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VR Space Survival

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Breathe and stop

Adrift is a game that takes place in the ruins of a gleaming, futuristic space station, one that has you doing your best Sandra Bullock impersonation as you attempt to navigate the debris and stay alive. As you explore, you'll learn about the former inhabitants who perished during the explosion, and all the while you'll need to keep yourself breathing by grabbing canisters of oxygen, which float amongst the wreckage.

It's the scariest game I've ever played that doesn't feature any violence.

In the earliest portion of the game, every moment feels like it could be your last. Your spacesuit has jets that help you move, but doing so also depletes your air supply. When you're running low, you come up against tough choices: do you use the last of your air to push yourself toward a canister and possibly run out, or do you save those breaths and hope that your momentum is enough to get you there? You hear a nauseating gasping when your character struggles for breath, and when she finally runs out, she'll claw at her mask in horrifying fashion.

Due to launch early next year, Adrift (stylized as Adr1ft, because "one is the loneliest number") is the first release from new studio Three One Zero, a six-person team made up of industry veterans who previously worked together on blockbuster franchises like Medal of Honor and Call of Duty. Their newest work is something very different. It may be a first-person game, but there are no guns or violence, and it can be completed in a relatively brisk four hours. It also might be the first game that truly sells non-believers on virtual reality. While we've seen plenty of interesting VR gimmicks, deep, meaningful experiences for the platform are still rare - but they'll be necessary if the technology is to ever become mainstream.

Adrift will be available in both VR and non-VR forms - its original 2015 release was delayed so it could launch alongside the Oculus Rift early next year - and though both versions are technically the same, the experience of playing them is vastly different. The game is still tense and scary without a pair of goggles, but it makes more sense in VR: the way the HUD fills up your display, as if you were really wearing an astronaut's helmet, or how you can look around as you float through the ruins, all make you feel like you're really in space exploring.

"We built the game from the ground up to be traditional and VR, but the VR part has really touched people," says creative director Adam Orth. "When you play in VR, it's special."

If you remember Orth's name, it's probably for something he'd rather forget. Prior to founding Three One Zero, Orth worked at Microsoft on the company's interactive TV projects. While there, he helped create a game with National Geographic where kids could interact using the Kinect camera, as well as a live-streamed debate where viewers could raise their hands to vote in real-time polls. He says he was also working on something "really cool" with NASA that never ended up being made. But that's not why you recognize his name. On April 4th, 2013, when the unannounced Xbox One was still known as Project Durango, and the console was rumored to require an always-on internet connection, Orth tweeted that he didn't "get the drama over having an 'always on' console" and signed off with the #dealwithit hashtag.

"It wasn't pleasant, but it was necessary."

The response was swift and furious. Fans, angered at the lack of sympathy from an actual Microsoft employee, let their rage be heard on social media and elsewhere. Orth was bombarded with angry messages that escalated to death threats, as things so often do on the internet, and soon after he was no longer a Microsoft employee. A careless thought changed his life in an instant. Orth had been thinking about moving back to Santa Monica and starting up his own studio for some time - "I just don't fit into that mindset," he says of working at a big corporation like Microsoft - and his controversial tweet provided the impetus to finally do it. He shut himself off from the internet as much as he could, and focused on developing a creative way to take his turmoil and turn it into something positive.

It was summer in Seattle when Orth first started thinking about Adrift, and his daughter had just turned one year old. Now free from his responsibilities at Microsoft, he'd spend his mornings with his daughter, enjoying rare sunshine in the Pacific Northwest, before heading off to a public library in Bellevue, Washington to research his game idea. He knew he wanted to make a space game - though at one point, very early on, Adrift was a game about being on a desert island - and he knew he wanted to make something about the life-changing experience he had gone through. "The destroyed space station metaphor fit very perfectly," he says. "I'm really thankful for however brutal the experience was, because it got me to here. It wasn't pleasant, but it was necessary. None of this would exist without that.

