Fusion 360 Complete Course | Michael Freeman | Skillshare

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Fusion 360 Complete Course

teacher avatar Michael Freeman

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

53 Lessons (7h 38m)
    • 1. 01 Intro E

    • 2. 02 Where to get Fusion E

    • 3. 03 Interface01 E

    • 4. 04 Interface02 E

    • 5. 05 Basic Modelling 01

    • 6. 06 Basic Modelling 02

    • 7. 07 Basic Modelling 03

    • 8. 08 Extrusions 02

    • 9. 09 Revolve

    • 10. 10 Loft

    • 11. 11 Sweep

    • 12. 12 Sketching 01

    • 13. 13 Sketching 02

    • 14. 14 Sketching 03

    • 15. 15 Sketching 04

    • 16. 16 Sketching 05

    • 17. 17 Sketching 06

    • 18. 18 Fillets Chamfers 01

    • 19. 19 Fillets Chamfers 02

    • 20. 20 Holes

    • 21. 21 Pattern 01

    • 22. 22 Pattern 02

    • 23. 23 Brake Disk

    • 24. 24 PressPull

    • 25. 25 Shell

    • 26. 26 More Modify Tools 01

    • 27. 27 More Modify Tools 02

    • 28. 28 Move Copy

    • 29. 29 Boolean Operations

    • 30. 30 Materials

    • 31. 31 Components Bodies

    • 32. 32 Starting Correctly

    • 33. 33 Workbench 01

    • 34. 34 Workbench 02

    • 35. 35 Workbench 03

    • 36. 36 Workbench 04

    • 37. 37 Workbench 05

    • 38. 38 Joints 01

    • 39. 39 Joints 02

    • 40. 40 Joints 03

    • 41. 41 Joints 04

    • 42. 42 Insert 01

    • 43. 43 Insert 02

    • 44. 44 Insert 03

    • 45. 45 Insert 04

    • 46. 46 Drawing Sheets 01

    • 47. 47 Drawing Sheets 02

    • 48. 48 Drawing Sheets 03

    • 49. 49 Image Rendering 01

    • 50. 50 Image Rendering 02

    • 51. 51 Animations

    • 52. 52 3D Printing

    • 53. 53 Summing Up

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About This Class

Fusion 360 is fast becoming the go-to software for 3D modelling. The software allows you to create 3D models that can then be sent to a 3D printer or CNC machine to be made either in the workplace or at home. If you are interested in learning how to create your own complex models to print on your 3D printer then Fusion 360 is the software for you. It's intelligent tools and workflow allows you to create a wide range of objects and best of all, the software is completely FREE for non- commercial use!.

It is important that you learn to use Fusion 360 correctly from the start if you want to become a proficient creator and this course teaches you all the skills you need to know. By learning from someone that has been using the software since it's release and that is still working as a designer in the industry today, you will learn correct techniques and good practices that would allow you to use Fusion 360 in the workplace if you so desired.

Course Outline:

  • We start at the very beginning by teaching you what the software actually does and showing you where to get it. We then move on to learning the basic navigation and workflow of the software.

  • Next we show you some basic modelling techniques before getting stuck in and creating our very first part.

  • Next we will move on to more advanced modelling techniques and then learn how to put it all together to create assemblies. Follow along as we create a project assembly in real time.

  • After we have learned these more advanced techniques the fun really begins and we learn to apply realistic materials and make our assemblies move.

  • The final section will show how to output your design, whether it's as a photo-realistic rendered image, a rendered animation of the moving design or to a 3D printer.

This Fusion 360 course teaches real-life techniques used in the workplace. We have taught thousands of people to use various CAD software over the years look forward to welcoming you into our community of designers & makers.

Meet Your Teacher

I have over 23 years experience as a Draughtsman & CAD Designer in a wide variety of disciplines. I started on a drawing board learning traditional drafting skills and witnessed the introduction of CAD softwarinto the industry. Originally starting on the very basic AutoCAD release 10 I have used every version of AutoCAD since as well as adding various other CAD software. This has given me a unique insight into how best to utilise these great tools in the real world environment. 

