the size and position that you want. Also, if you import a file and you don't like how the layers are stacked or you want to change the colors or something, definitely do that because it only takes a minute to adjust your working file and then re-import it into Aero and Aero is really great for doing quick iterations. Feel free to explore the scale of your artwork in the scene. Augmented reality experiences are spatial and they can feel completely different if they're the size of a car or if they're the size of a small woodland creature. The next lesson is really fun because you're going to add some interactivity to your scene using behaviors. That's special because it's our first real taste of experiencing your work in AR. 5. Adding Behaviors: Lesson 3. Now that we have some artwork placed in our scene, it's time to apply a behavior to it. First off in Aero, a behavior is defined as Trigger plus an Action, and this is how we add the interactivity and the movement to the artwork. Step 1, tap your artwork to highlight it. In this case, I'm going to use the single flat image and then go to Behaviors down in the menu and add a Trigger. Trigger options are Start, Tap, and Enter proximity. For this example, we're going to go with Tap, so then it initiates when we tell it to. Start means that the action will automatically start once you hit Preview, and Tap means that you tap the artwork on screen to start it once you're in the preview and Enter proximity means the action will be triggered once the device comes within a specific distance that we choose for that piece. Step 2, now we add an action. For this example, let's add Spin. Here we can choose the axis it's going to spin on. Try choosing one and then hitting the Play button in the top right which will give you a little preview of how it's going to look. Then try the other ones and find the one that you like. If we scroll down a bit, you'll see more options like Reverse direction, Duration, Ease and Delay. If we want to slow down the spin, we increase the duration so it takes longer to spin around, and we can keep checking things by using the Play button at the top. We also have this Ease in drop-down menu, which appears in many of the actions, and this is how we can get some of the movements to feel more natural. With Aero being spacial and immersive, feel is a big component of the experience, even though it's a very subtle thing. Easing in and out just adds a bit of softness to either end of the movement, and sometimes you don't need it at both ends. Linear basically, means no easing. Again, that little Play/Test button is super helpful, especially, in the beginning when you're still learning what the tools do and how they act, and delay is exactly what it says. If you put a three or four second delay on it, it'll take three or four seconds to start spinning after you tap it. Now, once you have everything set the way you like, hit the Check mark at the bottom-right. Step 3, this time I'm going to use the layered PSD and apply a behavior to it, and we'll use Start as the trigger. For our action, we're going to use Path move because it's pretty cool. We're not going to review all of these since some of them are pretty self-explanatory, but I do want to go over enough of them to give you the confidence to get you started. First thing we need to do is click on Create new animation, and then we're going to hold the image for three seconds, [inaudible] , and we'll drag it around and make a path, and then we can quickly check how it looks, right here. We also have other controls right here in the settings. Let's try a few of these to see the differences in how they behave. You can smooth out the path if you've had too many copies today, or if you've got anxiety like I do. Once you get something you like, save it and then you'll have your usual settings like easing and duration. Just a quick thing to note, adding a behavior to a layered PSD affects all the layers equally because it's essentially just one file. Step 4, let's get back to the PNG sequence from our last lesson. If you remember, the PNG sequence didn't automatically play through because we didn't assign a behavior to it yet. But that's what we're going to do right now. Once our animated bases highlight, we're going to add a trigger. We've already used Start and Tap, so let's use Enter proximity. Instead of triggering this from further out, I'm going to set the distance to something shorter so we have to be pretty close to it before it actually does anything, and I think that's the best way to demonstrate the Enter proximity tool, and then we'll hit the Check mark and for our action, we'll choose Play images. Once we do that, we have some control over how it's going to act. I like this little second per frame option. I'm going to set this around half a second, so I don't actually give us a seizure. Then we can test it out quickly using the Play button. We want this to loop when we preview the scene as well. So we'll make sure Infinite is turned on. You may have noticed in the menu that the end of our Play images button is around it, and that happens anytime we have infinite turned on. If it's not turned on, it'll just be a plain old rectangle. Here's a quick tip. If you want to duplicate something, you can aim your device to roughly where you want the clone to go. Also, if there's a behavior assigned to that piece, it duplicates that as well. I'd also like to show you the Hide and Show feature. Let's grab the duplicate of the animated base and delete the behaviors I copied over when we cloned it. I absolutely love the hide and show action and I use them quite a bit. First we'll add a tap through it and then we'll add our hide action. By default, it'll select itself as the subject. This is what it looks like when we preview the scene. Now we're going to go in and change the subject to one of the other ones like the layered PSD. Now when we test this, this will act like a switch to hide the other one, and we'll do one more before we move on in the next lesson. I'm going to quickly import one of the random single pieces I have, and I'm going to add a Start trigger, and then I'll add Aim as our action, which means this is going to face us regardless of where we move the camera. This little billboard option just means it's going to remain completely upright, or if you want, you can change the Aim target. Like for instance, we can aim it towards the layered PSD as it moves around its path. Here's another small tip. If you ever need to select multiple pieces at once, like to resize them or reposition them, just go up to the top and hit Select and then use the Hamburger menu in the bottom right and select whichever assets you want. These are some basic behaviors that we've added, but hopefully, they're starting to give you some ideas for your own work. Keep experimenting with them and keep testing as you go. Some of these behaviors might seem pretty basic now, but that'll change soon because in the next lesson I'll show you how to stack and string multiple behaviors together. For now, you can save this experiment if you want, because we'll be starting with a new scene in the next lesson. 