"I think about that stuff a lot more infrequently than I used to," he adds.

Three One Zero's Santa Monica office is open, clean, and spacious, primarily because hardly anybody is there; most of the time Orth is in the office alone, while the rest of the team works remotely from their nearby homes, communicating over Skype and Slack. Though they now work physically apart from one another most of the time, the team has a long history together. Each of the six full-time developers - a few contractors also worked on Adrift, contributing art and animations, among other things - had previously worked together at EA on the military shooter series Medal of Honor.

They all went on to do other things; design director Tom Gerber spent nearly six years at Blizzard, for example, while technical director Omar Aziz worked at Call of Duty developer Treyarch. But despite their different paths, they all stayed with big companies making big games. When Orth pitched him his idea of a smaller, personal experience, it was enough to tempt them. "We've all made games that have sold millions of copies," says design director Sam Bass, "but there's not that attachment." Adrift was the chance to work on something they felt connected to.

The Adrift cinematic universe

When you hear the term "connected universe," you probably imagine the vast, unending worlds of Marvel or Disney. Adrift may be on a much smaller scale, but its ambitions are similar. Three One Zero has partnered with Image Comics on a new series that helps flesh out the stories of the crew members who died on the station, and the studio is even working on making a television show based on the game.

In collaboration with production company K/O Paper Products and CBS Television, they hope to start putting a pilot together next spring. The group is still searching for a showrunner to manage the production, but Orth has been writing the show since October.

"Each one of the things can stand on their own," Orth says of the comics and show. "They're not necessary for each other, they're just supportive." It's also likely that any further games from the studio will be set in the same universe as well - but that doesn't mean they'll all be about a blown-up space station.

" Adrift is a futuristic sci-fi game," he says, "but we could also make a western and it would be connected."

But first there was the matter of figuring out what the game actually was. Orth knew the basic concept, that it would be about an astronaut trying to survive in the midst of a destroyed space station, but the specifics of how it would play weren't clear. And many of the ideas the team did have ended up being scrapped. "A lot of the things that I thought this game should be didn't work," explains Orth. Early on, for example, the team thought it might be cool to have you moving objects around in zero gravity in order to solve puzzles. It turned out terrible: players were flying around with huge objects blocking their view. "That was one of the hardest challenges: what do you do in this game?" says Bass. "We had all of the stuff we thought you'd do and none of it turned out to be super fun. So what do you do when you're floating in space? You float in space. You panic and you try not to die."

I did plenty of both of those things while playing. The core of Adrift is how it balances movement and breathing. You need to make your way around the station, but you also need air so that you don't die. Every single movement becomes a calculated risk, and the early portions of the game are immensely stressful (I was told that things let up a bit later on). Every time I'd swing my virtual hand out to grab an oxygen canister, I'd hold my breath; if I miscalculated just a bit, it was over. When I finally put down the controller at the end of the demo, I realized my heart was racing.

In addition to its focus on pure survival, Adrift is a surprisingly narrative-heavy experience. You'll pick up audio logs and read computer terminals scattered throughout the station, and with each one you'll learn a bit more about the deceased crew. And, as in similar first-person experiences like Gone Home, a lot of the storytelling comes from the environment itself. Living quarters are filled with personal items, and computers have sticky notes attached to them with bits of insight.

I learned a lot about the station by floating around; it's filled with trees and flowers, clearly a place where scientists were experimenting with sustaining plant life in space. As I pieced together the narrative scraps littered around, this theory proved true: the game takes place in the year 2037, and humanity is trying to develop ways to extract oxygen from plant life in space, in order to colonize new planets. There are also some neat touches, like the news ticker that displays in your visor, keeping you up to date on the fictional company that operates the station. You may be near death, but you can still see what's going on in human resources.

