Augmented Reality for Social Impact | Steven Christian | Skillshare

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Augmented Reality for Social Impact

teacher avatar Steven Christian, Create & Conquer!

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.

      AR Art for Social Impact Introduction


    • 2.

      001 Getting Started with AR for Social Impact


    • 3.

      002 Part 1 Introduction


    • 4.

      003 What is Augmented Reality and how does it work


    • 5.

      004 Getting Started with Unity


    • 6.

      005 Starting a Unity Project


    • 7.

      006 Setup the Vuforia Engine


    • 8.

      007 Vuforia Settings and Features


    • 9.

      008 Unity Scene Settings


    • 10.

      009 3D Object and Material Settings


    • 11.

      010 User Controls and Scene Navigation


    • 12.

      011 Setup Unity Scene for AR


    • 13.

      012 AR Content Containers


    • 14.

      013 Reorient the Image Target


    • 15.

      014 Setup Animation Timeline


    • 16.

      015 Add animation track


    • 17.

      016 Control Animation Timeline with AR


    • 18.

      017 Edit the animation Clip


    • 19.

      018 Animate Multiple Objects on Timeline


    • 20.

      019 Add 3D model from online


    • 21.

      020 Animate 3D Model


    • 22.

      021 Edit 3D model Animation Clip


    • 23.

      022 Part 2 Creating an image target for the Augmented Reality Experience


    • 24.

      023 Create a mood board with PureRefs


    • 25.

      024 Create an Image Target


    • 26.

      025 Import our new image target


    • 27.

      026 Incorporate custom audio


    • 28.

      027 Adding a Sound Mixer


    • 29.

      028 Adding Text


    • 30.

      029 Adding Animation to Text


    • 31.

      030 Add assets from Asset Store


    • 32.

      031 Animate the Asset Store Assets


    • 33.

      032 Adding additional assets


    • 34.

      033 Adding additional animation


    • 35.

      034 Sync animation with audio


    • 36.

      035 Add a final statement to the AR experience


    • 37.

      036 Course Wrapup and Recap


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About This Class

Augmented Reality Art for Social Impact is a course that teaches you how to create an augmented reality art project that expresses socially conscious ideas. Build on your existing creative tech skills, collaborate with teammates, and dive deep into AR development using professional game development software.

You will learn:

  • What is augmented reality
  • How to Draw a Simple Illustration
  • How to Work with Image Targets
  • How to Setup Unity and Vuforia for AR
  • How to Animate in Unity
  • Combine everything into the AR experience
  • Test your AR Experience with a webcam

Meet Your Teacher

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Steven Christian

Create & Conquer!


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Dive into the exciting world of immersive art and XR with creative technologist, Steven Christian. No other artist better understands the unique position of today’s creators when it comes to the growing world of XR and emerging technology.

With these classes, you’ll: 

Explore animation, AR, VR, Unity Development, and immersive storytelling Decide if immersive art is right for you Integrate technology into your creative workflow Get to know the different resources and marketplaces to improve your experiences. Learn the ins and outs of the building immersive experiences for AR and VR enabled devices