Over the course of my career I've trained countless people in the use of these tools and as most of this training was geared towards getting staff members up & running with this software as quickly as possible, I developed a method that gets my students actually creating drawings ... See full profile

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1. 01 Intro E: Okay, Welcome to this autodesk Fusion 360 cause. And now this course is aimed at complete beginners. So we are going to start from the very basics. I appreciate most people will have probably, if you have installed the software already, had a bit of a play around with it. You may have some experience in over freedom 3D modeling software. You might have been able to kind of work your way around and learn some basics In order that everyone is on the same level. I am going to start from the very beginning, okay? If you've already worked out some of these basics, I suggest you still follow through from the beginning because there may be some, some components about that you've perhaps missed and you might constitute lives around. So just in order that we all start on the same page, let's all start with beginning. If you need to listen something you already know, I appreciate that can be a bit boring, but it might just pick up some fun you didn't know, okay, especially if you self-taught because ANOVA us, sometimes you can miss out. Particularly cap management kind of things that you wouldn't no, you need it. So we are going to start from the beginning. We're going, I'm going to share how to get fusion and then just model some basic things. And throughout a cost, we going to gradually bringing more commands. And we're gonna get more complex designs going the way I like to teach. I don't just like to go round each and every command. You'll see some causes and some books. I'm going to literally go through every command and tell you what it does and you think you will. Okay, well, why do I need why do I need to deliver wherever books are 500 pages or 1000 pages and McCarthy's are 24 hours. Okay, but do that because it makes the product look big. But really people just get bored and give up. The way I like to teach. We get modelling as soon as we can. So I'll show you the basics, how to get around me interface and things. And then we're going to start modelling things and gradually bringing new commands. So you know why you would use that command, not just how to use it. Okay, So let me say a bit about the software. For those who are totally new to it. A new twist cut well, a company called Autodesk, who is probably the market leader in computer aided design software. For years and years. They had some very popular software, colossal cap. I still have a still very popular, I use it nearly every day. It's used in multiple industries. It does do free day, but it's primarily now a 2D package. There's lots of freely built-in and people will say no. Now, you can do 3D with AutoCad. Yes, you can put as usually, every industry will have their own specific 3D modelling package. It kind of takes it one step further. So most people tend to use AutoCad just for today. Men take it to something else to do for Friday. Okay. And in mechanical engineering, that was something called Autodesk Inventor, which is a very good, very complex 3D design package from mechanical engineering now is very, as well as being very complex is pretty expensive. So it was used in industry, but as you kind of in the last couple of decades has been with growth in what's known as a makers. And it's people, people like to build things at home or as a hobby, or in a small workshop, maybe even as small business. And these people have embraced 3D Cat. An Autodesk identified what kind of market they want to be able to use 3D design tools. And, but don't want to be paying a huge fees from a professional software, but has a lot of functionality we don't need. So also does kinda identified a gap in the market. I'm very brought out Fusion 360, which is aimed more at the small business in hobbyist, then the large organization, okay. Saying that a is a great piece of software. It has some great functionality. And for those was a remember pain extortionate prices for COT software. And some of us still do things like Arthur cut an inventor, fusion. The price of a is great. And what's even better is as a completely free version. Because autodesk realized hobbyists and start-up businesses can afford to pay large phase for software. They actually like to have it for free as a hobbyist or a small business. So you can go to the site and we'll look at that and you can get a free version. Now one thing I will say about law, I'm using a paid version because I use it from a business and its cost will be recorded on the paid version. There's not really any difference in how it looks and what I do. Okay. There are some differences in terms of file management. How many files you can have, that kind of thing. And these differences change over time. Because fusion is more of a kind of online-based total, if you will, graph and just some fun you, you would get, traditionally you would get it on a CD now probably on a stick, but a large download with fusion Devs much more regular. So the difference is between the free version and a paid version that change. So often it's hard for me to kind of go through what they are. But you will be able to follow along with cause the, the main layout of fusion doesn't change. It's just kind of things like men of a file. So for instance, when we look at projects, will be working on one project at a time, doing the examples. We moment as