Adrift concept art compared to an in-game screenshot

Three One Zero may be an experienced team, but Adrift provided a number of unique challenges they'd never come up against. For one, there was the whole moving around in zero-gravity thing, which takes some getting used to. (When I tried the game, the team had just finished implementing a new tutorial section, which lets you play around in a weightless environment without having to worry about suffocating. Think of it as a virtual astronaut training sim.)

"You float in space. You panic and you try not to die."

On top of that, there's all of the trouble that comes from creating an experience in virtual reality, which is still largely uncharted territory. Since both the VR and non-VR versions of Adrift are identical - making two distinct versions would be a huge hurdle for such a small group - the studio had to make sure every element worked in both modes. Certain animations might look fantastic on a PlayStation 4, but if they went on too long they'd make players nauseous in VR. "Even the simplest things are monumental," Orth says of the change in making a VR game. "It's almost like going from 2D to 3D games. As a creator and a designer and an artist, it makes you feel young and excited again about making games."

It's also been a huge technical challenge to make a game that looks as good as Adrift with such a small team, and that's only made more difficult by the fact that VR games need to run at a higher frame rate than traditional games in order to not make players sick. Some of Adrift's key features have been the product of necessity. Take the oxygen mechanic, for instance: it helps instill a sense of fear and focus in the player, but it also allows the developers to slow down the game so that new areas can load in the background. You'll never see a loading screen in Adrift, and that's part of the reason why. "We can't fill a room with 30 [enemies] to stop you going through a room," Bass says, pointing to a solution that traditional shooters often use. "The only way we can control player movement is through oxygen and oxygen depletion. If we took away oxygen depletion, suddenly the smoke and mirrors become a little more obvious."

The extra time afforded by the game's delay has meant more time to iron out these technical kinks, as well as implement features like the new tutorial. "I don't think any of us understood the actual challenge," Orth says of the ambitious nature of Adrift, "we just wanted to do it."

Floating among the wreckage of Adrift, it's hard not to see its cinematic influences. There's a touch of 2001 in the technology, and you'll see signage for the Hardiman Corporation that call to mind Alien's Weyland-Yutani. It's a bit more modern than either of those two - with a look partially inspired by Braun coffee makers, of all things, according to the team - but you can still see bits of those films here and there. And, of course, struggling against gravity in the ruins of a space station immediately conjures images of Gravity - though Orth says he learned of the film's existence after he came up with the game idea. "I was immediately like, well I can't do this," he says of the discovery, but he ultimately went ahead because the two experiences are very different despite their superficial similarities. And while the constant comparisons initially irked him, he says he now sees them as a positive. "Thank you for comparing my game to an Oscar-winning film."

"Thank you for comparing my game to an Oscar-winning film."

During those rare times when you can catch your breath and look around, the station is absolutely beautiful. There are moments where you open a door only to discover a huge tree awaiting you, green leaves brushing against your helmet as you float by. And most every scene is framed by the Earth and stars in the background. It makes for a pretty great backdrop. Initially it feels terrifying, like a gigantic mess of debris and doors. But the more you explore, the more it makes sense, and you start to realize how the different areas connect to each other. "It starts to feel like home," says Gerber. "You start to care about it a little bit."

That sense of place is especially important for an experience like Adrift. It's part of a relatively new wave of nonviolent exploration games, sometimes disparagingly called walking simulators, like Everybody's Gone to the Rapture or Gone Home and its sci-fi follow-up Tacoma. These games often feature few, if any, other characters, turning the world itself into the star. They're mostly about being somewhere, a place that communicates a feeling or a story. And Adrift 's ruined space station works perfectly for the specific feeling the team is going for - as do all of the other elements of the game. "The level design is broken, the audio is broken, the narrative is broken, your suit is broken," explains Orth. "Everything feels like you went through this really catastrophic event that fucked everything up."

Adrift and its ilk are especially welcoming to new players, those not familiar with games, because they don't require the same kind of dedication as typical blockbusters. You don't need to memorize complex controls or have lightning fast reflexes to enjoy Gone Home, and the same is true of Adrift. And that's part of what gives it the potential to be a killer app for the Oculus Rift and VR in general.