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1. AR Art for Social Impact Introduction: Hello, my name is Stephen Christian and augmented reality mobile developer on a steam educator and I'm a medical student. You may have seen my work in a variety of different platforms, from The Wall Street Journal to HBO, to a lot of social media platforms. And what I do is I combine art, technology, and science to make impactful stories that focus around Black experiences in America. And I incorporate social impact and activism to connect people in ways that words camped. In this course, we'll be talking about augmented reality art for social impact. And what this will learn how to create an augmented reality art project that expresses socially conscious ideas. And what you'll learn is not only what augmented reality is, but how to draw simple illustration. How to work with image targets, how to work with Unity and Vuforia. How to animate in Unity, combine everything into an AR experience, and then test it on your webcam. And so this course is really meant for a variety of people, right? If you're familiar with social impact, if you're familiar with activism, if you're familiar with creating artwork that shares a message, this will be great for you. And so ultimately what this, you could start off as a beginner or you can move on as the intermediate, where you get fine tuning your practice and your techniques as an expert. But this is geared towards those that have no introduction to unity, introduction to euphoria. They've heard of augmented reality, but they've never really played around with this. This will get you up and running in no time. So again, my name is Stephen Christian. I'm an AR developer. I'm a steam educator, medical student. I like to make cool stuff that has meanings and messages. And I really hope that you enjoy this process. As we dive deep into learning social impact work with augmented reality. Let's get it started. 2. 001 Getting Started with AR for Social Impact: And so the agenda for this course is you'll learn the tools that you need. Explore how augmented reality works, setup, unity, setup, Vuforia, add some animation, create a unique image, target art piece, and play the augmented reality experience with a variety of different platforms. And the tools you'll need for this really are simple. You'll need some paper, pencils, probably some markers, a phone camera or scanning application. Some photo editing software like Adobe Acrobat or Photoshop. Or if you used any of the free ones that are out there. We'll need the entity game engine will need the Vuforia SDK, some 3D models, some music, and some other files if you'd like to include those into it as well. And the format for this course, you can approach from a variety of different ways, right? Good. We introduce lessons with an overview and you could skip that section. And you can use this as a reference for all the other stuff moving forward. Then we'll follow along with the demo of the lesson. And you can follow along that way. Or you can wait until the end to practice yourself. And some of the lessons while challenges to improve on those skills. But don't forget that you can do this at your own pace. Ultimately, at the end of this, feel free to share any of the stuff that you're able to create. What these projects in this section. 3. 002 Part 1 Introduction: Okay, so part 1 of this course is really all about Exploring Unity and augmented reality. And so in this section we will cover what is augmented reality. Getting started with the Unity game engine, setting up in augmented reality workspace for Vuforia, learn the basics and navigation and user controls in Unity. Import and modified 3D models from the Internet. And then also explore the animation tools that humanity has to offer. 4. 003 What is Augmented Reality and how does it work: And so essentially the AR experience is where you have your phone or a camera. And that camera is tied to sort of houses, the viewer for your, for your AR experience. And so when you point the camera at the ground or at an image like we saw with the drawing that I had. When you point the phone camera at the image, it will recognize it like a QR code. And then it will essentially unlock the digital stuff that you made in Unity or any sort of AR software. And so essentially you sort of point your phone and you can interact with it with different buttons. If you move around, you can see different areas of it. If it's a 3D model on a ground, you could walk around a 3D model and the 3D model will stay in place. There's a lot of different things that you could do with it. And so from didn't mean to put for the last session, but the way it works is you have 3D animation or any, any stuff that you have. Then you have the SDK and then it all goes into humanity and you put that all together. And then if you want to have it as an app, you get export it to a smart phone. And you have the AR experience you could share. If you have a, if you have a webcam and you have unity and the Vuforia, you could actually test all that stuff out and your webcam. And that's what I did earlier in the demo. 5. 004 Getting Started with Unity: And so when we're talking about Unity, Let's actually just see what that looks like. So with Unity, you can go to And in Unity, this is the program that we would use to set everything up. And so all we're gonna do is just click get started. And then you can go to individual. And if your student to the student, if few, a student, you can be used the personal one. And this typically is the easiest one to do when you sign up as a student and kinda takes a little while to get signed up, but you just click Get Started. Now after you do that, if you're a first-time user, you click, Get Started. You could download. If you're a returning user, then you could click that. And as long as you're gonna make an under a 100 thousand, you can download the Unity Hub. And so once you download the Unity Hub, you're able to get something or open up the program called the AD hub, which is this. And so all the Unity Hub is, is, it's sort of the hub or the house for unity and all its projects. And so you can have projects on a whole bunch of different storage devices. You could have a whole bunch of different versions of unity. And the way they communicate is through the hub. And so this is where your projects will be and you can add new projects that are in other folders. So say you have a hard drive with projects, you get add them here. And so you just click Add a choose whatever projects you want to add. Or you can create a new project and new project with the different versions, a unity. In the Learn tab. You're able to create. Or you're able to play with different versions or different projects that allow you to learn more stuff about humanity. And so there's tutorials, walkthroughs, tests, projects that you could, they could do. And so what this card game, notice how like this is a blank card. And then you could create an ad cool stuff to it to make it, to make it look even better. And if you love Legos, you can do that as well. You can learn by playing with Legos. There's a lot of different tutorials. 3d game kit, which is a seven hour walk through. So there's tons and tons of hours of stuff to learn Unity in and of itself. But we'll talk about the AR stuff more than the GameStop and so on the Canvas community. And this is where you get the forms and the blogs and stuff. So if you want to connect with people, this is where to go for it. And then the installs, the installs is where it's at. So the installs, if you haven't installed on your computer, you can click Locate. And it allows you to locate different versions of Unity. But if you want to add a new version, and these are all different versions that I have in each one of these different versions has new, different parks, pros and cons, different bugs, different, different interfaces sometimes. And so what I would do is I would click Add. And notice how it says there's a recommended release and then there's official releases. If you have a recommended released, that means that this is the one that they suggest you having. And if you had the official releases, the official releases are ones that they say are good to do if you don't want to use to recommend it release. And so there's 2020, this 202120192018. So these are all different versions that they came out with in a particular year. So 2018 came out in 2017. 2018, 2019 was the one for Years ago or last year. And then 2020 is the one that we're currently on. That's the one that they recommend because it's the most up-to-date. 2021. It it is out, but it's currently not the one that it's not the best one that you can do that they would recommend. But it does have a lot of cool, neat features that you can try out. So maybe sometime in the future, they'll be recommending 2021. Right now. They're not recommend to get there just saying gets an official release. And then when we have pre-release is pretty releases are the ones that are really, really experimental. And so they can have bugs that can have a good stuff with it. But understand that like it's not the one that has the full support that recommended release or an official release would have. So we'll say with a recommended release out, all I said go to that one unless there's a version of the official releases that you want to have. So click that. And then when we have all these different things, we'll say, we want to have our developer tools selected already, have it selected already. So I'm not going to select it, but make sure they have the developer tools visual Studio selected. If you don't have it already, then if you want to have Android Build Support. For Android devices and an iOS build support for iPhones. Highly recommended you do that with, if you're trying to build AR experiences for mobile devices, which is mainly what you'll be doing this for. And how both of these selected. You click Next, and then you agree to the terms, and you click Download. And then it will download. It will start downloading right here, which is the 2020 0.3.1. And so we'll just wait for it to download for us. And we can take time. But usually it doesn't take too much time. And so for those that are still waiting for humanity to install, the way Unity Hub works is that typically with the software, we think that you can open up a, e, could open up the software. And then you start a project and then you create it, right? But with unity, it works a little different. Everything is not done through Unity itself. It's actually done through the Unity Hub. What does a separate program that opens up a Unity version. And so we have the Unity editor right here, and then we have the Unity Hub right here. These are two different pieces of software. They connect with each other, they communicate with each other. But, but one actually opens the other one. So we would actually open up the Unity Hub. And we would download a unit conversion, which is what we're doing right here. And then we're going to start a new project. And you start a new project in the Unity Hub, in the projects tab. And then when you do that, you can select a unit conversion from the ones that she downloaded. And so the ones that you download here, you're able to go to Projects. And when you click select New, you can select a Unity version until it's a round about way to, to get to doing the software and using it. But you kinda get used to it after a while. And so essentially we're going to be installed in Unity game engine. And, and you know, we go through and all these different things. So you could pause this video to write down the stuff that you want to write down for it. But these are the steps to do it. And so we set up Unity. Click get started. One thing to note is that you have to have gati only works on a Mac and a PC. It does work for Linux, but not many people have lynxes. And so if you were trying to do this on an iPad or Chromebook, you can't. And so you can't use Unity with the iPad or Chromebook. But once we get started, you, you have Unity. You can click Start here, you download it. And you'll download the Unity Hub. And then from that Unity Hub, That's where you create your projects and D all your installs. And so you do all the installs that you need, which is great. Select all the stuff that you need, which is all the stuff that like we all went through the different versions of Unity build support. And then from there, we will actually open up our editor and we'll make, we'll make a new, we'll make a new project. And so hopefully our new editor version, is it still installing? Oh, and it's installed. What do you know? It's installed? 6. 005 Starting a Unity Project: So now that we have it installed, we can go to new, but will instead of clicking just new. And we'll click the arrow drop-down menu. And we'll click 20, 20.3.11. And if you're watching this later, at a later time, it might be a different version, but it's up to you until we'll call this one AIR. And like my naming conventions, I tend to, instead of having a space, I'll have like one of those boundary line characters. So AIR underscore, underscore 2021, like that. And so I'll make sure to click 3D template. I have my project name. Sometimes if you have spaces. So if I replace this with a space, some areas of unity may get messed up. And so if you have an underlined, the computer recognizes this as one word. And so it doesn't cause as many errors when there, when you have a underline instead of a space inside. Inside, learned to do that pretty frequently with naming my stuff. Because I've ran into problems. Why did have a space in and some of the plug-ins that I download it messed up. And so I have a unity, the unity location there. And I'll click Create. And so it's going to go through this process where you it'll load. And then it will eventually open up to this Unity editor screen, which is where it loads everything. So we'll just wait for that to do its thing. And and a lot of the stuff that we do with the entity. The initial setup is a lot of waiting and waiting. And voila. Now we have our Unity editor and see you'll notice that there's different versions of the Unity Editor. And it can often look different as well, but, but still does its thing. And so now we have our Unity editor. The first thing that we'll do is we'll change the build support so that it supports a mobile device. And you want to do that pretty early before you start adding a whole bunch of different assets to it, because it just makes things, you'll have to end up waiting a little bit longer to do things if you don't. And so inner UD editor, we'll go to File and we're going to build settings. And in the Build Settings, you'll notice that there's an icon here for PC, Mac, and Linux standalone. That means that anything we do in the entity will, will work specifically for the PC or the Mac. If we wanted to work on a mobile device, we want to choose what device we want. And the reason we have these two here is because we downloaded the build support back, only downloaded the Unity editor. Notice how it says Universal Windows Platform, know Platform Module loaded, installing the Unity Hub. We would have to go back and select the right install for that. And you could actually make stuff for PS5, you can make stuff for Xbox One, PS4, there's a lot of stuff we could do with this. And so unity is really great. If you want to explore making video games for your favorite console's. You could definitely do that in here. But we'll say we'll switch to Android build support. And it doesn't take very long. We just go through Android build support, movable. And so notice how the icon is on the Android now, instead of the PC, Mac, until now that we have that set will get a player settings. And when we click Player Settings and it opens up our project settings. And what we can do is we could dock it to the side. And we could open it up. And we want to just sort of name or project. And so we go to company name. And I'll say pdx, open tag. And then we'll call this AR 3 one. And we'll worry about like icons and stuff later. But what we wanna do is we want to have a landscape, right? Which is sort of a side profile, bear like landscape profile for a video. And then we want to have the quality settings be lower. So instead of it being ultra, we want it to actually be medium. And that just makes it easier for a computer to do stuff. And so after we have all that setup, we can start having some fun with this. 7. 006 Setup the Vuforia Engine: In order to create some AR stuff, we have to have the AR SDK. And all the SDK is, is it's kind of a plug-in. It's a developer kit, but it's it's a plug-in that allows us to make the AR stuff. And so what we're going to be using is the Vuforia SDK or plug-in for humanity. And in order to do that, we go to developer dot And when you go there, it it takes you to this page. And what this page does is it gives you like a little bit of information on what the, you know, the latest update is. And you can go to downloads and you can download the latest version here. And so I already downloaded it. So don't have to worry too much about that. And what we can do is we have the, if you had the resources, then it's going to be this package here. And so now that I have the package, I'll also need the license key. And in the package you'll also have the license key for those as well. And so when we go back to Unity, in order to add the package in, you could go to Assets, import package, custom package. And in the custom package, you go to the let me find the actual folder for all the different stuff that we have resources. And you'll find your actual package, which is the Vuforia package, 9.8.5. Click Open. It'll have this import Unity Package. We'll click Import. And we'll let it import. And we'll update. And we'll just let it over, update for a little bit. And it does take a little while. The paint is that with Unity. It does require you to download stuff and weighed, and then you download more stuff and you wait. But once you have all the stuff downloaded, then you don't have to worry about it ever again. Unless you started a new project. Sort of works out. 8. 