of today, I believe economy of 10 projects saved with the free version, but shouldn't be a problem. It's not gonna be a problem for his cause. You can still archive them and things like that. So anyway, you'll be able to follow along. But just know that if there is any slight subtle differences in the look, It's because I'm using a paid version. If you are using a free version, if you do get a paid version autodesk to some great offers on it, you might want to check out their page, but let's just have a look at this software. So that's kinda where fusion developed and where it came from. And you can see is used. This is a kind of a, a replica of a rocket engine. Some of whom are 3D printed for some rockets designs are due just kind of best model type rings. And this is done in fisheries. In fact, it looks like it to a beginner I imagined it looks like it might be a bit complicated, very, very simple process to do this kind of stuff. You'll be doing this easily even halfway through this course. Okay? So we're gonna go for all sorts of things. And in the next chapter, I'm just gonna give you an overview of where you can get fusion from and how to get it on your system. 2. 02 Where to get Fusion E: Okay, So I'm only Autodesk website now, Autodesk.com. This is BUS psi. Now you might have a oblique as a verb, as a European side, um, is Asian size. But what I generally do is start on the US sites down.com. And I believe if it wants you to go to a local one, it will take there. Okay. And if you go, if your products here, now, Autodesk has a suites which are kind of combinations of products. So that would be something that included fusion, but it also includes lots of veins are going to be expensive. If you go to view all products. And again, this website will probably change tomorrow. And again, this website may change tomorrow for all I know. So it might look a bit different when you do in this course, but the layout should be the same. So basically you're looking for this kind of Fusion 360. And you can see if the special offer on at the moment actually a very good offer. Because usually for 95 if you buy the form of a moment is and the pharyngeal fascia, which is very, very good when you, when you look at what some of these are, AutoCad, revit and the sweets collections. So you can see it's a very good price. I'm an inventor is a lot more, so, very good price, but you don't need to buy. As I said, Let's just click on Fusion 360. And you can see we've all Autodesk courses. What you can do is you can download a free trial and you get 30 day free. So it might be just to make sure we're all on the same sheet. You download a free trial and you use that 30 day free trial to follow on in this course. And we will be exactly the same and our software will look exactly the same. The free hobbyist version. Now it's not gonna be completely obvious like software companies tend to do. But if you get the 30 day trial, then you can look up, get him a hobbyist version, and you can just put that code in after your trial ends and it will allow you to continue. Okay? So I'm going to try and find it for you. Okay, so you see this web address here, products Fusion 360 personal. As of today. This day. This is how you get the free version. So it's coming up now you see it's taking me to my local site in the UK is told me the price for UK. And here we have this fusion 360 for personal use. It's free. Get started, okay? And it tells you some of things you don't get. A lot of it is this kind of thing. So if you're doing CNC and seriously and say stuff, you don't have as many axes for milling, that kind of thing. I would say if you can afford this kind of machinery, you can probably afford to pay the 300 pounds a year. But there we go, you can see the differences that you get in. Not really going to notice it much for this. You're not going to notice that fixed cost, but still recommend just getting a free child, do the free trial for 30 days. And then when it comes to having a at the end of the 30 days, just asked for his free version and you'll get a code for that. So again, this might look different when you're doing this course. And low polygon change it tomorrow. But it's generally the same loud. Okay. So click on free trial, download the software, install the software as you would any other software and menu open up and you will have a new copy of fusion. Again, if you've already done that, you are already planning on over there, we'll go move ahead. Okay, So let's start looking now at how we use the software. 3. 03 Interface01 E: Okay, so you've got a fusion, you've installed it, and you've opened it up. You should have a screen, something like this. Okay. And I'm just going to, again, like I said, I don't want to go for every command tree where it does Bodoni to share the basics of getting around that kind of thing. So you may or may not have this kind of polynomial less than, sorry, it will look different to mine. Okay. But you might have a might not. If you don't have it. If your screen looks like S, you just click on the squares here. And it shows, it's called the Data panel. And basically this shows your project. Your creations is like a file storage for yourself. So you might just have something that says fusion mastery or my fusion some Finland, these are all kind of projects I've worked on, so you won't have those. Eventually your own projects will be shown there. And then you've got things like libraries, samples. Again, generally use this to get your projects, but if it gets him away, just close it. I'm Mrs, your main fusion workspace. Okay. Now what I will say is I'm using