"We hope that when Oculus comes out," says Orth, "we're going to be one of those must-have experiences."

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Creating Adrift: the space survival game that will make you love VR

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Breathe and stop Adrift is a game that takes place in the ruins of a gleaming, futuristic space station, one that has you doing your best Sandra Bullock impersonation as you attempt to navigate the debris and stay alive.

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AR Overlay

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A tool for enhancing 360 images that lets you position audio within a scene, to easily create interactive experiences. Take your stories as far as your imagination and your camera will go.

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[Expeditions] - List of Available Expeditions

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Nick Hanson, producer on the project talks us through the BBC's first dedicated augmented reality app
So what is Civilisations?
Civilisations is an epic new BBC Two series presented by Simon Schama, Mary Beard and David Olusoga, spanning 31 countries and covering 5000 works of art across human history.

Alongside the show the Civilisations Festival is bringing together museums and galleries from across the UK through digital products and events. As part of this we've created an augmented reality app that allows users to bring the treasures of these collections into their own homes. Put very simply, AR, or augmented reality overlays virtual objects in the world around us that can be seen through a smartphone, tablet or headsets.
Why have we built an app for you?
With Civilisations AR you can use the app to look at wonderful artefacts from around the world at home, at school, out on a walk...anywhere!

For some time the BBC had been talking to the UK's culture sector about making the art and culture of the UK more accessible. For example, what if you can't get to one of the big museums in London? Or, how can everyone see the hidden gems from the more remote locations?

This was really important to us. Not just working with the big museums but also with the smaller regional galleries to get access to the hidden treasures they hold.

So, we invited the museums to submit artefacts from their collections that fitted the themes of the BBC Two series. Over 280 artefacts were submitted from over 50 museums and galleries. Those that were selected were then scanned to create 3D models. The final app features about 40 artefacts in total.
Why does your feedback matter?
We want to know how people feel about AR being used in this context. Does it bring these artefacts to life? Does it encourage them to learn more about artefacts? Does deepen their engagement the BBC Two series or make them want to visit their local museum to see these treasures in real life? We certainly hope so.

We've already learned so much about creating augmented reality through the process of developing the App, curating, scanning and modelling the content. We hope to apply this and your feedback to future projects, so don't forget to leave a rating once you've had a go!
What were the challenges?
There are always challenges when bringing together so many people from all these organisations. This becomes even more challenging when you're doing so whilst exploring the potential of an emerging technology.

Editorially the biggest challenge was curating the content so that we had an even spread of artefacts tied back to the nine themed episodes of the BBC Two series. We also wanted to find a good spread of artefacts from cultures across the whole globe, organisations across all parts of the UK and throughout human history.
Who made it?
From a technical point of view, as augmented reality is still an emerging technology, we were learning every day about what makes a compelling augmented reality experience using these technologies.
How was the app made?
Civilisations AR is a collaboration between BBC Arts, BBC R&D, Nexus Studios and around 30 museums and galleries from across the UK.
Please do remember to read our terms of use for this app
The app was built by Nexus Studios; using the Unity middleware. Unity was initially created for multi-platform video game development but, more recently, has become a leader in AR & VR content creation. The App uses native marker-less Augmented Reality frameworks on both iOS (ARkit) and Android (ARCore) to allow us to place and render realistic looking objects (3D scans) that react to the real world on mass-market mobile phone handsets.

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Bring art and culture from across the world to you with this BBC Augmented Reality app. Explore beneath the surface of Renaissance masterpieces and discover the secrets of ancient Egypt. Augmented reality needs a modern smartphone to work. You'll find out if yours is compatible in the app stores.

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The Harriet Tubman Institute | The Augmented Reality Lab | York University

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Breaking the Chains and Augmented Reality Freedom Stories from the Augmented Reality Lab and the Harriet Tubman Institute at York University.