007 Vuforia Settings and Features: And so now it looks like we officially finished downloading the Vuforia SDK. And so to test to see if it actually downloaded and finished, you can go to Window and then you go to Vuforia. You'll see Vuforia configuration. And so when you click that, it will allow you to do all that stuff. So now that we have Vuforia configuration installed, what we'll need to do is we need to add the license key. And so if you go back, we have our license key here. So you can just copy and paste it. Like that. That's pretty much it. So let's go through some settings for the Vuforia configuration. So some settings we can have. There's default mode, which allows, it's sort of a medium mode. We have optimized speed, which means that it will be less taxing on the, on the processor for the camera. But the quality of it isn't that great. So it may look a little more pixelated, x, y, and z. But you could use optimized for quality. And so it's more tax and go into computer. But it allows you to have the best experience you possibly can with it. And so, so we'll do optimize for quality. That makes it, that makes it a little easy. Maximum simultaneous tract images. All that means is that when you have multiple images on it, you get, say, if you only want to track one image and have one experience per, you know, in the camera. And so if you have like five different images, only one will show up in him play. But if you have, if you increase this number to five, then IRF4 you can have for showing on your camera. And all four will play at the same time. And so it's, it's one of those things that you probably want to probably keep out. One, if you have sounds and stuff. But if you have multiple ones, then you get you get still play that as well. But it will be taxing on the computer, so so try to keep it at one just to start off with and then play around with it later. So when it says Device tracker, device tracker, and this is an important one. If you're doing images, you want to make sure that this one is off. And the reason is that when the, what this says is when the images on the screen and the air content plays, then when the image is off the screen, you could still see the AR content and you don't want that what that image tracker. That only really works if you're doing Ground Plane stuff. So if you don't have any images you have, it tracks the ground. You want this text because it adds an additional functionality. But you don't want this checked with the images until we'll make sure that this is off. An Android support, that you can keep this optional what the AR Core library open. If you're working with an iPhone, this, you won't have to worry about this anyway. And then when it says Play mode, play mode is when I click the Play button here to test it, I wanted to use the webcam. You can use a simulator and you could use recordings. But with this, you want to use the webcam. And so that would be real-time stuff. And then I choose my webcam, but just there. So that's our settings that gets us started with everything. And so now what we can do is we can actually start making a scene. 9. 008 Unity Scene Settings: And so the way Unity works is it works with scenes. And so what a siem does is, and where in the scene here, all it is is a 3D view port. It's a 3D world or environment. Each different scene is its own world that we have. And so we have a light. As you can see here. We have the light and we have a camera in our basic scene. So you can move the camera around and you can move the light around. And notice how like with this, we have a directional light. The way the directional light works is this is essentially like our daytime and nighttime. So this is like midday. And then we get to dusk. And then we get to pitch black, which is nighttime. And then we get the morning, midday, and then back to nine. So that's pretty much how this works. And so this controls the lighting in your, in your scenes. Until often you don't want to get rid of this. Because if you get rid of it, it makes things look sort of dusky and stuff. So don't get rid of it. But we will play around with this main camera. And so when we're starting off in Unity, often you want to start with by creating a new scene. And so what we'll do is we'll actually create a new scene by right-clicking and go to Create. And then in the drop-down menu, we have seen old create, new string. And we'll call that one. And so in order to open the new sing will open it by double-clicking it. And notice how it says in our hierarchy. Right here, it says Project 1 and we have our main camera and directional light. Just like that. And so we have our main camera, our directional light, and nothing else. If you want to add something to your scene, you can click this drop-down menu here, which is the plus sign. If you click it, you could create empathy, which is just a container. You can create a 3D object. You can create an effect. There's a lot of different things you could do. You could add audio, video, even the Vuforia stuff that we just downloaded. But what we'll do is we'll actually create a cube. So just a basic cube. When you create a clean, it adds to it. 10. 009 3D Object and Material Settings: And so you'll notice that in our, in our Inspector, we have nothing because nothing is selected. But if we click the cube, then we have transformed web, the mesh, mesh render box collider, else things up here. And so what we'll do is we'll actually look at what all this stuff does. So with the transform, all this says is that, you know, in this world space right here, these are the coordinates. And this is kinda like math, like algebra or graphing. Where we had a graph and we had an x and a y plane. But in 3D we have three different planes. So we have the z plane as well. Until x goes left and right, Y goes up and down, and Z goes forward and back. And so I can get this right here. I'll demonstrate it on. So x, left, right. Why? Up, down, and Z backwards and forwards like that. And then the same with the rotation, rotation for the y, the x and the z plane, and even the scale. So scale we skill in the x-direction, the y direction, and the z direction. And then when it says the mesh render, the Mesh Renderer allows us to render shapes. And so say we want, we have a mesh for a sphere. Or we want to change it to a cylinder, or even back to our cube. In order to do that, all you'd have to do is just click this button right here. And it takes you to all the different meshes that you have that you could use. And so in our Mesh Renderer, the one thing that we want to pay attention to is the material. And that material is this material here that it's referencing. And so if we change this, then this will change. But the material is how we actually change the color and the properties of our, of our stuff. And so if you saw in the demo, we had a, we had the 3D model of Briana Taylor and it was a green model. And so what I did is I made a material for that. And so what we can do is we can test that out right now. So in our assets and the projects here, what we can do is we can right-click and create a new folder. And that folder will be called materials. And when we click on the materials, we can right-click again, create. And we can create a material. And we'll say this is material one, material 1. And so if we drag this onto the queue, notice how it looks like it didn't do anything. But when we look at the cube and we click on it, and we'll go to Materials. It says material one right there. So that means that we have material 1 working and it's attached to the queue. And so what we'll do is we'll say clicking on material one. Let's see. Now, since you are present, what color should we make our material for? Q? If I say PQ is that, is that, you know. So we'll say, all right, We want to pink. And so all we do is we go to where it says albedo. And we click, we click the color and we could actually just change the color. So is it like a hot pink? Yeah. Okay. Hot pink. Just like that. Yeah. Thanks again. It goes to more than fuchsia. Yep. Hot pink. And so and so we have our different other properties here that we could play around with. If we want it to be transparent, we can make it transparent. And so if we dropped down the alpha. Then it makes it invisible, makes it see-through. If we make it opaque, that means it's a solid color and you can't look through it. Another thing we can do is we can make it metallic. And so we can give it like a metal finish to it. And so when the light shines on it, it can be a little more. It could be, it could look like metal. And so think of this as like a crown doubt pink, right? And so what I do is notice how I bumped up the metallic, but nothing happened. Until the way things work. Think about this holistically. The metallic means that the material is metallic, but you have to also bump up the smoothness. You bump up the smoothness. Then we start to get that finished like that. Until now, we look around eight. That's that metallic look that we want. And so if we move our move our light around, it looks like the light doesn't want to move around with it. What I could do is I can create a new light right here. So right-click, add a new light. And we could say a spotlight. And that spotlight should give it a little. Do you mixed? And we'll bump up the intensity. Yeah, there we go. So that's spotlight. We'll give it a little more shine. So see how it shines on it and it really has finished now. So we could delete that. And so now we have a, we have a metallic looking finish. And you can see it here as well, where it has this lovely finish. And so if we lower the smoothness, then it, it becomes less metallic. Grid appears less metallic. Now if we bumped down the metallic, then we see that the smooth just means it's glossy. So when you bump up the smoothness, it means that it just becomes glossier. And then with the metallic it gives it more of a metal finish. And so emission, emission is another one that we could use. And so if you heard, if you've known as like a pearlescent paint job or something, you could actually give it that with the admission. And so say we want this to have a little bit of a bluish tint to it. To the hot pink. We could do that with this. So now if you look at it straight on, it looks more pink, but if you look at it from the side, in these areas, it has that bluish tint to it. And say if we want to change it to green, then it, then it definitely changes the color tool. You can change the intensity. So if the intensity is low, then it doesn't have as much of an effect on it. But if you change it to high, and then it becomes a lot more impactful. And so I'll say, I'll say it like the blue, better, like that. And so that is our materials. Here's lot of different settings, but we don't really need to know any of those right now. But we need to know about the materials. 11. 010 User Controls and Scene Navigation: And so what the user interface, user interfaces pretty standard for 3D software, but it takes a little getting used to. So if you look at the top left, we have our hand tool. And the hand tool just allows you to move around, move up and down with the camera on the, in the viewport. And if you click, if you click the ALT, but if you click the Alt button, you can rotate around the object. So if you hold the Alt button or the thing it's the Alt button. Does, does the Mac have an open? I think it's an option button. Is it the Alt button? Yeah. I think though the Alt button or the Option key alter option. I can't remember. But we have a you're able to move around or rotate around the can't rotate around the object. And that makes things a little easier if you wanna get a different angle for things. And we'll definitely use that a lot more. What the hierarchy, we have, our Move tool. And the move tool works when you select on an object, you select on it and notice how there's an up arrow, afford arrow and aside era. And so all these is allows you to move the transform tools or move the transform of the position. So the move tool is for the position. And so you could change the position by changing the numbers here or by changing, moving the arrows here. So you go up, down, left, right, to the side, and a whole bunch of different areas. Yet the rotation tool, which is the same as rotating here. But you have these indicators that ETUs. And so you can rotate to the left, the right, the x, y and z planes. All that good stuff. We have the scale tool. And the scale tool allows you to make it bigger or smaller. And that's the same as making it bigger or smaller here. And so we have the scale tool, which is this, the rotation tool, which is this, and the position tool, which is actually the Move tool. And then we have the rectangle, rect transform and all those. But I wouldn't worry too much about them. We won't really be using those right now. And so with that, we have the basics of the user interface, and we have our project. 12. 011 Setup Unity Scene for AR: And so what we'll be doing is we'll be having the SDK ready to work. And so we have it installed already. What we're gonna do is we're going to have a scene already made. Em. We're actually going to be setting up our workflow. And so feel free to look at this for a moment. So hopefully you had a chance to look at this. And so now it's time to get it all started. So we have our cube here and we have our project one in our scene. So what we'll do is we'll start to set up the AR environment. And so right now this works great if we're making a video game, but it doesn't work great if we're trying to make some AR stuff. So the first thing we'll need to do is we need to add our AR camera and replace our main camera. And so by doing that, we right-click and we'll go into Vuforia engine. And again, every time I, every time I right-click, that's the same as clicking this plus button right here. Or if you want to go to GameObject. And so clicking GameObject, clicking the plus sign and right-clicking do the same thing. And so I'll go through, I'll click the Fourier engine. I need AIR camera. And so this is the AR camera that we have in all this does is it mimics what are, what are the real camera does. And so I mentioned that the webcam and the phone camera is how we experience AR. And so the AR camera essentially is a representation of our webcam or our main, or a camera phone. And so we can't have two cameras in our scene. And so if we have our AR camera, means we need to get rid of the main camera. And we do that by just clicking and deleting it like that. And so now that is our, that is our siem that we have. And so notice how I had a picture that I had a picture that I used until I drew this picture. And we'll draw, in session two, we'll draw our own, what they call it image tracker. And and so when I had the picture of it on my computer as a scan and that's what I use for the experience. So what I'll do is I will go to Image target. And I'll say that I have my image target here. And this image target game object that we have is a representation of the picture that I have. So what I'll have to do is actually add the picture to my project in order to place it as a game object image target. And so I'll do that. So I'll go to my resources. And I have this picture right here. And so what I'll do is I'll go to Assets and I'll just make a folder. So right-click create folder. And I'll call this images. When I click inside images, I can open up my resources folder, take this picture and drag it in. And here's my picture, but it looks kind of weird. And the reason it looks where it is, because we have to tell unity that this is a 2D image and we wanted to keep its regular aspect ratio for scale. And so what we'll do is we'll go to default, where it says texture type, it says Default, and we'll change it to Sprite, 2D and UI. We click that. Don't have to worry about anything goes and then click Apply. And now our picture looks regular now because we told unity that this is a regular image, not anything else, not a texture. And I did anything else. Until now. When we go to our image target will click Image target. And when it says image, and it's this texture 2D none, wiki, click select and then select that image. And when we do that, notice how about white image that we had in our scene is now the image that we created. And so now that we have this setup, one thing we need to do is we need to make sure that it's the right size. And so if it's the right size, that means that we're able to scale everything accordingly. And so when you go to advance, you see where it says width in meters. It has to be in meters. And so this this picture is about 5.5 inches tall. And so if it's 5.5 inches tall, we need to find a way to convert that to meters. And so we could do that by going into meters. Click inches to meters. And we'll say 5.5, and that ends up being 0.1397 meters. So you just copy and paste just like that. And so notice how the width automatically changed as the height change like that. And so it should be taller than it is wider. And we just did that. 13. 012 AR Content Containers: So now that we have our image target set, what we'll do is we will actually create an empty container for AR content. And what that allows us to do is it allows us to have a container that holds the content. And so if we want to change the content or move it out, we're not going to mess up the image target. And so what we can do is we can right-click. We can click down to empty, create empty. And we'll call this AR content. You can name it anything that you want. Like even with all these asset folders, you can name them anything that you weren't. It's not going to change anything. It just helps keep you organized. And so now that we have our container created, we have our tube. Well first what we wanna do is we want a 0 it out, so we want to make sure it's 000. And that means that it's in the center of our, of our image right there. So it's right in the center. Whoops. I can go back. And if you want to move this camera icon, you can click gizmos here and it'll remove it. But see how it's in the center of our image. And so that means that if we were to scale anything or move things around, it'll be right in the center of it. And so they'll always when we have it parented. So this is a child because it's under this hierarchy. And we call this the parent, which is the sort of the controller, the hierarchy. Anything that's a child. When you click 0, 0, it goes to the center of whatever its apparent up. So what that means is that if I move this out and I move this over, and I click the 00 here. It's in the center of the world. That's not in the center of the image right here. If I move this out and I make this a parent or a child of the image target. And I click 000. The, notice how it goes to the center of the image target. So if I move the image target, it automatically moves the, any of the child's that it has. And so that's why we have the air container first. So if we move this way, if we move our image target, it'll move all the content that's attached to it. So the first thing that we can do is we could actually make our image target, our cube, or first image target. So what I'll do is we'll grab the cube and we'll just add it into the AR content container. And then we could change the position 0, 0 and 0. And notice how it's just really big. So we could actually just scale it down. So we'll scale it down like so. And we'll just lift it up so that it's just right above it, like that. And so now if I move the image target, it will automatically move the cube like that. But if I move the cube, It won't move the image target. If I move the container, it won't move the image target. Well, if I'm with a container and then the cube or imminent, if I move the container than the image target, then the cable stay exactly where it was. So it gives you a lot of control and you will be able to play around with that. When we get to animating. Because we want the objects to move, but we don't want the image target to move to one we're animating, it makes things a little easier. And so now I have my cube of my image target and then my container. It's time to test out this scene. Let's test it out now. So what I'll do is I'll click the play button. As you can see, hey, and now we have our cube. Does get a little buggy sometimes. But we have AR right there, Walla AR, Here we go. Once it recognizes it, they recognize it and we can move up, down, left, right, side to side. 14. 