Inspired by the grand scale of the artwork in Goodbye, Angelica, I’ve started running some tests about the environment.  I watched the “Moving around in the World” tutorial (#4 in Shameless Mayhem’s series) to help get me started.  From this I learned that the scale in Tilt Brush is fixed to the artist, and that as the artist, I can grow in size from squirrel to dinosaur and back again, with a few in-between stops, like hare, dog and human.  Human is the default size, it goes without saying.  It’s hard to get my head around this concept… the environment is oriented to me.  Perspective.  I also learned that by using both guides (the thumb grip buttons), I can move my objects from side to side, or up or down, including way above me or far below.  It leaves me with a LOT of questions about how to establish ratios as guidelines.  For the following tests, I established a few loose guidelines, based on my own body.  So far this body of mine has served well as a fixed legend linking the physical (real world) and the 3D environment that is subject to what I’ll from here on refer to as the Alice Effect.  In VR, I can grow from squirrel to dinosaur, but in real life my size is fixed.  

Here’s what I found: 

• Drawing at Dinosaur scale, I sketched out a dragon.  I didn’t use the guides to pan though, so I wound up unknowingly following the curve of my boundary wall (the boundary is configured in a room space when you first put the headset on, and seems to be saved and auto-loaded as long as you remain in the same room).  When I pushed the dragon upwards, the further up it got, the more circular the shape of it appeared to be.  I hadn’t done it deliberately but it did have a fluid effect.  Optically it gave an illusion of framing the space, relieving my eyes from the endless abyss by creating a sense of a dome.  I had drawn it with the tapered marker, at around a medium size, which I quickly realized was too small for visibility at a considerable distance.  
• Next I drew a dragon at ‘human’ size, with the maximum size stroke (same tapered marker).  This time I applied the pan movement to avoid the circular effect as described in the first test.  I moved the dragon along so that his head (where I started), breached the boundary and continued onwards for a while.  I can’t say even an approximate distance, but I want to say about 10 feet. 

• I scrapped dragons after this, and opted for something I could measure with a bit more accuracy.  I extended my arms straight out on either side, and with the paint trigger applied, spun around in a slow circle.  Since our height is the same distance as our arms outstretched, I knew the span of the circle was 5’4 (okay, 5’3 and ⅔ but really, who’s splitting hairs?) I used the guides to push the circle upwards till it appeared to be about the size of a dime above me.  
• I created a new circle the same way, and this time I pushed it downwards, to see how far it could go below floor level.  I found some resistance there – it didn’t seem as generous going downwards as overhead.  The circle appeared around the size of a Loonie below me.  
• I ran a stroke of paint along each of my feet, to show them at scale, marking where the floor was compared to the second circle.  I then stretched my arm upwards and marked with paint where my outstretched hand was, in comparison to the dragons above.  

• Next I suppose I should run some tests on my X-axis (horizontal parameters).