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Create and share immersive interactive videos and engage your audience like never before. Start for free and see why the world's best storytellers use Verse.

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Seamlessly make your images, videos, and 360 content interactive with text, links, images, videos and over 70 call to actions, creating memorable experiences for any audience.

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Platforms that allow millions of people to turn their dreams into digital realities.

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Virtual Field Trip to Ellis Island | Scholastic.com

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Teach about immigration with this webcast from Ellis Island, brought to you by Scholastic and the National Park Service. Tour the historic immigration station, meet Park Rangers, and discover the history of immigration in America.

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Australian fashion design

Your CIVICS and CITIZENSHIP research starts here.

VRROOM is our online education resource for teachers and students, providing easy access to over 1,000 primary sources from the National Archives' collection. The resources on Vrroom have been developed to align with the current curriculum, and in partnership with organisations such as:

ABC

Curriculum Corporation, through the National Digital Learning Resource Network

Department of Veterans' Affairs

Use the VRROOM search engines to find a range of records relating to your Australian Curriculum history topics such as 'Our Democracy', 'People & Society' and 'Indigenous History'.

For both teachers and students, explore our classroom resources, for primary sources on World War I, Indigenous History, immigration, Federation and Antarctica. And that's just for starters.

While you are here, don't forget to click on our Worth a Look records - just click on the photographs.

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National Archives of Australia's Virtual Reading Room Vrroom is an ever growing set of federal government records from the National Archives collection. Vrroom is a tool for 20th Century Australian History, Civics and Citizenship and more. These primary sources include records on federation, immigration, indigenous issues, defence and the environment.

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Introducing Virtual Reality in Your Geography Classroom

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An introduction to using Google Cardboard for geography classes primarily in K-12 schools.

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Heritage Perth and the Urban Geographer |

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URBAN GEOGRAPHY is a branch of human geography concerned with various aspects of cities. An urban geographer's main role is to emphasise location and space and study the spatial processes that create patterns observed in urban areas.

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Create VR in the History Class

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taught by Aquila Education

Course description

Enroll in this free course to learn how you can integrate CoSpaces Edu into your classroom to enhance your lessons and engage students in learning

CoSpaces Edu is a great program that can be used in all classes and grade levels to encourage students and teachers to be more innovative and creative in the classroom. By using the program in your classroom, students will not only be learning and having the content reinforced, but they will also be able to express themselves, demonstrate their understanding of the subject and teach others the material. In this course, you will learn exactly how you can use CoSpaces Edu in your classroom, and interact with other teachers throughout the world who are also using CoSpaces Edu in their classroom.

Each module focuses on a specific subject and explains how both students and teachers can incorporate into the lessons.

To get started, sign up for the free course here, and also sign up with CoSpaces Edu at: https://cospaces.io/edu/

As an approved CTLE sponsor, Aquila Education offers teachers in New York State the opportunity to receive 20 hours of CTLE credit upon completion of the course for an additional fee of $30.

All teachers who complete the course are able to receive a certificate of completion for $5.

*Completion of course includes; watching all videos, submission of all assignments and response to all discussion prompts.
By signing up, you agree that information can be shared with CoSpaces Edu

Online courses, consulting and education technology resources for schools

Course Curriculum

Module 6 - Additional Uses of CoSpaces

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taught by Aquila Education Enroll in this free course to learn how you can integrate CoSpaces Edu into your classroom to enhance your lessons and engage students in learning CoSpaces Edu is a great program that can be used in all classes and grade levels to encourage students and teachers to be more innovative and creative in the classroom.

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Chrono Quest: Make History

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What happens when Indigenous rangers and state of the art virtual reality technology meet? You get 'Indigenous reality'.

At the moment there are 7 videos in total with locations across NSW that include Sydney Harbour, Katoomba, Kosciuszko National Park, Lake Mungo, Dorrigo National Park & the Coffs Harbour region. In each video, an Aboriginal ranger shares some of their knowledge from that region. This knowledge includes language, Dreaming stories, information about plants and animals as well as Aboriginal history that stretches back for thousands of years.