013 Reorient the Image Target: And so now that we have that, notice how the width are our image target, right? When we play for image target is facing up. So it's up, it's vertical, and it's not laying down. So what we wanna do is we want to tailor our experience or think about if somebody was holding it in their hand and then Shiny their phone over it, it's going to be vertical. What we'll do is in our attitude when we're creating these things, we could actually rotate the image up. And so we'll just rotate it 90 degrees. So we'll just say negative 90. And then we can lift it up if we want. And so now everything that we do in the editor will look exactly how it does in the world. Just like that. And so now that we have that setup, the next thing that we're gonna do is we're gonna do some basic animation. Because that's the, that's the next logical step. We already have our 3D object. So now it's time to do some animation. And this is where things get kind of, it's kind of interesting, but it also gets kinda fun. So with everything set up like that, we will go through and we will set up will start moving. 15. 014 Setup Animation Timeline: So the first thing in order to do some animation, what we need to do is we'll go to window. We've got a sequencing, will get a timeline. And the timeline is how we create our animation. So we could Docker timeline down here. And what we can do next is we can create a new object, a game object, empty one. And we'll call this animation. And so notice how in the timeline it says to start creating a timeline, select a game object. All of these things right here are called GameObjects. They could be empty, they could have mesh renders and stuff on it. But essentially it's a, it's all a game object. And so because we have our animation timeline, what we can do is we could create a new Timeline. And so what I'll, before we do that, actually, in order to be organized, we'll go to our projects, will right-click. We'll create a new folder and we'll call that animation. And so by this time we should have our images, materials st, and now we have an animation folder. And inside that animation folder, what we're gonna do is we'll click the animation timeline in our hierarchy. We'll click Create. And you'll notice how it's the animation assets timeline folder. Now. So we click Save and it creates that timeline right there. Not only does it create the timeline here, but we see the timeline change. And so before we get started, first you want to save it. And second, when we click the cube, it so you can create a new timeline. But we'll go back to our animation timeline because that's where the timeline asset is. We'll go through some things. So Play on awake. So when, when it's active, it will actually play. So you want to click that, you want to keep that check. When it says Wrap mode, it says none. But you could have it loop. So once the animation timeline finishes, you can have it automatically play over and over and over again. And that's what the loop does. If you don't want that to happen, then it'll stop. Once. It will stop the whole animation at the end of it playing. If you have it on hold and you have animation asset that just sort of constantly goes. If you have it on hold, then it will continue to hold at that position and still play that animation that's calling on. So we'll click it on loop just cause. And so when we go to our timeline asset, we have this place, this this lock button here. And so the reason the lock button is here is because when you click on the tube, it doesn't, it goes away, right? And so when you click on the animation timeline, say you want to click on another on the cube, but you don't want this timeline to go away. You can click the Lock button. And when you click on the queue begin, it doesn't go away. And that's because it's locked. If we unlock it, then notice how it goes away. And so we want to keep sure, make sure to keep it locked so that we don't accidentally make new timelines and mess up our workflow. So we'll keep that locked. The next thing that we have is if we wanted to change the settings of it. So if we go to this gear here, wicked change it from seconds. What you see 30 seconds, one minute, two minutes. If you go to frames, and then you have 30 frame, 60 frames, 90 frames. And so animation, the way animation works is if we have frames, we have a frame rate. And so what a framework means is there's a certain amount of friends we have per second. So notice how it says 60 here. At 60 frames. Whoops, at 60 frames. If we change that seconds, that equals a minute. And the reason we know that is because the frame rate is set to 60. So what that means is that there are 60 pictures is 60 frames per seconds of animation. So if you have 10 seconds, you will have 600. If you have 30 seconds, you'll have x amount of seconds. And so for us, we could drop this down to 24 because the more frames we have, the bigger file size will be, and we don't want a large file size. And so if we drop it down to 24, then it makes it a little easier. And so we'll have our frames, 24 and 24 frames is 1 second. And that's pretty standard for animation in general. And so I like to keep it at 24 frames. 16. 015 Add animation track: And so now that we have all that setup, it's time to actually start animating. And so the reason we've locked it is because we want to actually select our cube. And in order to animate the cube, we have to put it in our animation timeline. And so we'll select the cube, we'll drag it in. And so there's different animations that we can do. We could do an activation track and an animation track on a timeline activation track which will, which will do first. Whenever we have an animation. With an activation track, all it does is turn it on and off. And so if we have it set to where we want to turn it off, we can just have it turned off by not having to active. So if I play, press play here, if I click it, notice how in the activate, when it's active, it's on. And when it's not active it's off. The other one we can do is if we drag it in again, we could do an animation track. And this is where we get to do the animation that the moving animation. And so what we'll do is we'll click, Okay, and we'll click record. And this is a regular Record button. And so much like any record button that we play around with. When you click Record, it will start saying record. And whatever you do here is what it will record. And so we can click our queue and we could just move it to the left. And then if we go down to two seconds or 48 frames, and we move it to the top right. Notice how there's these little keyframe things here. So if we click, stop recording will get scrubber timeline, click Play. And we just animated. And so while it's animating, I can go back to where the rap mode is. And so I can have it at home until when I click it holds. Have it at none. So when it goes through the animation, it stops and goes back. Or good habitat loop. When I click it, it loops automatically. Just like that. And so what we can do is we good, change all the different, we could change all the different animation properties. And so we did our, we did our position. So what if we did some rotation? So we started off with it rotating this way. And then at it in two seconds, it will rotate like that. So now click stop and then play again. Moves and the number of types. And so we could play around with it again, or you click record. But this time we can do it in the actual editor again it. And so what we'll say is we can move it, oops, a little too far so we can move it to the left. We can move it down. It's like there's a clipping mask, little bit, moving it down like that. And then we can rotate it a bit. Then we'll move it up over to the right. Rotate it again, and then we'll see what we do. So we stop recording. Now, rotate and it's all the way up again like that. And so what if we say that we wanted to, at this spot, we wanted to add a keyframe that allows us to scale. But we don't want to mess up anything for this keyframe. But at this keyframe, we wanted to scale all the way up. So add seven, 73. We could go to the scale and we get right-click it and click Add key. And that adds a scale key. It adds a keyframe, which is one of these little things, but it adds it for the scale. And so at 10, eight, we could actually go to our scale tool and we just make it big like that. And notice how it makes a new key now. So what we can do is we can record it, record again to stop it. And there we go. Real big like that. And so the interesting thing about this is that when we play, this plays in the context of the actual image tracker. So if I move the image tracker, if I move the image tracker, going to remove, it's going to move everything. But it doesn't actually mess with our animation. And so we could play the animation. And notice how the animation still moves around because we're moving the parent and not the actual animation or the cue. When we're moving the container and not the actual objects and the container. And so it allows us to play around with things a lot easier. And it's why we said did all that setup already. 17. 016 Control Animation Timeline with AR: And so now let's actually test this in ARC, what it all does. And before we do that, the one thing that we need to do is we have this section called in our image target. We have this section. And this section is called on-target found and on-target lost. And so what this says is that when we find, when we have the image target and we have it found, what we wanna do is do something. We want to play the animation when we find the target. But when we win, the target isn't found when it's lost, when it's not on the camera. And it's lost. We don't want to play animation, we want it to stop. And so what we can do is we can say animation timeline will drag and drop that here. In our on-target found only say $1 when the target is found. That animation timeline that we have the function we want to give it in the playable director, and it's called Play. So we play the animation and all that is a SAN is essentially doing this, pressing this button, the play button. It's going to be doing that through, through the interface. We'll just press the play button. And when the target is not found. We want to say that animation. We want that to be paused. So we want to pause it, hit the pause button when it's not being found. And so we'll go ahead and test it. So we'll save it and test it out. Like so. So it could play. As you can see, when we show it. And I'll hide it and back on. So if I hide, it should resume exactly where it was at. And so we have animation. 18. 017 Edit the animation Clip: And so now that we have the basics of animation, we could actually play around with some of the colors and the materials and stuff that we started playing with. And we can actually play with the timing too. So say we want the, we have all these different elements, right? But we want them to happen at different points of time. So maybe we want this, we want the scale to increase frame 12 instead of frame 96. So what we can do is we can go in with good click the three dots here. Wave say Edit in animation window. And what that will do is it'll open up a new window called the animation window. And all that does is it's a, is essentially allowing us to look at all the key frames that make up this, this animation. So I'll just change this over a little bit. So if I have more room to work with, but essentially where it says 0 frames here, That's the same as 0 frames here. So when I move this, so say I go to 48 frames. It's going to move this as well. And I could make it fit a little better. Make it seemed a little bit more. So when I move it, it fits the timeline like that. Until say, I have my scale, my rotation, my position. And if I want to move one of these, I could just click on it and move it over. And so I mentioned that I wanted to be 180 to get bigger. Your start getting bigger at 12. And say that I wanted to get bigger from 12 to 36 frames, right? So I can get bigger toilet 36 frames like that. If I wanted to get bigger and move this down, if I wanted to get bigger. If I wanted to get smaller, I could actually read, you know, reorder them. And so from at 60 frames I wanted to get smaller. So it starts off big. And I wanted to get smaller. I could do that. And so you can move around and you could play with the different milestone points. So it gets, so say it's, it's not big yet, it's going to be small. Then it's going to start getting big over time. And then other things will start happening during this time as well. So you could play around with the different areas even after you record the animation. And so now we have something pretty unique now. And so that's a different animation than what we originally did. But it gives us a lot of wiggle room. And so notice how on our timeline we have a whole bunch of different keyframes now. And that's because each keyframe represents something new. And so don't think that just because you animated something and he recorded it, that it's the final, it's the final product. You could actually go back and change all those animations, animation keyframes into something then. And so the last thing that we'll do is we will start playing around with the the cube properties and we get animate those. So remember I said that we have our material and we have that's attached to the cube. Those different things here, the filter renderer, the box collider, the material, all those are called properties. And so what you can do is you can add a property by just selecting the animation. So we had the cube animator and animation. We get add a property and you go to Mesh Renderer. And we could go and find our material layer. Right here, material color. You click plus sign. And now we have two keyframes for material color. And so the way it works is with our material color, we have a red, blue, green, and alpha channel. And all that means is that when we look at our colors, with our colors, we have R, G, B, and a. And so we could actually animate these two where we could change from one color to the next. And also we can make it invisible. And right now we can't make it invisible because it's down to opaque. But if it was transparent, we can make it invisible. Until what we can do is we could say, okay, we have our final color, which is our pink. But what if what if at some point we had a B? What if at some point it was blue or green? So we'll say, we can right-click and add a key right there. I'll record it. So click record. And we can right-click and we add a key. And notice how it has the texture. Now render. If we go here and we say what if it started off with the blue like that? So notice how when we added a key and we changed it from the, you know, the pink to the blue. It made all these new key-frames like that. So if we go back here, we can move it around a little bit. And now I created some more keyframes. So now when click stop, we start off with their pink. Then we go to blue. And then it goes back to that pink. If we wanted to go start off with pink or start off a blue, you can just replace those key-frames like that. And so now we changed our color. What about the metallic? What if we wanted to change the metallic and wanted it to be metallic later on, we could add the property will give find where it says metallic right there. And we can add that to it. And in our property section, it goes from 0 to one. So this is 0. This is the, this is the final keyframe that we have. But this keyframe right here, we could turn this one into 0. So we click 0, turn that one into 0. And so now it'll get shinier. Over time. It gets more like that. 19. 018 Animate Multiple Objects on Timeline: So now that we have a, and I'll go back to the previous project that I did. Where when we play it, something that comes out of it. So with that, we can actually create that little platform that goes, comes out of the actual image right there. And I'll show what that animation file actually looks like. Until we have our animation file here, this animation timeline. And we have it all setup. But all it is is just a, all it is is a, is a square that we just make bigger over time. We just animated it like that. And I labeled it platform. But it's pretty much just a platform. You've got bigger. And so what we can do is we could create that. And so we'll go through and we have our cube here. We'll just create a new queue until go to AR container will go to 3D object. We've got a cube. And that cube. We want to make smaller because it's really big right now. And we'll just create it, make it a platform. And so a platform is a wide and long and flat object. So just, you know, make it lower. Well, why didn't it out a little bit? And we'll just extend it out. And we'll use our move tool to move it forward. Like that. Will lower it to lower it so that it's sort of on the ground. So every platform. Right. So what their platform? Let's go to our materials folder. Let's make a new material, create material. And we'll say, we'll say the platform is like Brown. It's like a brown platform like that. So we got that and we'll just add that material. So we've got a brown platform. We'll label it platform. And after we label it platform, we're going to drag it down to our timeline. And we'll say, we'll make an activation track. And that activation track allows us to turn it off and on, off and on. Until will say it. That will say that it starts at 1 second after 1 second. And we'll say that it will fully expand around 60 frames right there. So at 60 frames, we're going to have the platform animate. And so add an animation track. And then we'll click Record. And so for the platform will want to make sure first and foremost that it goes to this position. So we can right-click and we can add a key for the position. Right-click, add a key for the rotation, and add a key for the scale. And that's a good thing to, that's a good thing to do initially. Just because if we making any mistakes, at least we know that this one is down first. So now that we know where we want to go, we just want to play around with how to start. And so at, at frame 1 or frame 24, we're going to say that this is going to come out of the picture. And so in order to do that, we first need to have the scale tool. And the scale tool, we'll just make it very skinny, like that. Very skinny to where it's very skinny. And then we'll pull it, will push it back so that it is just behind the image. So it looks like it doesn't exist yet. But it's just behind the image. And so again, as we move things, it creates keyframes for us. So when we could actually test it while we're recording. And so we could scrub down the timeline. And hopefully this should work. So if we look at it, it looks like it's coming out of it like that. So now we can just test it. So we'll just save it. Make sure to save, make sure to before you test just in case something breaks. And so now what we'll do is when we show our picture, it should come out and it's not doing anything. Now let's see why. Console you're, you're recording with an initial rotation offset. So remember when we did, the rotation will have to go into our animation window. We have our rotation, but we didn't animate it. So what we'll do is we'll actually remove this property because we're not actually using it. So that's all ENV saying, don't, it won't animate something that doesn't have two key frames. So you have to have two keyframes in order for it to work. So that's just a one of the things I like to do to communicate with us. If you want to test something out, it will say note, if if it doesn't like what it's doing. So now looks like it's not working again. And let's see why. Go to our target. We had the pause and the play going, but we don't have our animation timeline working. And why is that? Go ahead, try it again. So it's showing up, but it's not playing. And it could be because the platform isn't showing up, which is a possibility. And so time to debug now, because this is not working the way that we wanted to click Play. We have PaaS platform. So if we need this, what happens? What happens? Click, click New. Maybe one of the other settings that we have, animation. Animation might be this render right here. Property. And unfortunately, it's not doing the stuff that we want to try playing with it again. And it's working. Now we'll play with it. And it's working. And voila, it's working. So as you can see, debugging is one of the things that we have to do. And sometimes it doesn't works, and sometimes it doesn't. But once we have a working, it makes sense. And so if you do get stuck like we did just now, the first thing that you can do is obviously go back and see which things aren't working, right? And then the second thing that you can do is uncheck the timeline, click away, click onto the another game object. And then you get to click it back on. Good, turn these off if you need to. And then it plays here. It'll play in your ARC. Like that. 20. 