6. Adding Multiple Behaviors: Lesson 4. Now we're getting into the really good stuff. It's great when AR is immersive and interactive, and having artwork floating in space and spinning is a great start, but AR can be more than that. We can make these builds more robust and more interesting by using multiple behaviors. Let's start from scratch again with a new scene and import in one of your images. I'm going to use this one. The first thing I want to show you is that we can use multiple triggers. Remember our triggers are start, tap, and proximity. For this one, I'm going to use tap, trigger, and then I'm going to use a spin action. Below the tap and spin is an option to add another trigger. Let's add a proximity trigger and maybe add scale for the action. I'm going to scale this two or three times larger because I want to start influencing the viewer. Maybe they'll move back to see it or side to side, or maybe a little even walk through it. Now when we preview that, we can tap to activate it. As we get closer, it will scale up. What do we do if we want this piece to move while it's scaling up? The order in which we stack or string these actions together matters. We want this to move while it's scaling. We're going to add a move action underneath the scale action. Anytime we add underneath and make this little stack like this, that tells Arrow to do all that stuff simultaneously. But if we want something to happen after another action or a series of actions is done, we add our action to the end and basically make a string or a thread. In this case, let's make it rotate after it's done moving and scaling. I'm going to also add a play audio action to this too. So now it's going to play a sound while it's doing the rotation. When you first start using Arrow, it may seem like the actions are almost too basic, but that's exactly what I love about them, because once you start using multiple behaviors together, that's when they become more custom and more interesting. That's when you start really finding creative ways to get from point A to point B. I've got another tutorial for you, but it's a bit more complex. But we've come this far, so I'm pretty sure you can handle it. I think this will help you get more familiar with using multiple behaviors. Let's start with a clean slate again and import in three images. They can be different files or you can import one and duplicate it if that's a little bit easier for you. Now that the files are in our scene, we're going to hide two of them using this little hamburger menu thingy. Now if we preview our scene, only one of them will show up right now. Go back to edit and add a tap trigger, then add a show action. When you go into the Show menu, change the subject to one of the hidden images, then add another show action below that one, and this time change the subject to the other hidden image. You'd probably get a sense of where I'm going with this now, let's preview it and tap, and all three images should show up. Now you can see that it doesn't take much to really get going, but we can still take this a little bit further. Add a few spin actions or even different actions if you want below our show actions. Then go into each of the spin menus and change each of the subjects to those hidden images. I'm going to slightly offset the timing of these just to add a pinch and nuance and then I'll preview it. This is a quick sample of how layered some of these behaviors can actually get. Instead of only two images showing up when you tap, you could do this with like 10 or 20 of them and have them fill an entire room and have it be super immersive. Let's recap a few things. First one, you can use more than one trigger in your scene. For example, you can start with a tap trigger and then add a proximity trigger as well. Two. If you want actions to occur simultaneously, you stack them underneath each other. Three, if you want actions to occur in succession, it's easiest to add them going across in a string. Testing and previewing your scenes is a huge component of building an AR experience, and I can't recommend it enough. Think of previewing as the equivalent to standing back from your drawing or you're painting to see what's working and what isn't. Previewing also helps you build out as seen organically. I think that's really important because you can experiment in steps and really get a sense of how the experience feels. For a lot of us, illustrators and designers, we typically have a process that we follow when we're working on a design or an illustration that will get us from the start to the finish. But AR is such a unique and different medium. There are new things for us to design and consider like space and time and interactivity and scale. It's a lot like an art installation or how an architect envisions how people will move through a space or how they use a space. As you're making and testing these scenes, start considering how you interact with them and see if there's a way that you can change your experience with them. For instance, maybe you scale something up very large and force the viewer to back up and walk around it, or maybe even through it or maybe one of your images faces a different direction which makes the viewer move around so they can see it. In the next lesson, we're going to talk about sharing and saving our images. 