Indigilab are the group who teamed up with the Aboriginal rangers to produce the videos. The videos were originally recorded for the Wilderquest educational website with support from the NSW National Parks & Wildlife service.

The good news is these 360 videos are available for everyone. They are designed to be a tool for knowledge sharing that will be around for generations to come. Even though the project was created for school based learning, they have the power to captivate viewers of all ages anywhere around the world.

How many tourists have been to Sydney Harbour but went back home without any knowledge of the regions Indigenous story?

Will you help share these amazing videos? With enough demand, we could see this project rolled out into other areas of Australia. The videos can be found on Vimeo and can be viewed with a smart phone, tablet, computer or laptop. But for the best experience you gotta get your hands on a Virtual Reality headset and a good internet connection.

Be sure to check out all 7 of the deadly videos, let us know which one was your favourite and where else you would like to see more videos made.

To learn more about the Indigilab team and their story behind this project, check out the article published by NITV.

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Watch: Indigenous Reality adds new dimensions to Virtual Reality

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At the moment there are 7 videos in total with locations across NSW that include Sydney Harbour, Katoomba, Kosciuszko National Park, Lake Mungo, Dorrigo National Park & the Coffs Harbour region. In each video, an Aboriginal ranger shares some of their knowledge from that region.

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A Virtual Perspective - Heritage Perth Education

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A VIRTUAL PERSPECTIVE The representation of three-dimensional objects on a two-dimensional surface so as to give the right...

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Mixed Reality: AR, VR, 3D by Robin McKean | This newsletter was created with Smore, an online tool for creating beautiful newsletters for educators, nonprofits, businesses and more

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GMW3 provides members with top networking events, conferences and reports to further your knowledge in Web3. The community is centered around inclusion, transparency and paying it forward.
GMW3 was founded by LandVault, the largest metaverse building company, and acts as an independant community wit…

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Free mini course on using augmented and virtual reality in education. Brought to you by Aquila Education

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Use Expeditions in ANY class.

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Google Expeditions! - Where will they take you? by Karly Moura | This newsletter was created with Smore, an online tool for creating beautiful newsletters for educators, nonprofits, businesses and more

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Arts & Culture Expeditions - Google Arts & Culture

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Go on a virtual field trip with Google Arts & Culture

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VR Welcome

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Virtual Meanjin - A virtual heritage welcome to country

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Augmented Reality (AR) is a growing field of technology where real life is modified and enhanced by computer-generated sights and sounds.

The most common use of AR can be seen through mobile apps. Point your device's camera at something that the app recognizes, and it will generate a 3D animation or video superimposed over whatever is on your camera's screen. The effect makes the computer-generated item appear like it's really there.

App developers are building AR apps for fun, educational, and commercial uses.

20 Of The Best Augmented Reality Apps For The Classroom

Description: JigSpace allows you to learn about all sorts of things, from car engines to the Roman wars. Jigspace features up-close 3D diagrams, disassembling and reassembling 3D objects, and 3D models of historical battles, along with other quality features.

Price: Free - $49.99 subscription for added benefits.

2. Complete Anatomy 2021

Description: Complete Anatomy 2021 is a modern way to learn about the human body. With this app, you can take up-close 3D looks anywhere in the body: the heart, nerves, muscles, etc.

Price: $34.99 - $99.99 annual subscription.

Developer Description: Adobe Aero is an immersive AR app that students can use for learning or play. This app allows students to 'spawn' anything right in front of them and get a live look at the object before them.

Price: Free

Description: Animal Safari 3D is a way for students to learn about animals visually. Animal Safari features the ability to see 1:1 scale animals in 3D, hear live animal noises, move and rotate any animal you want, feed, and watch your animal eat. Students can also pull up any animal's information card and learn about its habitat, diet, etc.