019 Add 3D model from online: Until the next thing that we're going to do. And this is the last part, is actually adding one of our 3D models from that we found off the Internet. And so in order to do that, we'll go back to our viewer. And we could go to Sketchfab. And Sketchfab is a Asset Store that you can find a lot of free assets on. So you get, find the head of a bull. You could find all these different things. But what this we're going to do, we're going to look up Briana Taylor. And as you can see, we had the Briana Taylor 3D model here. And it was created by Ron get and by Rodman and Daniel Edwards. And with this, we're able to go to Daniel Edwards. Wicked download it as an OBJ. Or you could find in the resources that we have. And you can find a whole bunch of different models. And what we can do is we can add that to our same. So we'll first make a new folder called 3D models, or models. And when we have that models, we go through and we'll add Briana Taylor, and we'll just drag and drop it into the folder and just wait for it to import. It takes a little while. This takes a little while. Once we're done, we have it. And you should be able to find it in here just like that. So what we'll do is what we have to do is this looks gray. So it doesn't actually look like the model that we had here. And that's because we need to change the texture of it. And we need to change the material and the texture until it has a material already. So what we can do is we can extract it. And we get extracted by going to materials and the material folder, selecting that and extract that material called default map. And so it takes little while, but we'll, we'll extract it. And when we extract it, we can modify the default mad rather than creating a new material. So it says it has default mad here. So what we'll do is we'll go to Materials. See it says Default Map. And let's change this to a goldfish. So we have like a yellow will bump up the smoothness and the metallic give that yellow look. And then sort of have it be a reddish tint as well. And I think that should be good, should be good for it. Until now when we look back at our model, the model changes now. And so what we can do now is we could say that we want in our scene, we want the model to be on that platform. And so we could drag it over into our air container. And we can 0 out which it is. And we'll make it just a little smaller. We want to make it smaller and all the different areas. And then we'll rotate it out again. Like that, say 90 degrees 00. And then we'll rotate it and turn it around like that. So we'll say negative 90 for the x. And we'll just move it forward, just slightly like that. So move it forward slightly. And all we'd have to do is at the right time. So we'll say when say on the platform comes out, which it does add, frame 60 will say that it appears at frame 60. Frames 72. We're going to have it appear at frame 72. So in order to do that, I will do is this animated turning on and off. And so we'll just drag it down, de-select, and we'll select activation track. And we'll move the activation track to 72. And so now all we have to do is test it out. So we'll go back here. I'll click Play. We got the cube. We've got the platform coming out. And it appears. So we'll save this. And we will test it out. Just like that. 21. 020 Animate 3D Model: Until the final element is allowing us to just like making the transition into this appearance little bit better. Right? So say we wanted to up here at 72. But it will animate in prior to that. So we'll sort of get ill grow and income out of the build, grow and come out of the platform is what we'll want. And so what we could do is we can bring the 3D model down again. And instead of the activation track, we want an animation track. And then we click Record, like we've done with all of them. And we'll use the transform tools again. So first we say position, add key and scale. Add key. Maybe we do want some rotation, so we'll add a key for the rotation as well. And so this is where it will end. Now we need to figure out how to make it start. So we'll say that we want it to rotate. Rotate twice, like this. So we wanted to rotate twice. We wanted to get smaller. And we also want it to be flattered. And so centered up here already, what we want is for it to actually just hide inside that, inside the platform. So if you look really closely, it's appearing, it's just hiding inside that platform like that. And this is something you can play around with. You can play around with the timing, the frame rate, all that. But we'll just test it out. So we have the platform coming out and then it comes out like that. And this all happens pretty quickly, like this is 2.5th. So we'll see what happens when we actually click Play like that. Until I think with our animation timeline, we wanted to hold at the end. Think that'll be a good one. And so now we can say, and we can show it like that. So we have this q, but the cube is kind of annoying, right? So we'll just get rid of the cube. We'll say, we don't need you right now. We'll Mu two. And now we get play around with it again. So let's go ahead and give it a now the test without the cue. Like that. 22. 021 Edit 3D model Animation Clip: And so say that we want this to last a little longer. So we could take that animation track that we have. And we could edit in the animation window. And we can say that this could last probably. Let's go with 82 frames. And we'll say that at this position. This position, we can add a keyframe. So I'll add a keyframe here. And this keyframe is going to lead us, going to let us rotate until we'll just click Record. And we're going to rotate. Rotate back. Just a little bit more towards we're going through the timeline. Give us a marvel rotation. It doesn't look like it is. Actually modified this keyframe to this keyframe is fine. But it's really just this one right here. This one update the keyframe, negative 23. And then we'll update this one too. For some reason. It does not want to act the way that it should act. Oh, well, we get the, get the gist here. And so essentially it will rotate. And after it rotates, it goes through and it creates this training effect. And it turns over a longer amount of time. Until from there. We have our animation with our image target and eye tracking. Like that. I suppose because of that one, we can just delete that keyframe. And it comes out. So let's test it in real time. And it looks like we're running into another error. The initial offset rotation is off. And so what that means is that I need to look and see where the rotations are. Rotations for everything. Look good. It plays. I can kinda funky. So again, we'll probably have to de-select, Select and other things. Play it again. And because it played and voila, it works again. Sometimes it is needed to break because it's working too hard. But here we go. The first part of our AR stuff. 23. 022 Part 2 Creating an image target for the Augmented Reality Experience: So for part two of this course, we'll be learning how to create image targets for augmented reality experience. And then we'll improve on that with more animation, more 3D models, and even some sound. In this section, we will cover how to create a mood board of references. Create our image target using the rendering process. Add sound to the experience at animated text, to the experience. Controlling the animation with augmented reality, exploring the Unity Asset Store, and then sinking objects and animation to music. At the end, we'll have a final product that we all should be proud of. But what we're going to be doing right now is we're going to be creating an image target. And so with an image target, the goal is to make something unique that we can, that we can show and share with others that's tangible and that we can touch. And then when you hold it, you're actually harnessing the power of the digital technology by holding something that has a lockable content in it. And so it's a pretty cool, pretty cool little thing. So what we're going to be doing is making an image target and parenting or digital animation to it. And so we're going to start off with like a mood board and figuring out, you know, Pinterest and and what to do with what to do with our process there. And then from there we're going to illustrate our image. And then we're just going to add it to our computer. 24. 023 Create a mood board with PureRefs: What can be done to find inspirations, right? So when we're looking for inspiration, the best thing that we can do is create, create a moodboard and stuff. So if we're talking about art and activism, we could just Google Art and Activism and just look for different pictures that we can look for, right? This is focused on sort of expression and, and really a lot of the stuff that we saw in as a response to a lot of stuff that we saw in over the summertime, over the summertime in 2020. And to what we're looking at is sort of Art, Activism stuff for social change, stuff to express yourself, express your identity and address issues that, that, that were sort of facing and experiencing that not everybody has to, has to deal with, right? Like and so, and so with that, a simple Google search goes a long way. And I would say that like, you know, keywords, if we're talking about keywords, we can have social change, we get activism and get out environmental activism. We could have a whole bunch of different things. George Floyd, Briana Taylor like, those are all keywords that you can search. And when you do that, you're able to put together a stitch together ideas that, that work. And so what I use is this program called pure rough. Think it's pure, pure ref. And what pure ref does is it allows you to make different, make a mood board. And what a mood board is, is that it allows you to create different, It allows you to create different images or themes surrounding your ideas that you have. And when you create those ideas and themes, you're able to share like expressive without actually having to create it and it, and it creates a reference point for you to actually make, make cool stuff. So let me, let me find a, I have a mood board that I created before. And I'm gonna see if I can find it in, in, and show an example of why moodboards are great. So a previous software that I had was what's called melanoma. And I used to do a lot of mood boards with this. And this is a, this is a mood board that I created for this idea that I was playing around with called super cute. And so essentially it's, it's a, it's a, it's an idea that I had. What if I combined Voltron or, you know, Power Rangers with the Divine Nine? And so what would that look like if there were like a super team of the Divine Nine, which are the, the, the, the famous are the most influential like black fraternities. Fraternities and sororities out there. You know what if they were superheroes in like the houses where the bases and, and all those different things. And they combined together to fight crime in an overthrow white supremacy. This entity like that, that was the basis for it. And so I created a mood board and I had sort of a synopsis, some keywords of like, you know, VR troopers, Sailor Moon, Power Rangers. And, and and then I had a whole bunch of images of like what the colors will look like, what the themes would look like, what the images will look like. What would this look like if it, if it existed? And from here, I'm able to create the, I'm able to create the work based off of it. And so, and so with, with this, this is a moodboard. And so whenever I have ideas, I'll add to the mood board. And whenever I wanted, like need inspiration, I can look at the mood board to work on the project. And so this is a, this is a program call it called melanoma or a service called melanoma. But if there's a, there's a desktop application that you can use from pure rafts and this allows you to pull from the different things that you have to yeah, you can pull from just the different, which will cause that you have 1 second. Maximize the size font. And it looks like I am not able to move or relocate my window. Unfortunately, for pure Fs. Oh, I can just turn to page change the view. But essentially, yeah, you can use this as a wonderful application, fluorine. So what I'll do is I'll stop sharing and I'll move over to a sharing my other screen. And when I do that, I will share my screen. And so here's a program called peer reps right here. And it is a, it is a very small program. But it allows you to do a lot of cool stuff. And so if we have our, let's see if we have R. So if we ever pure rest right here. And if I wanted to say like, Hey, I like these, I like this image here of the social changes. I can drag and drop it over. And what it'll do is it'll actually make it will add it to my Moodboard. And so I can resize it. I can go through and I can, I can make some more. I'll just move this up and down here. And so say we wanted something like this. I go to social change. I like this fight. Fist in the air. I like this fifth here. So I'll keep that. Well, if we say we want to like Riana Taylor art. So something like this would be good. This will be good. And you can resize it. You can organize it in whatever way that you want to just like that. And so that is, we'll say that like bees are some good ones for my, for my mood board right here. And so a challenge with mood boards, right? Is use pure refs, use Google Docs, onenote, Pinterest, or any program that you can to build a mood board full of references for your project. This is creative in nature, and so you need references to either spark creativity or figure out the fine details of what you want to create. Search the internet for ideas using keywords that you can think of about your project. And a great place to search are obviously Google, but you can use Instagram, Deviant Art, art station, Tumblr, pinterest, a variety of different areas, even books and from your real life. 25. 