a free button mouse, which is essential for doing this kind of caffeine, your left button, right button, and a wheel. And when I'm talking and going through the course, I will be saying things like right-click, left-click. We'll ignore scrolling wheel out, scroll out. Okay. So you need to make sure that setup. And you can do that on the preferences. So if you click on and you can do that now we've also desk as you've probably already found out, if you've got the software, you had to create an account because it kind of partially runs online. You create an account with Autodesk and you'll have your whatever photo you've used if you've used when a pair, but this is your account, okay? And appear if you click on that, you can see you've got your Autodesk account and you've got preferences. So this will give you your main software preferences. Vary, some preferences for the joins and not caffeine. This is your main one. Guy service will do things like the default. By default units. Okay? So you want InDesign minute millimeters. This course is going to be a millimetres. If you want to use cheesy can. It just works exactly the same when I type in some funny millimeters. So if I was to type in 25 millimeters, you would type in one-inch are kind of thing. Might be easy to just follow along and millimeters them and use it in inches if you want to. It just works exactly the same way. It just depends how you've got it. Say come work in centimeters, you can work in meters. Can you work in fate if you want? But for the course we're gonna do is in millimeters and bus on the default units design, okay? There's also with the mouse. It's a user preference thing. Some people like myself like to zoom in when you scroll forwards with wheel. And then when you scroll backwards, you zoom out. Not just to me, That does make sense, but some people like it the other way. So it's going to merit an under this general here. You can do that reverse Zoom direction. Okay? So I like to reverse it. Apply. Okay? And now I can, and now I can zoom in and out with the wheel, but we'll see that when we start modeling. So that's all I'm going to change for now. In terms of settings, we want to keep it. I want everyone to be on the same page so I don't want to personalize it or anything like that. And we're going to look at this kind of interface. So along the top we have these tools. Here. We've got create tools and modify those, assemble, construct, inspect, insert. Okay, So these are your main building blocks for your 3D model. And you can see got boxes, cylinders, spheres, tolerances, and you've got a sketch. Most of what you do infusion is sketching and extrude in that kind of thing. And then you can modify. So you got your modified tools here. We'll look at all those. This is your drawing space, okay? Unless here, there's not a divided between and this is going to be a list of files and it will get larger as you create more kind of geometry. And this is where you can think of it like a file system failed project. I don't wanna go too much in detail. What are those? Because it's when we've got enough in there, it will make sense as we work ahead in this course. This will start use imagery will become, you just realize what it's for because there'll be items in here, okay. Now, on the left here you can see we've got a square design. This whole kind of toolbar here is the Design toolbar. And we have other options. We've got generative design. Okay, That's quite a complex. Weights are complex risk costs. We'll do another course all about. We've got render. So for your photorealistic images and that kind of thing, animation of a city produce animations of your designs, simulations of your designs. We've got manufacturing. We got manufacture. So this is where you can kind of go direct to your expensive CNC machinery if you've got it. If you work in a fabrication shop and you learn in this course for vaping, this will make sense here. I don't want to go into detail about that because a lot of people use it for 3D printing or just general model in fulfillment. It's outside the scope of this course, okay, But that's a manufacturer tab. And then you've got drawing from design and animation. Okay, So now the one we're going to use mainly what styles for Design button. And this will give you our main design toolbar. So this is where we basically create our models. So that is the toolbar. And we know about this visceral. Again, this will make more sense as we progress. 4. 04 Interface02 E: So if you're not familiar, if you've already used some COT software, you probably know all about coordinates and the coordinate system. If not, I'll just go through a brief explanation now. If you're going to create in a model some things I use a rectangle. You would obviously have a lower left corner. And a top right corner of a rectangle is gonna go and don't worry about following me along a moment, okay, I just wanted to get something on screen so I can show you that you would have a lower left corner and the top right corner, okay? And that would be a rectangle. Now, you rectangle is four points. The way those points are identified is with a coordinate, and the x coordinate is along this way, and the y-coordinate is 0. Okay, so just bear with me if you're not quite grasp, it will all make sense. You have some origin point which is 000. And when we talk about coordinates and numbers, were just talking units. Whether you say a union is a millimeter and ancient foot made doesn't matter to cat, It's just a unit. Okay. So if we start at this corner, at the origin, that would be 00. This point. If this, let's just save this