7. Saving & Sharing: Lesson 5. Let's chat about saving and sharing. With air still being pretty new, there are some limitations but we do have a few different options. When we preview a scene, we can record a video or take a picture and it'll save to our camera rolls just like our regular camera app would. The share icon also allows us to share a link and export as. If we share a link, we can send it or QR code to someone else. Either way is fine, but they do need Aero installed on their device. You can also export a USD zed file, which is a universal scene description. There's some pros and cons to this though the pro is that it can be opened directly on an iPhone or iPad without having Aero installed, but the con is that it won't have the interactive behaviors and any animated GIFS or PNG sequences, so it's like a diet version of AR and for exporting.real files are arrow files that you can edit just like how a PSD or an AI file is fully editable. At this time, recording a video seems to be the preferred way to share AR, and this way is working fine for now because most of the time we're just sharing things to social media or our websites anyways. It takes time for things to develop and for infrastructures to get built, but AR is rapidly changing, so better sharing options are definitely on the horizon. I'd recommend recording multiple versions of your scene and experience it from different angles and speeds. Because the work isn't static anymore, you'll have a slightly different experience with it each time you interact with it. It's also fun to hand your device over to someone else and watch them interact with AR for the first time, especially when they tried to reach out and touch it or avoid being hit by something that isn't even there in real life. 8. Interaction Demonstrations: Lesson 6. This isn't necessarily a full on lesson, it's going to be more of a behind the scenes video. So I thought it'd be helpful to show you a few experiments and I'll break down how I made them in case anybody wants to make their own versions of them, or maybe they'll help spark a new idea for you. So I call this demo night rose. As we get closer to the spinning 3D rose, the background gets blacked out. When we tap the rose, the background hides. There's a few things I like about this example. One, the spinning rose helps signal to the viewer that it might do something if we approach it or if we touch it. Two, I like the background because it's a bit disorienting, but it's still immersive because it kind of crosses over from augmented reality to virtual reality. Simply because you don't see the environment anymore. You'll see on the menu how I've stacked the behaviors. Basically, it's a spinning rose with a start trigger and a stack of show actions to reveal the background. The background is just a plain old solid black two-dimensional single PNG image that I duplicated a few times and moved around to build a box. Then there's a stack of tap actions to hide each of the background pieces and that's it. Demo 2. I call this one, portal. So it's a pretty cool effect and it's really easy to make. Because all it is, is a layered PSD with the Z space track though. As you can see the Photoshop file, each layer is alternating between black and white, and I cut out a random shape in the middle of each layer. This is a good example of something very simple, but it's immersive because it invites the viewer right into it. Demo 3. Here is an example of enhancing part of a children's book. So I mentioned in one of the first videos that AR can be a great tool to help add a bit of life to a character or enhance a story. So this is Celia Krampien's work from her kids book called Sunny. Thank you to Celia for letting me use her work for this example. So I thought this would be good to share with everyone because it touches on many of the things we touched on in the lessons. Basically, Sunny moves to the right using a move action unaware of the giant fox in in the background. The rain is a simple animated GIF that I've set to infinite so it keeps looping. Then, I just duplicated a bunch of times. The audio is one of the stock sounds that comes in Arrow and I just attached it to one of the rain images. So the more you play around and experiment with Arrow, you'll start to understand what the app can and can't do. You'll also start to understand working spatially as well. Let yourself react to what's going on in the process and what you're seeing when you do your tests. 9. Conclusion: Congratulations. Now you have a good grasp of the basics and many of the tips and tricks for Adobe Aero. You've learn how to do some Aero without having to code anything or do any other crazy tech stuff. Thank you so much for tuning in. As hard as it is for me to be on camera, I've really enjoyed teaching this class, and I hope you enjoyed it, and I hope you learned a lot as well. The learning curve for getting started in the Aero is pretty manageable. It's definitely easier than learning most new software programs. Remember you prep your files in the apps that you create your work in, and keep testing and previewing your scenes as you build them. Think about how you want viewers to interact and experience your work. Using audio is another great way to enhance the experience as is playing with scale and movement. Maybe use the Aero in practical ways, like for prototyping and design. Also to create a good experience, the artwork and behaviors don't need to be super complicated. Sometimes the simplest solutions are often the most effective. I know that sounds cliche, but it's true. The one thing I'd like for people to take away from this class is that, getting started in the Aero isn't scary at all. You don't need to be super tech savvy. If you know your basics in creative programs like Photoshop or Illustrator, you'll be pleasantly surprised with how easy Aero is to learn, especially with this class helping to demystify the process. Just start making something and don't worry about where it's going to land. The more you experiment with it, the more comfortable you'll get with it, and the more you'll learn. Please record a video and upload them for us to see. The more examples we see, will help everybody learn, and help inspire each other too. Check out the Adobe Aero hashtag to see what other people are making, and share your projects and this class on your social media, and feel free to tag me if you want. Thanks again for taking the class, and I'll see you guys soon. Bye for now.