Price: Free

Description: solAR is an AR solar system app that allows students to have fun learning about astronomy. Some of the features included are; a 3D visual representation of all of the planets, full-scale planets placed right before you giving you the ability to grasp the proper sizes of the planets, and informational cards to allow students to learn more about individual planets.

Price: Free

Description: AR Pianist is an interactive, modern way for students to learn how to play the piano, with features in the app; such as providing them with a virtual piano if they don't have one, famous virtual pianists that can play songs right in front of them, the ability to slow down songs, learn songs with interactive sheet music, live feedback, and more.

Price: Free

Description: ARvid is an interactive AR app that allows students to interact with animals, buildings and place full-scale objects right before them to create their very own artistic scenes, all while in 4K. ARvid also has all kinds of features, including 4K textures, vehicles, sci-fi, and more.

Price: Free

8. 3D Brush

Description: With 3D Brush students can add live effects to scenes right in front of them. Students can also use your finger to draw and write photorealistic stuff in the scene in front of you. Students can also take pictures of their creation to keep.

Price: Free

Description: Sky Guide makes stargazing for students simple. Just hold your device overhead, and the app will automatically find stars, constellations, planets, satellites, and more for you with ease. Some additional features included with the app allow you to get notifications from the International Space Station and see stars invisible to the human eye with an X-ray filter.

Price: $2.99

Description: Math Ninja AR makes learning math fun for younger children by incorporating physical movements such as; stretching, bending, squatting, crawling, reaching, and peering to find the answer through the many levels inside the app to help stimulate a child's memory and help them retain information.

Price: Free

11. Particular Augmented Reality

Description: This app allows students to create virtual, 3D art; it has all kinds of face filters, virtual UFOs, and more. It's a easy way to help younger students learn about art in a fun-related environment. It's also an easy-to-use app for aspiring graphic, comic, and 3D artists to learn about and create art.

Price: Free

Description: With Big Bang AR, you can watch the universe form right in front of you. This app is a fun way for students to learn about the history of the universe. Another feature allows you to create a supernova, explore the nebula, and other fun stuff.

Price: Free

Description: With Assemblr, students learn traditional academic content through virtual and augmented reality. Teachers can also create multiple online classrooms and record and present virtual 3D presentations.

Price: Free - $50 monthly subscription

Description: CamToPlan can be helpful to engineering or architectural students since it can virtually measure anything in front of them. This app can be beneficial for interior design, landscaping, and more.

Price: Free - $17.99

Description: Hyperspace AR allows students to scan their space and then create the art sculpture or decoration of their choice. Though the art within the app may be limited, it can help students learn to be more creative.

Price: Free

Description: Wonderscope is an interactive way to help younger students find enjoyment in reading. Wonderscope is constantly adding new books for your student or kid to discover and enjoy.

Price: Free

Description: Tracing Projector helps students learn to draw through a virtual tracing mechanism. It has all kinds of photos for students to trace, from the Mona Lisa to their own faces-you can even edit your photos once you're done drawing them.

Price: Free

Description: Halo AR allows you to take a picture of any flat object and overlay any photo, video, or 3D model on top of it. Halo AR also makes it easy to share the halos you create with students.

Price: Free

19. For All Mankind: Time Capsule

Description: This app allows students to use augmented reality to explore digitally artifacts from the early 80s.In that way, it is a mix of science and history-this could also be useful for homeschooled students.

Price: Free

Description: Google Lens is a useful way to help identify all sorts of plant life, learn about landmarks, translate words, or identify animals. All you have to do is hold your device up to what you want to learn about, and it'll tell you.

Price: Free

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12 Augmented Reality Apps For The Classroom

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Augmented Reality (AR) is a growing field of technology where real life is modified and enhanced by computer-generated sights and sounds. The most common use of AR can be seen through mobile apps. Point your device's camera at something that the app recognizes, and it will generate a 3D animation or video superimposed over whatever is on your camera's screen.

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