rectangle was 50 units by 50 units. Again, doesn't matter whether you say it's millimeters to inches. We're just talking units now. If this was 50 units by 50 units is rectangle, then that point will be 0, 0. That point would be 50 comma 0 because it would be 50 units in the x and 0 in the y. We always do x first, then y. This point would be 0 comma 500 in the x direction, 15 line, and this point will be 50, 50, so 50 eggs, 50 and 55 way to get this point, okay, so each point has its own coordinate, which is based on the direction in x this way, and y that way. If Evie don't know whether you use an x and y, you can look at the square, and this is a 2D sketch mode. You can see the red X is going along there, okay? And the green y is going down. So you coordinate some misdirection, relax coordinates up direction and y and x is always. If you're going to write down coordinates, you always do x first and then wife. I remember years ago when I was in draft in school many years ago, we still use the drawing board manuscript to said, it was something like walk along the London, I'm going up the stairs, which never made sense, but that's the way you look at it. It's x first and then y. For your coordinates. Again, I doubt if it's a bit vague, just it will all become clear as you use it. Believe me. Now, that's today, X and Y. But what about him free day. Okay. So what I'm gonna do it, don't worry about following along because you won't know what I'm doing here. I'm just going to create some geometry just so I can show you. Okay? So those kind of what we're having today. We have X, we have Y, and we had a rectangle. We're in free day. If we look at it as a cube, you can see we've got, we've got our x here. We've got our y, which is about measurement. But now we've got this kind of a height of the cube, if you like, which has come out from the rectangle. And that is that sigma x, y is at. And that's how you'd write them down so it isn't, but let's just save this was fit, okay, let's say this is 25 units. So our coordinate would be, if you were to write down the sides of this cube, you could say it's 50 by 50 by 25. And that's your X, Y is at. So 50 by 50 by 25. And that's basically how they view cube works. It's going to delete that. So if I'm, if I click the front of his view cube of view wherein is looking directly down, we've got x and y that way if I wanted to see in 3D mode, I can see it here. And this gives you control of what side of the object you're looking at. So front would be with x and y in those orientations. But if I wanted to look at the side of an object, I could have x coming towards means that, that way, then it will become more intuitive. You will just start using this and we'll just click in your brain as you, as you create them. But that's basically how his view key works. You can click on this cube and it will allow you to view whichever side or whichever corner. If you own a 3D view, you want to look up, okay? And you can just rotate it and move it like that. I'm very some options on here. We'll use some of those as we go. But that's basically clever view cube. Okay? So that's all I wanted to do in terms of explaining the interface. Now, there's more to know. We've got this timeline down here. But we'll show you those as we use an oil will make sense. So in the next chapter, we're going to create some basic models and other cubed things like that, just so you can get used to the interface. 5. 05 Basic Modelling 01: Okay, So now we're gonna get our hands on modeling done. We're going to basically reproduce what I did in my example. I'm going to draw a basic cube. I'm just gonna go through how we would do that. And just general way for new commits diffusion to get modelling. Okay, So the one thing to understand about fusion is 3D models in a large part based on 2D sketches. Okay, so let me show you how that works. If I wanted to create a box, I can click. I can go create and pull down with Create menu and I can click box there. And now what fusion will do is going to show me these three planes. And the way you can imagine these, if you imagine join on a flat piece of paper and then creating your shape. These could be like your flat piece of paper. Okay, these are called Work planes. So in the previous chapter went through v coordinates. You've got x here in red, we've got y in green, and we've got zed here. So if I wanted to draw this shape in the x-y plane face, I would select that work plane. If I wanted to kinda draw it as a top-down view, I would select that plane. And if wanted to draw it from the side, I could select that plane. Okay, So again, just bear with me. For this one, I'm going to draw it in the x, y orientation maps. I'm going to create a sketch. Now once I've clicked on that, you can see this symbol here, the origin point. So that's 00. So if I was to left-click, now, you'll see it lets me draw this rectangle and it's giving me these dimensions, again, 10 millimeters. Just think of them as units. So if I wanted it to be 50, 50, 50 by 50. I mean, you could try and do it by eye, but when it's highlighted blue, you see whatever boxes highlighted blue. That means you can type in, so I can just type in 50. And now, don't press you. Don't present. I want to go over to the silver box. That gives me is high. So press the top k, which is the two opposing arrows on the left-hand side of your keyboard. But top-k will take you into Viva box and I can type 50 there. Okay. Now I can press Enter. And you'll see now is give me another box for the height. So let's say I wanted this to be 25. I can type in 25 and press Enter. And now we've got our