024 Create an Image Target: Until now that we have our moodboard. And I could actually move it over here, we could actually start sketching. And so what sketching? All we wanna do is just figure out like you can start with simple shapes. You can combine shapes and you can play with these portions and scales to, to bring about ideas. And, and when we're sketching, one of the things that you want to pay attention to is like, like all, all the AR stuff is doing is allowing you to, to turn a picture into a QR code. There's something that can be recognized with the software on your on your camera and your camera points to it. It looks at the stuff, it recognizes this things in the real world. And if it has a reference for it than it will be able to, you know, like call upon the stuff that you created in the software. So it's essentially just like unlocking stuff once you have the key, which is the image that you're making. And so what you want to make sure you don't have a lot of repetitive patterns in it. So like dissolves unique stuff in the, in the, in the application or the image. And you want to make sure that there's some high contrast. So there isn't just a whole bunch of just whitespace. There isn't a whole bunch of blank space. There has to be a combination of both black and white or color your stuff, but mainly in light with AR, like you'll make stuffing color. And there you'll make stuff in black and white, and then you will color it. But the camera really only recognizes the black and white and gray scale and Salvo until be careful of like only using a lot of dark colors because that can be misinterpreted by the camera. And so having a nice balance is good. And then you want to just distribute the information within your image target very well so that it doesn't have a lot of whitespace in on it because it's really hard to track really high whites and really dark blacks. And then they also don't have a lot of blocks of text with it. So if you want to like write an essay, don't do that for each target. But essentially, yeah, well, you gotta do is just, you know, just draw the image on paper. And so what we're gonna do is we're going to just take a pencil, sketch it. Now we're going to use some sharpie. We're going to trace over it to give it those bold lines. And then we'll just give it some depth with color and texture. And so what I'll do is I'll have my image right here. And then I'm also going to have my workspace, as you can see here. And we're going to start sketching some sketch and some stuff and putting it into practice. So here's my little workstation. To 22. There we go. Here's my little workstation. Here's our mood board right here. Let's get a diamond. So here we go. I got my cut, my stuff going. So here's my paper. Here's my pencil right here. And so with that, let's, let's say that I want we're just going to first start by just like blocking stuff, some stuff in. So say I want something in this area, something in this area, something in this area. Something in this area will have a little design going around here. And then we'll have a main image here like that. So that's sort of the sea to stuff that we're going to be making. And then I'll have like my markers and I'll have like a black ink pen to draw with once we finish. And so other main character called Roscoe. Roscoe is a sort of a rambunctious, funky, funky kid. And so what I'll do is, I'll say that like Roscoe does. Roscoe was trying to make a statement. And so with the statement, I like this image that I have about the i1 change. So I'll create a box with that text in it. I want change as if Rosco is holding good. And then I'll have it to where Roscoe holds it until I like to just start off with the fingers. Now I'll just create some, just some round shapes for the fingers, for the hands. And then I'll, I'll create the fingers by just adding some lines. And so I know that like we all have five fingers, so I'll just create four lines within our shape to just represent the fingers. And it can be very rough. It doesn't have to be completely like these are just rough sketches. So don't feel like you have to be perfect with all this stuff. Then obviously we need our shoulders. And then I'll draw the head, which is just a big circle essentially. And Roscoe, Roscoe has large eyes and nose. And then I'll give them like a little puppy love. And then I'll give Roscoe wild afro. Because he's a, he's tender headed and he doesn't like to get his hair cut. So standard edits or doesn't get done either. And I feel like I'll change it to where he has sort of a system air. I feel like that makes it that makes it a little more a little more active. So I'll say he has a he has his fist in the air. And so actually erase one. Again, we're just sort of playing with ideas here. So we don't know exactly what we're doing. We know the process, but we don't know exactly how like the exact things that we're going to be doing with this, what is going to actually turn out to be? And so with the arms, I'll just make like cylinders for ovals. And just create our creator images. Create the little details. Like so. No changes. I'll change his mouth so that he's sort of little more activities. He's engaged. So we have sort of a smirk. Is reacting in a way. It's like he has something to say. And knees trying to demand. He said he wants change. And so you can see that in his face. See that a sort of fed up with what's happening. Which I think speaks to the times, right? Like that's part of the word and that's part of what we're compelled to do is respond to things that are happening. And I think this sort of built on that. So I'll just sketch and sketch. So with that, we have, we have like a sketch or Roscoe holding up, I want change sign. And so we'll have, let's say a triangle or a square or diamond on one side. And we'll just give it just a interesting little shape design there. And how about we have a flower on the left? So we'll just make the petals will make the center of it. And we can say that that's a bind, that we can connect all the other ones too. So I guess we get to it. We can shape the shape and we can actually just make it a, you know, a, a flower as well. Just make flowers around the edges. So we'll make flowers around the edges. So each corner has a, has a different flower. And I feel like they could be the same flower. You can make a rose, you can even make it to one. And those lines let me made, those could be the vines that connect each flower until it looks, it looks rough. But this is sort of the process, right? This is, this is the process to create this type of work. They're just taking the inspirations that we have. So we have the flowers on one. A lot of these things. We have petals. We can have leaves. And so create leaves on these that go in different areas facing different directions. And we're playing with these ideas. But really all we're doing is just, we're just making unique stuff for our computer to recognize the image target. And so it's visually appealing. But the reality is that like we're making stuff that allows us to make the image target better. And so there's a sort of using art to improve the technology in many ways. So now that we have our pencil sketch done, we don't want the pencil. Let's use a black pen to make the lines and give it some contrast. So this is part of the rendering process called inking. Until we did a pencil sketch. What you do with a pencil and you sketch it out, then time to ink it. And that requires us to just go over the lines with the something darker and something that we could finalize. So I'll just go through and make the lines more pronounced. She can move. You can move it around and get trace over r words that we have eyebrows. And so we could actually go through because it can get a little messy with all these different shapes here. So we'll go through and we'll take our shapes. And we'll just start tracing over m so that we can make something. We could distinguish all these different scribbles and lines. That's really what it comes down, distinguishing the scribbles and lines. And when we're talking about like artists therapy, right? Like this is one of the, one of the, one of the things that aren't allows us to do is we're just sort of tracing over your lines were not really like at this point, I'm not really doing work. And just sort of doing it using a process. But this allows me to just like relax a little bit. Usually I'll have some music playing in background and do like an audio book. But really my focus is on just making sure that this turned out right or just how I want it to be. And so because of that, I don't really have to worry about anything else. Like all the stuff that is sort of happening around me. Just takes a backseat to me just working on creating a cool picture that will help my AR experience get recognized. And so you could think of this as like, okay, what if you wanted to, if you're a visual artist or you have the album cover. And your album cover has to be cool art. You can create that are impactful, meaningful, and good. Turn your, your album cover. And to an AR experience. Like that stuff is you're able to do that with all this, all this technology, with all these tools like that. So that is our ink process right there. It turned out pretty good. And so as you notice, like we started these like sketch lines here. And so what if we actually just went through and just erase all the lines we don't want. Just so it makes it look a little cleaner. And so we'll just go through and do that. The media about the process is that if you erase the pencil lines, it's not going to erase thing. And voila, we have our stuff. So I have crayons and colored pencils and markers and they're like We use. But what I'll do is I'll use my other markers. So I have a list of Blick studio markers. And this is like an alcohol-based ink that allows me to create some cool stuff. So I'll just start using this to, to color my illustrations. And it's a brush pen, so it's something that I like feel pretty comfortable with. But there's a lot of tools that you can use. So I'll just go through color this, make it look fairly quickly. And I feel like, no, the coloring process for making an image target is more for the people that see the image target rather than the actual camera that uses the image target. Which is interesting. I feel like we enjoy like looking at pictures, but we often forget that the software doesn't care about what the picture, what's on the picture. It just cares about the details that you put into the picture. So the AQ recognize it. And that's a, that's just a interesting concept to play around with in your head. So I'll give them some the tongue. And then I'll do as hair. I was here, be a little darker. Give you like a red tend to as hair? Yes. This kinda on the darker side, I'm normally not going too dark with the with a lot of my details and my images. But such is life sometimes, right. So we have Roscoe pretty much color. I can add color to. The different flowers. Are red flower, a violet flower, blue flower. I'll go through until we know that our center of our flower, the pollen, tends to be yellow. And then we know that this downs tend to be green. Stems and the stalks and leaves, those tend to be green. So I could just add grain to them. And now let's start coloring the rest of it. Good, we'll get some blue, purple. We have our image target right there. So I'll just put these colors away. Now that we've put these away, we're able to actually image target and scan it into the computer. And so there's many ways that you can do that. And so another challenge would be creating an image target, something unique that you want to create that expresses your ideas. Create an image target based on a mood board that you created, which obviously was a lot of references that you had from last challenge. And really follow these steps of the rendering process, which is sketching a draft of your image with the pencil. Inking the sketch with a bolder, darker medium, like a marker or a sharpie to make the line work really stand out and it'll be permanent. So that's the best part about it. Coloring the final line work with a variety of colors to make the artwork really, really pop. For me. I love color. And so I tried to oversaturated my colors a lot to hide a lot of the imperfections that I have in my line work. And then lastly, add any effects to the artwork to enhance the composition even further. And so that's where the style comes in, where the rendering style of maybe like to have a filter over it. Maybe you like to have some sparkles and different mediums incorporate into it that aren't, you know, illustration based. You could do that. 26. 025 Import our new image target: We add to our 3D objects to the image target. We did all that stuff. And here is our image target here, right here, right? So we have a image target that we were working with initially, but we can add another one to it. We get out the one that we just finished. And so what I'll do is instead of having and let me minimize this real quick, make this a little smaller. So instead of using the one that we started off with, let's use the one that we created. Until all we'll do is in our images folder will take, would drag the image that we created into there. So just drag and drop into the folder. And then once we're done with that, we need to make sure to go through and change it. Change the texture type from 2D sprite UI to or from default to 2D and UI sprite. When we do that, we'll click Apply and it changes it back to its original size that we need. We want it to be. And so now what we could do is all we have to do is we want to replace the image target to the new image target. First, we'll, first, we'll test it out and see what happens when we, when we use the original image target. So we'll just test it out, see if, if, see if it works first. And so it looks like it works pretty well. No sound has little animation from the first day that we did stop, but we'll spruce it up a little bit. So now the first thing we'll do is we'll actually go through and we'll just change it to the new image. And so notice how I went through and selected click the image target. And then once I click the image target where it says image target behavior, I go through, click select, and then choose the new image target. So I could change it from this one to this one. And with a click of a button. And notice when it does change it to change it changes it back here too. And so that's why, that's why I like vuforia is pretty good because it allows you to click a couple buttons and actually see the stuff that changes. And so now let's actually test it and see if the image target works. What do you know it does? So our new image target, the one that we created yesterday, and jam session two, works with our, works with our AR experience now. So now let's see if the old one works. So notice how the old one doesn't work now, and that's just because we changed it. So now it doesn't recognize the old one, but it recognizes the new one like this. And so success. So we know that the new one works now. And so that's great. And so if we again, if we click on our animation timeline, will still see that our animation works. And we get again, click the click that button to keep it open. We'll just change our workspace a little bit. 27. 026 Incorporate custom audio: And so again, we, not only do we have the image, but we had the sound too. And so let's make a new folder called music. Right place. Make a new folder and call it music. And the music folder, it's time to add our algorithmic beat. So we have the air john beat that Nico made yesterday. And so we'll go ahead and we'll drag it into here. Until now. If you notice we have our B, just like that. And so you can, there's a lot of stuff that you can do with this. One of the things that we can do is optimize the beat so that, so that it works on one channel and it uses less space. Because the thing about the thing about our beets and everything is that it like the thing about the B is that it is essentially, you know, all this stuff takes up space on your on your phone. And so your phone only has the capacity, a device only has the capacity to do so much. So if you look at this in and it says it has a certain size, it, that just means that whenever you play this, it's going to take up a lot of space. And so very much like when we're working on projects, we only have two hands, so we can only do things that people would do. Hands can do. If you have one hand, you could only do stuff. You can only do so much stuff. And if you have three hands, you could do even more stuff because you have more hands. Same thing with the same thing with your device. And the AR stuff is that there's only so many resources, which means it can only do so much at the same time. And if you run out of memory, then, then that's when the experiences get really, really messed up. And so what we can do is we give forced this to mono. And if you forced to Mano, notice how it says original size 253, imported size 180, one. So if you click Apply, notice how it dropped from imported size to 120 one. And it made a ratio of 44, 848%. So that means that we've optimized it so that it doesn't take up a lot of space when he play it. Until when we play it. It's still sounds the same, but it takes up less space in it and so on. And so that's one good thing about this. And so now what we can do is we can go through and we can start adding R. We can start adding our lovely game controller and sound controller to this experience. And we could add that to our animation now. So the next thing that we'll do is we'll right-click and we'll right-click on our air content container will create an empty. And that empty we'll call container for sound control. So sound control, actually i'll, I'll change the name incumbent on the naming convention there, sound control. And so what I can do is I can add an audio. We can add audio by going to Add Component, typing into audio, and creating an audio source. And so the audio sources where we get our audio sound from. And so it will add the sound control. Mood drop, will drag it down. And we'll add it to our experience or a timeline right here. And when we do, we can add it as an audio track. And an audio track allows you to place the sound in on our timeline. And so on. When we do, it's referencing our sound controller, which is also referencing our audio source. And so that's a way for us to communicate with the different parts of unity and the different components. And so typically, you would need to place our audio clip in this audio clip source right here. But because we have it on a timeline, we could just drag the audio source to the audio track like that. So it's a simple drag and drop. And notice how, because this is a twelv second loop, we could actually add it to our timeline and have it start in a particular way. And so say we wanted to start after the animation finishes. We can do that by Sam. We wanted to start right here, right when the animation finishes. And so let's just test it out. Just like that. And so notice how the, notice how the end of the act of thing finishes. The 3D models go away and order to keep those because this is the active symbol right here. This is the active component. And so when it's not active, it's going to go away. But if it is active, it's not going to go away. So all we have to do is just drag them to the end. Drag that one to the n. Drag that one to the n. And so now we have inexperience that stays just like that. So let's just go ahead and test it out again. Just like that. And so now that we've tested it in our editor, time to test it, test it in our actual scene. And so we'll go ahead and save our project. Click Play. So I got em when we, when we take off the when we take off our image target from our camera, then it pauses as well. And so that's an easy way to control stuff. 28. 027 Adding a Sound Mixer: Another thing we can do is notice how we have our output. There is actually a mixer. And so we could actually have some more audio controls integrated by adding a mixer. And so what we'll do is we'll actually add a component. I think it is a component. Are yeah. So it's a component and we're going to look for no. Yeah. So it's going to be an asset. So we're gonna go for assets, create an audio mixer. And the audio mixer, it allows us to add additional sound effects and, and parent those as if we had a mixing board. This is essentially our mixing board for an AR experience. So if you wanted to add more sounds and how control the volume and create user interfaces, you could do that with, with the audio mixing. We won't be covering that in this jam session because that's, it's a lot of stuff that we already covered right now, but this is something that you can play around with and, and, and make your own with these until would just say this sound mixing. And so I'll notice how it's a threshold. There's a normal, there's all this stuff you could do. But then if you go to your game object, you can click Output and where it says mixer group. You get to click that. And it says, And we ever sound mixer here, so which is our master. And so now you could use the sound mixer to deal a lot of cool stuff if you have multiple sounds. And so we'll go through again, we'll save it. And we have our image target, and we have our sound effects here. And so now it's time to actually start sprucing this up a little bit, right. 29. 028 Adding Text: So maybe we want to have some text. What about text? Text is one of the key things that we can add that allows us to tell the story a little bit more. Make a statement. And so what this text, we could just create a new empty game object. And we'll call this. And then we'll make sure that this empty game object goes into our content folder so that we're able to create some, yeah, so that we're able to keep it organized and in many ways. And so the next thing we can do is we can right-click on our text with the Alda UI. And we could go to text text, text Mesh Pro. And we want to use text message Pro versus the text. Because the text Mesh Pro allows us to create text without having any of the width with more functionality, essentially, texts is very basic, but text mess Pro gives us more features with our text, with our text essentially. And so when we add it, we want to import TMP essentials. So you'll click that and it will add those. And those are just the shaders and stuff to give us more functionality. And then I tend to add the import examples and extras as well. Because it gives us some, some fun stuff that you can play around with as well. We probably won't be using too much of it. But this allows you to have some fun stuff. So we'll just wait for it to finish. And then once it's done, then we can start playing around with text. So now that that's done, cool, we'll close that and we have our text mess pro. And so you'll notice that not only did it add the text and TMP stands for texts mesh Pro. But notice that not only did it add the text, but it also added a canvas. And you'll notice that the text is nowhere to be found, right? So I added a canvas. And what that Canvas does is it actually mimics the screen. And so if we play on our device and we change our aspect ratio to 1920 by 1080, which is like a standard ratio for a device. You'll notice how there's text here. And then there's the model there. But the text is up here and the model is all the way down here. It's really small, right? So here's our image target. We see the model, but we don't see the text. That's just because the canvas is what emulates our phone screen. And so what we wanna do is when you go and click the canvas, you'll see that it says render mode, screen space overlay. That means it's rendering the camera screen over phone or the phone screen of our device. And so we don't want that. We actually want to click it and change it to world space. And not only do we want world space, but we want it to have it and based on our event camera. And so when we click it, will clip the event camera right here or the camera none. And we'll take this AR camera that we have, and this is our actual camera that we want. And so we'll move it over, drag-and-drop in there. And there we go. There's our camera that we have for it. So we can go through, we could change the position to 00 0. And if we look back at it, we've got this huge text. Right here. The text is huge, it's huge. And so all we have to do is just start making it smaller essentially. And so what we'll do is we'll make it smaller and so we'll scale it down so that it is the right size for us. And this may get a little tricky. Going to have to scale it down a lot sometimes. But once we got it, scale down the right way, like that. Now it's, now it's right in front of us. And so we can change the pivot to 000. We can change the position. And what happened to it. Turn that back down. So it does some funky stuff sometimes. So we'll just keep it there. Make things just a little, just a little easier. I suppose. And so we have our, we have our canvas exactly where we wanted. And what we could do is with our canvas, we can look at the bounding box and we can make the bounding box smaller. And so we'll use the direct tool while we're using the canvas and we'll zoom out too. We see these, these points here. And so notice if I de-selected those points, go away. But if I select it with the rec tool, right, then we're able to control the size of this canvas like that. And so what the size of our canvas will say that we want the canvas to be a fairly decent size. Like that. Think that would equal its own when we look at it in our game view. Now we see that the canvas is working and it's in the right spot. Until we can do is we could actually bring it out. So the canvas is going through the model right now. So we can just actually just move it forward like that until when we do notice how the text moves forward and back like that. And so say that we want are actually, let's, let's just test it out and see what happens. And so we have our, we have our text. What if we have the text come out when the music starts? So let's go ahead and bring our text down. And then we're going to do an activation track. And we're going to have the text start when the music starts. So we'll test it out. So now let's test it out with our text works, which is great. And so now it's time to start sprucing up the text. So we could actually just move the text around, we can center it. But first let's actually just start playing around with stuff. So we'll, we'll say power, rest in power. It sort of left aligned right now. So if we just made it centered within it. And I think the colors cool, Let's give it an outline. That outline could be like a thick outline so you can see it. And then what if we change the color to like maybe like a green? Yeah, Let's do like a grain. Think that'll balance it out a little bit. And then what if we change the count that It's cool? What if we had it on? Maybe we could try a different font though. Let's try, let's try a different font like this. Give it a bold, like a bolder font. Yeah, I like that. Now we give it that we give it that outline and we give it that green color. I think that looks I think that looks good, that looks solid. And then we and then we lower the text down like that. And what if we give it a, what if we give it a little angle? So instead of it looking straight up, we can give it an angle. So that's sort of prop to the side or prompt at an angle a little bit. And then just make it a little larger. Like that. Yeah, I like that. I like that. And so we have that. And I think that I think that is a, that's a nice little, nice little text right there. And so with, with our texts, the only thing about the canvases is that if you want to have multiple taxed on it, you actually can't just add another text, you have to actually add another canvas. And so with that, what we can do is instead of having one canvas, we can have multiple canvases. And so we will name this canvas. And then what we can do is we can right-click and duplicate it. And Canvas to rename this canvas too. And this canvas will be the second canvas where we can have our additional text on it. So each line of text, you have to have a different canvas for it. And so what I'll do is we have one canvas, now we have another one. And we can actually raise the canvas up and we get push it back. And this one can be one that has a larger text to it. And so we have rest in power for the first one. Actually, lift this one up to about 200. Yeah. So I'll just center that. So it's easier to maneuver. There we go. And so with our canvas, we can make the canvas that size, yes. And then we can make our rest empower the same size as our Canvas. And we could do that by going to text. And notice here it says wreck transform in center. If we click that, this allows us to change the position of our, of our things. So if I click, if I click the Alt or the Option button, and I click each one of these different areas. Then it'll allow me to make it stretch, align it to the right, aligned to the center. Stretch above. You could do a whole bunch of different things until what I'll do is I'll have a stretch. And then also if I hold Shift, then I get to stretch and center it like that. You'll center stretch. Until now, the size of our bounding box for the text is the same size as the bounding box for our, for our canvas. And so in order to get this text back to center, I go through and my alignment panel and notice how I can do right align, center align and all that. I could actually do vertical central line just like that. And so if I make any changes to the Canvas, it'll automatically change the distance and the center line for the text. So that makes things so much easier when we're, when we're trying to align our text and we have a canvas. So now anything I change to the canvas. So the size of the canvas changes, so does the text. And that's great. So now, I guess from the audience, what should I have the other text said? What do you think Nico? Like? What should the other texts say? Taylor. Briana Taylor. Should it say anything else? Then we could give it to say that this is a it could be larger like that. Yeah, I like that. So how about color? What color should we should we have it? What goes good with gold? With purple. Purple. Okay, so we got purple. So, so a text message Pro, you do get a lot of different functionality. The only problem is that when you, when you change the shader, it does get kind of funky. It gets kind of tricky. And so if I change the shader for one of the selection line shader, so I want to undo assign Jayden. Yeah. So with the text message Pro, if you want to change the color of something, you're going to have to change the font asset and the shader. And if you don't change that right, it will mess things up. And so if I change the font asset and the shader for text Mesh Pro, because we duplicated this, if I change the color, it's actually going to change the color for both of them, and we probably don't want that. So what I'll do is I will actually make a new shader. I'll duplicate it. So I'll go through the text much pro. And where it says shader bankers SDF, PMP, font asset. I will actually go through and right-click and I will duplicate it by Control D. Yeah, by using Control D. And the create another one called Bangor SDF 12. What I could do is I could go through, add that to it, Bangor SDF one, add that to my font asset until notice it, it's now it's different. So now we have Bangor SVM and bank rescue have one until five, making any changes to Bangor S, D, F, one, then it's not going to change it for bankruptcy. You have to like that. And so now we could go through we get at it, have it be a purple. And we have the same font. We created a new shader and new material, or we created a new material. And it's not going to affect the, the other material that we have like that. So now let's just save it. Let's test it and see how our texts works out. So notice how we still have it on that angle. And so I think I'd like that angle with both of the texts. That turned out pretty good. And so instead of having it, instead of having the text, just pop up, what if we had an animate? And so we could have it animate in much like we did with our, with all the other stuff that we did, right? We have the animation of the model, we have the animation of the platform. So know if, what if we have the animation of the the actual text come in? And we could do that. So what we'll do is we can say the text that happens. We could have its scale up and start from like a small size and then get bigger and give it a little bit of a bounce effect to it. And so what we can do is we could actually, instead of doing that with our, with our canvas, we could actually animate it with our text from the, from the text Mesh pro. And so in order to do that, let's actually just rename our text to our IP text. And then, and then B T text. I named them the wrong things. Books. Yeah, so let me change it. Rp text. And then Canvas too, is going to be our BTU tax. And it's good to name your stuff so that you actually name them right things. And then can always test it. 30. 029 Adding Animation to Text: So now that we have the name, what we'll do is we'll drag both of those n to our animation timeline. And instead of activation track, because the text gameObject is our activation track, now we want the animation track. So that's where we click Add animation track. And so this is where, this is where the animation comes in again, where we want the animation to for each one of these. So say we want them to, we want them to start animating around the time that the music starts playing. So we'll say that by and we want this to happen within 20, within a second of the music starting to play. So if we have, our frame rate is 24 frames per second. So if we change it to seconds, notice how three-point and 12 seconds is here. For point 1, 2 seconds is here. Well, we could do is wicked start recording. And we could say, we know that we want our scale, which is this one, to be here. This is what we want our scale to be, 1.1 to two seconds. And so then we'll say that our scale should be smaller than that. So our scale should be with our scale tool. And we have both of those selected, would say our scale should be smaller than that. Like that. And should be smaller. And so when we when we have it oh, no. And it looks like a messed it up. No, we don't want that. So what we can do is we can undo all that stuff. Undo that. And notice how things are all messed up, right? So now we want to actually fix those mistakes. So we know that our text Mesh Pro, we want that centered. And that should be good. But then our text is off for some reason. And so we'll go to our rectangle and it looks like this is off from the beginning. To what we'll need to do is we'll just need to recenter it again like that until it looks like we're probably not going to be able to animate the text as much as we can animate the canvas with the text on it. Which isn't a problem. So we'll have to do is we'll actually delete these. And with our text will go through and we'll recenter our rest in power. So it's a little easier to work with. So we'll just go click the rest of the power will go to our Rec tool and we'll just put it in the center. And then for our canvas will just make the canvas lower so that it fits exactly where we want it, just like that. And then we'll just make it a little bit smaller there. And there we have it. That looks good. And so now we see that because it's in the Canvas, it works good. But if you try to mess with anything inside the canvas, it doesn't work to grade. And that's something that you just sort of like learn as you play with these things, right? Like everything was fine until, it wasn't. Until what we can do is we can add these back to our animation tracks. We could add these as animation tracks. So add animation trucks. But this time we're just going to edit one at a time. And so we'll add the canvas as the animation track. And we'll say that at 4.12. We want Canvas to have this scale. And we could say it could have a disposition as well. So it comes out to this position and it has the scale. And so when it first, when we first animate it, it will be at a smaller scale. So we'll say that the scale is smaller and that the position is for the back. Like that. And so when it comes out, it looks like it is still sort of acting funny, right? So then we'll just correct it as much as we can. And it looks like it's still is given us problems. Unfortunately. Yeah. Looks like it's still given us some problems. And so that's where just being flexible with it. Where maybe the problem isn't what the canvas, but maybe you have to do a combination of the canvas and moving the, the text within the canvas board. And so by doing that is what we got. So now we have a textile increases, come out, pops out and works with our timeline. So we can save it. And we could go on to the next one. So the next one, let's say that we want that one to pop out at five seconds. And so we will do the exact same thing that we did. Or you start off and we'll say we want the scale to be the scale for this one to be this size. And we'll just move it up a little bit just to record that that keyframe. And then what we'll say is we wanted to come up and get smaller. So we will make it a little smaller. So I got this, make it smaller, make it come down. So again, notice how it did not do exactly what we wanted. And that just happens sometimes, right? It just happens sometimes. And so what we could do is we could just move the text over and we can move it back to its original spot. And so for some reason with unity, when you start trying to animate canvases, it doesn't do exactly what you wanted to do. But if you're flexible with what? With your approach, you could get the right thing. And so we did it. We got the texts going. It's on our timeline. It staggered. And it works just like that. So then we'll go ahead and save that. And so now let's go ahead and see what happens if we, if we try to test it out. So here we go. Big test. So it's kinda bugged out a little bit. Let's go ahead and give it another test like that. And so there is our animated text. There's our sound, There's our image target. There's all the stuff that we, we love about. All the stuff right? Like it's all coming together now. 31. 