cube, which is 50 by 50 by 25. Okay? And that's how you create these basic modelling shapes. So let's say we want to sue in the now, well this cylinder again, we get the shapes. This time. I'm going, you say I can't select these shapes because it's selecting this block. So let me explain what's happening. If your modelling and item, let's say this, let's say this cube had a kind of cylinder protruding out from that face there. So as well as selecting sheets to draw on automobile and you can select faces of existing objects. So in this case, the cylinder is going to come off phase. And you can see as I go over the face highlights. And if I click it allows me to place the center point somewhere. So you would generally know where about somebody's face, you wanted it. Okay? But the way we're going to model this is I'm just going to do it by eye. You'll see I can come up with these snaps. Now what's happening here? If I, if I put my cursor near corner, it kind of snaps on to that corner and we get this blue square. So if I was to click there, it would go exactly a mock corner. If we go inside, if we go to the middle, we get this blue dashed line comes up and you'll see there's a triangle snap. Now that's saying it's going to put it on that line, which is the midpoint. So the triangle means midpoint is going to automatically put it on, on the center line, the midpoint of this line, if you like. So it will be right in the center, which is good. And we can do it the other side. We can get the center there. So if we wanted to actually in the middle of this plane, all we need to do is go to the center line. Okay? So we can get, we can put it somewhere in the middle if reliant, but I'm just gonna put a random going to have a central here and just put it about there. Okay? And when I click once left-click ones. Now it's going to ask me what diameter one. So into today. So I'm going to make this 12. I'm going to type in 12. I'm going I'm going to press Enter. And then it's asking me of a final dimension which we can type in it we could get these arrows. You can actually pull ways. You can left-click and hold down and you can pull them like this. Okay? So I'm going to save us 25 minutes, type in and press Enter. Now one thing to bear in mind, this is, this is kind of one object, okay? This object is a cube of a cylinder is not two objects when we're modelling and we're creating an object is just one object. So if we were to, if we wanted to cylinder separate, we would have to do that as a different object and we'll go through that in a bit. That's components for now. This is basic modeling. So we're creating womb part here. And if we wanted to create that says where for some reason, on this corner or on this face, Let's say we wanted to. Again, it's a similar thing, so it can go to midpoint and we can select this, we're here. Now. You'll see it's come up in red. So red means it's going to cut up our objects. And what fusion will do as you're using. It will take an educated guess on what it thinks you want to do. And a lot of the time it gets it rise is quite intelligent. But let's say we want today an actual sphere. Crafts were sticking out of here. If we would just just, let's give it a size, let's say 20. Okay. And if we were to just okay, it's done it as occurred. So it's cut out a circular, which you may have at one, but we didn't want that. So we want to change this. Now. You don't need to draw it again. You can't change it. And this is where your timeline comes in. So down here, you'll see it's a bit like a media player controls a, misses a timeline, so it goes back over the history of your model. Now if you don't have this, it means you're not capturing history. Sometimes for whatever reason, you might not want to capture this history where various resources on computer file size, that kind of thing. But we're capturing the history of this model so we can see what's happening. If you, if you don't have this, then you needed to go to this is your object here. Right-click and you get these options. And then at the bottom it says capture design history or do not. Minus turned on. So it saying do not, okay. If yours isn't turned on, it will say capture designers, you so you can select and make sure you've got this timeline. So with that, what we can do, we can drag this slider. This slider is, think of it as now. So this is where we are in time. We can drag it back. And you'll see that's where it's gone because we've gone in our timeline, we are going ahead. Well, we've gone to a time before we created, that's where we can go to before we created that cylinder, right, but to start, okay. What we can also do a miss timelines. We can edit what we've done. So if I select the sphere here and right-click, I can go to Edit Feature. And now we get the options back for the size of things. These are the options we use to create the object. And you'll see it's in red because it's Kootenay. And a pair you will see in the dialog box. We don't have to use these kind of arrows and text. You can just put it all in here. Every time you create an object, you'll get dialog box. So we have some options here. We have 20 milliliters, which was a diameter or units. And our operation is cut where we wanted to add spherical side to it. So instead of COP infusion, we call it join. And if we slept eyes now created the object. We okay. You will see it's created by object. And if you want to pan around, if you want to zoom in fusion, hold down your middle wheel on your mouse, just hold it down. If you drag around, you'll see, you will pan around. So you can pan around. You're not moving the object