030 Add assets from Asset Store: And so now we have, we just have the 3D model, right? So what if we actually added some additional stuff to it? So what if we wanted to add some flowers? What if we wanted to add some, some cool stuff that we could that really speaks to the scene that we're trying to essentially create. And so we found our original model on Sketchfab, right? So the next thing we can do is we could actually go to the Unity Asset Store. And what that does is it's a, it's a wonderful place to find a lot of free stuff, a lot of stuff that you could buy to enhance your experiences. So we created, we created our image target, we have our model, we created our animation, we did our text. We even did the, you know, the image targeting stuff, right? Like we did all this stuff now that we could. So now it's time to, now it's time to tap and what the community of creators to help enhance our stuff. And so you'll notice there's a tab here called Asset Store, right here. And it says that the Asset Store has moved. And so if you go to Window and you click Asset Store, That's how you open the window. But you could go to search online. And what that will do is it'll create, it'll take you to the Asset Store, which is this. And in the Asset Store, this is where you get a whole bunch of cool stuff. You could get a 3D animation, you can get visual effects. There's a whole bunch of stuff he could do. And so say, we want flowers. You typed in flowers. And then you go to where it says free asset. You click that. And there's a whole bunch of different flowers that you could get, right? And so what if we wanted to get this ceramic vase of flowers? Or if we wanted to get low poly flowers. What if we got all those, right? So let's see here. Let's look at some, there should be some interesting packs that we can create. Actually, I kind of like this low poly flowers set that we have. I feel like there's some, we could do some really cool stuff with these low poly flowers. We could do a design within a design. And so let's add this low poly set and it's free. So that's great. And then it says open in Unity. And so all you have to do is click add my asset and then he could open it in immunity. And it will take me back to the Unity Editor. And in the Unity editor, it adds it to my package manager. So you see how it says low poly flowers. I can download it. And when I download it, it'll download. And when it's finished, I can open it as an import. When I do that, it gives me all of these different flowers. So I'll go through import that. And so I have the individual flowers that I like. And so what if I actually opened up another one and I wanted to get some other flowers, what if I don't? What if I want to go beyond just like individual fires, right? So what if i'm, I like this ceramic faces, ceramic vases with what flowers on it. And I can move around it. As it's changing, I can move around it. And this looks cool, right? So I think I'm a download this as well. So I'm an ad this asset are going to open it in Unity, opened in the editor. And I'll do the same thing. I will click download and I'll click Import. And one thing is you want to notice is that it looks like it. So I probably don't want to add that, the demo S2 it, but I have the Prefabs right here. And so notice how it says it's going to make this folder called Mongo flour. So that's where we get find the assets folder, click Import. As we're waiting. Boom, it's done. Until now, I go back to my singing and I should be able to see some more stuff. So I have my low poly flowers, which is this. And then I have my Mongo flower sporadic basis, which is this. And I could go to prefabs and these, the prefab sizing, I like him. And so what I could do now is now I can create a new empty GameObject. And this empty GameObject that I'll create, I'll call it the flowers. And I'll just have this as our, as our container. And so with it, notice how the notice how the flowers container is at the center of this. We kinda want it to be at the center of our, of our, of our platform. And so what I could do is I could actually make it the center of the platform by making the flowers, a child of the platform by just dragging the flowers to the platform, game object like that. And then I can 0 it out. So 00. And now I have me a cool little situation there. And so it's a child. But the scale is kind of off. And so what I could do now is I can just remove it. And now the scale is back where it needs to be. So this is where I want R, This is where I want it to be. And by making it a child of the platform and get out and then taking it away. It it sets it up for me in the exact spot that I wanted. And so that's a, that's an easy way to just make, make the measurements work for you. And so now what I'll do is I will add my bases into my flowers. And notice how it's sort of rotated in a way that I don't want. So I could do is I can just rotate everything 90 degrees like that. And so that's the beauty of having a the flowers gameObject is I can't rotate the game object and not the vase, and I won't have to worry about it too much anymore. So what's already on the ground level? I can go through and shrink it, make it smaller. And then I can make it 0 it out like that. And then I can add another vase and another vase like that. And then we get shrink those, make them smaller there all the way up there. And that's rough. And then what we'll do is just hit 0. And now they are back where they need to be. Let's see here, let's make it a little larger. I think this is just too small. And then we'll hit 0, raise it up. And then I'll go through. And I will just start decorating the space. Decorating the space. We have one right there. This one in the back. So what if I wanted to add one? If I wanted to add one here over there, I could just go through and hit Duplicate and then move it over. And this one is sort of in the background, but I wanted to stand out a little bit on the side. So let's add one there. And then I could duplicate that again and add it to the other side like that. And then this little one here, I can duplicate this and add that one to the other side. Like that. And take a play around with it and, and have your own little design. But it pops like that. 32. 031 Animate the Asset Store Assets: And so as you can see, it's still there when we don't want it to be. And so what if we want it to appear after, after the Briana Taylor text, right? So we wanted to appear at 512. So all we would have to do is go to our flowers. Gameobject, will drag it down. We'll hit activation track, and that activation tracks starts right there. So let's test it out. Let's test it out with our animation timeline first. And so what if we wanted it to start there? But we wanted it to animate first into the scene. And so what we can do is we can move our animation of our gameObject. So we'll say starts at 512 until what the flowers, we want to make sure that we move it down again. We'll add an animation track for the flowers because we want the flowers to animate in. And we'll say that we want the flowers to grow up. Give it like a growing up effect. And so what we can do is we can have it animate n by growing up. And it'll finish growing at 512. And so we'll go ahead and click record the animation. We can say that the scale, we'll add a key and the position, we'll add a key here. So this is the final look. But when it starts, we're going to make it smaller like this. And then we wanted to, we want it to be lower. So we want to make sure that the, it's at 0 lower ground level like that. So now, so now by lowering it and making it smaller and the y-axis, we were able to shrink it until one of the, one of the things that we can do with this is notice how it sort of static. It doesn't have that balance that we, that we sort of know of and Mike. And so one thing we could do is there's an animation principle called squash and stretch that we get implemented into this. And so all that says is that when something stretches or moves, it has a little bit of a bounce. And so we won't go into that animation principle, but I'll show you how, how it works and what it looks like when we do it. So when we press Play, it just sort of crows consistently. But if we go back three frames, so we'll go 1, 2, 3. What we can do is we can make it overshoot the distance. And all that means is that if we're saying that the y-axis goes up or it stretches back to one. What if it goes beyond one? And then comes back to one? And so we'll say that it goes to 1.3 and that 1.3, it'll be raised up a little bit until it goes to 1.3 and then it goes back to one like that. And so when we play it, it'll look very interesting. It has a bounce to it, it has some character to it. Like that. Until it's the same, it's the same workflow that we did with all the rest of our animation, but we just added an extra keyframe. And that was to just give it a little bit of bounce to it. Until now that we have that, let's go ahead and test all of it altogether now. With everything working, it should work. So we'll see. And it looked like it color glitched a little bit worse when he tried to pop up. So let's go ahead and give it a try again. And it looks like it's working. 33. 032 Adding additional assets: And so yeah, I think this, I think this sort of works for us. I think what we can do is while we have the other 3D models, we could have a setup called flowers too. If we duplicate that, will say flowers to delete all of these things gives us a base exactly where we want it. And when you go to our low poly flowers and we can add some, we could add some flowers here. 0 it out like that. And we can rotate them and have them be in world space. And this is just sort of displaying what the designs, right? So we could have another one on the other side. And with your rotated out the other way until you could go through and you could plan it out. You could have some roses. And the roses could come out and be part of the design, the design for the rest and power. That you have the option to create a whole bunch of stuff if you had the idea to do it. And so we got the rest in power. And are there any other flowers that I see here? Or maybe I wonder, since third, since we do have a lot of flowers, what if we're able to like actually sink the flowers with the, with the sound. I think that would be pretty cool. So I can 0 these out. And I could say, this flower with you rotate out. And this can be a flower here. And we can duplicate it and be a flower there. And we have this flower, this flower to be backwards. And then we'll have another one like this. And then we have this flower that we could have in the background. Let's do something like this. And that. And then the final flower, the last one. This one can be on the singer. Yeah. So this won't be on the center. And we'll make it a little larger than the rest of them, like the purple one. And we pull it back a little bit. And so now we have this, this huge sort of ornament that we created. And so the beauty of this, right, is that we have all these flowers now. And so not only can we have the flower starts will have an activation for the, for the overall flowers. Can start. But then we'll say every second there's a new flower that comes out. And so we'll have the rest in power. And said that like when the rest in power comes out, then actually let's just test it just to see what happens first. That's what, that's what I want to try out. See what happens first. So we'll test it. And then we'll add the final animation to sync it with the music. And so, lovely test. Here we go. All right, so we got that. 34. 033 Adding additional animation: And it looks like this one in blue beyond. So there we go. We've got that. So now, what if I wanted to have when the rest and power comes out? What if I wanted to have the flowers come out of that rest empower going to the side. So we could do that by first saying, okay, what are these two flowers that we have? 0, 0, 1, and 2. We'll add a will add a animation track for each one of those. And we'll start adding that. And we'll say that at at due today. At five. We'll say second five. Yeah, five seconds. We'll have the, the first flower. That will be at a scale of one and then a position right there. And then we'll do that for the other one. Scale a one in position one. And then here we'll say that this one is going to come in. And this one is going to come in. And they're also going to shrink. So the scale of it is going to get smaller as well. And the scale of this one is gonna get smaller as well. So now it comes out like that. Lower than, so it doesn't show. And then we'll save it like that. So with another quick test, Let's give it a try. And it came out just like that. 35. 034 Sync animation with audio: And so we have our flowers. So we had the first two flowers until those are, those are fine. So now it's time to just add the rest of these flowers n. And I think this is where it gets really, really fun, where we get actually time into the beat. So the good thing about this is that the only thing we really need to know how to do is just use activation tracks back. So all we're doing is just at, at 1, we're just turning on the flowers. But then activation track, it, just turns it off. And so with these, we're just going to be turning on the flowers now. And so we could say, we just go through and listen to the song. But typically we see these beach right here, these large beats. See if I can zoom in. It doesn't look like I can't know. Yeah. I can't zoom in. Yes. So these large beads here, until we have, after everything is said and done, we have the first beat, 2, 3, 4, 5, 6. And we have 12345678910. And so what if we had starting at year 5, 1, 2, 3, 4. And that will correspond to red, orange, yellow, blue. Yeah, so let's try that. So our red flowers, we'll start here. Our orange flowers, we'll start here. Yellow flowers will be here. Blue flowers will be here. And then our purple flower will be the final one at 12. And so the way we could do that is we know flowers five. We'll start at five. Let's see if we can get a little more, a little more space to work with. For this, flower is five, will have an activation track. Activation track. And we'll put that activation track for here, just like that right there. And we'll send it over to the edge like that. And then we have at seven, we said we wanted the orange flower. That orange flower, it looks like it's flour to in our hierarchy. So we'll make another activation trip. And that activation track we will do over here. And we'll just stretch that to the edge. Let me keep these organized together. Then we said the yellow. So the yellow is flour for tool, select both of those. And we'll add another activation track. And the yellow will actually be for eight seconds. So we'll go through this back so that it doesn't mess up our timeline. And then we have our blue one. So the blue is yeah, so the blue Here's our fifth one. Oh, I guess we did have another fifth one. That's interesting. Well, we'll delete it because we don't need it. But for our blue ones, we will add some more activation tracks and that will be four. So on ten, we have that and that bone. And last but not least, we have number three, the center. And so the center one, again, we'll just have another activation track. That activation track will be for the last one. So that last one will be at 12. And so that's the grand finale right there. And so this looks wild. This timeline looks pretty crazy. If you don't. It looks pretty crazy. But as long as you keep it organized, it doesn't look as bad as it could be. And so we just know that like down the timeline, just flowers just activate at a different point. And so what we could do is we can actually test it in our editor. So first we'll just say that and we'll just close everything, we'll save it. And I don't want to test it out in the AR get. Yeah, so we'll test it in. Our editor. Opens up. Thank you works. One thing that we want to probably do is when it and it says hold. When it ends, it says home. I mean, we could we could just keep doing that or we can loop the loop the sound as it holds. Yeah, we can loop the sound as it holds. And from there we have I think we have our stuff. Let's try it out. So let's, let's go and save it. And here we go. This is the finale that we're waiting on. So all the work goes into this moment here. Yeah. So we did it. We did it. Yeah. So there is a dead spot in it that we could actually add another, we could actually add another sort of statement here. So this challenge is with animation. How complex of an animation can you make it? Explore the transform tools and the timeline to make one of a kind animated assets for your 3D models. We had the 3D models there, but they're static. So how can you make them more dynamic with motion? And then post your animation projects in the sections below so that we can see them. 36. 035 Add a final statement to the AR experience: And so what we can do is we could actually add another statement. So I'll just duplicate and make this canvas three. And I think a bold statement would just be weird to say Black Lives Matter might as well write. And it's what I'll do is I can go through and make this be the final piece that appears. And so I'll change the, I'll change the item. I want to change it to that. And I'll do change this to black. We'll give it a white outline or give it a red outline. Like red. Red is cool. Red outline, I'll say. And then we will lower the combined with scale it up like this. We could scale it up or scale up the whole thing and rotate it for a little bit. Move it back. And essentially at the end of it all will have a canvas here, activation track. And that activation track will appear at the end like that. So now let's see what we, what their final statement. So final one, here we go. All the hard work up into this point, time to test it. There we go. And that is it. We finished it. We finished our AR experience right there. We added animation, we added sound, we added 3D models. We even got some stuff off the asset store. It is it's done. It is completed, right, like we did it. And it's done until the final challenge that we have is really sharing that experience in creating it. And so you could personalize your app. You can give it a unique name. You could customize with logos and apps and icon screens that you can find in the Unity inspector and the project settings. You had tried to add multiple splash screens and feel free to post all the stuff that you have already. So yes, we focused on doing stuff with the webcam. But now that you have your experience created, you can publish it to the Apple App Store or the Google Play Store. Or you can make a lovely video of it, any good shared on social media. And so give this experience and identity and share it with the world. 37. 036 Course Wrapup and Recap: So we finally made it to the end of our course and we learned a lot of stuff along the way. So what we learned was a variety of different things, right? We learned the basics of the Unity game engine. How to draw a simple illustration. How to scan a drawing, what they scanner. Or without a scanner. How to work with image targets, how to set up unity of Vuforia for AR helped you build a mood board. How to create authentically around social impact, how to animate in Unity, how to test an AR experience with a webcam and much more. It was a long journey and we made it through and we're able to have something to show for it. Now we can share with our friends, we could publish to an App Store and a variety of different things. You know, the whole concept of abusing AR for activism is one of those things that allows us to really express ourselves in unique ways. And so for this, you saw what we could do with the 3D model and a simple drawing, right? Like a simple drawing, I want change. And that comes to life in a very impactful way. You can hear it, you could see it, you can move it around, you can touch it. And more importantly, you could share it. And I think that's really what allows people to really engage with these types of things and have them be last and get memorable. So what we did is we put everything together. And I hope you all learned everything that you learn some cool stuff. You learned how to bridge the gaps between a whole bunch of different softwares. And yeah, now jihad the experiences time to time and put them out there. And so the beauty of Vuforia and like what we did today is that in order for you to share these experiences, you actually didn't need to. We didn't need to make an app. We just needed our webcam. And so a webcam video goes a long way. And when you try in today's day and age, right? And so you could do a lot of a lot of stuff with the stuff that you have available with you. A computer, an idea, some assets, and a webcam, and the internet at this point. And the world is your oyster and Sabah. And so thank you, thank you for joining us on this wonderful journey to explore AR, explore a little bit of activism, explore the creative process, and also exploring just ways to be interdisciplinary and in your creations, in your art. And so with that, we'll call it a day. Let us know, you know, drop it in, dropping the assignments, share stuff that you work on what? And we would all love to see it. Hopefully we could put together a little demo reel, sizzle reel to showcase the power of creativity for self-expression and immersive technology. So what are called break and who we, we, we did it, We did it.