here, you are moving your viewpoint, okay? If you hold down the Shift key on your keyboard and hold down the middle wheel, you can rotate your view and you can get a good look at your items. Okay? Again, you can zoom in and out with you. We'll lay out and hold it down to pump. And if you want to, if you suddenly go to View and you don't know where you are, you can click on the view cube to get you vacuum array position where you want. Okay? So we've created this spherical object now, and we've looked at the timeline. And we've looked at our dialog boxes for creating objects. And you've got various objects there so we could do a torus. Okay? A torus is what we call donor. Again, it's on, I'm going to click on Join. So you can have all sorts of options here, about a diameter, maybe the inner diameter, 350. And targets damaged those 50 guys. So you guys kind of bulging thing maybe like if I'd if we divide 25, it could be some kind of a handle or pipe is a bit rough but they go outside. That's a torus and we have coils, pipe kind of visa. Think of these like ready-made objects in fusion. So you've got ready-made cubes, cylinders, spheres, kind of thing. Now, most people I know who use Fusion don't actually use these ready-made tools that much. And we tend to model items based on sketches, which is what I'm going to show you in the next chapter. But I wanted to show you this is the basics of how we lay out models. We use coordinates x, y, and z that we give. We choose a face or a drawing sheet called an object plane. I'll stop conic shape now call it what it really is, which is an object plane. Okay? So if I was to go Box base, yellow squares error is the object planes. Okay? I'm either your origin point, so this is your x. Why is that kind of planes that you start with in a, in a blank project. And they're based around the z is 0, 0, 0, which is your origin server you're applying. So use those to say where you want to draw. I'm going to use either one of these shapes as a basis or more realistically use a sketch and you put that on the plane, but we'll look it up. I just wanted to show you about some basic modelling techniques. And that's the timeline. And hopefully it's becoming a bit marvelous. Have a play about with this shift and middle button to move around and pan and zoom, because you'll be doing a lot less than it will become second nature so easily get used to it and have a look at this view cube when you do it and you'll see it moves around to it gives you your view. And yeah, that's kind of the interface and the basic model in so that's gonna be very, very familiar with in very short time, but that's just an overview. So let's look at doing some actual, real modelling like you would with sketches. 6. 06 Basic Modelling 02: Okay, so here we are with, we can delete this now. Left-click and drag a window over it and just delete a lot. Okay? So when you go to a new design, Asian uses tabs but lack of a software. So we've opened a new project, and our old project is still open a, we can just close that with the cross, okay, with it. We're not going to save out, it was just an example. So now we're going to look at sketch-based modeling, which is what most people use most of the time. If you think of items you might model and not usually based on cubes and cylinders. And even if they are, a lot of people just prefer to do it based on a sketch. So how do we do that? Well, under this create command, you've got this option here, Create Sketch. And it's actually because it's used a lot, the buttons at the top pair tools that are used a lot in this menu. So this first one here is create sketch. So we're going to click come up. And again it will ask you which plane you want to create a sketch on. Okay? So we're going to go into x-y plane. And you'll see we get this point here. Now we've sketches, really want to be looking kind of top-down. So our x, y plane where we do the sketch was head. We can, we now have a sketch palette dialogue box. And what we want to click on investor, which is look at, okay, if we click that, you'll see it's flattened us onto the plane. So we're looking down into the plan. We create a sketch on which makes sense because when your sketch looks correct. And now what you'll notice, this whole toolbar here has changed and this is the sketch toolbar. Okay, so whereas before it was image Solid Modelling toolbar. Now it's automatically puts it in the sketch toolbar. And we get these sketch commands here. So we've got rectangle, two-point rectangle. If we click that, we left-click that. Okay? And we can, again, we can drag the screen now by holding down our middle button. We can draw a rectangle if we want to draw 000. If we go near to that point, you'll see it snaps on 000. So I'm going to left-click. And then I'm going to drag this corner out and you'll say, we get these dialogue boxes and we can use the tab command to switch between the two. So again, I'm going to do 50, I'm going to press Tab and I'm going to do 50, I'm going to press Return. And now in our sketch, we've got a rectangle. Okay? We've got way more commands we can use for sketches and we'll be looking always for our cost. But for now, I just want you to look at that rectangle, 50 by 50. And we will go now finished sketch. Okay, so this takes us back into our modelling or usual modelling kinda workspace. We're still looking down onto the sketch we still got is this view on. So let's say we click. And now we're in a 3D view and we can see we've got a sketch of the rectangle. And down here, we've got our symbol for sketch. If I wanted to make changes to that, as usual, I can right-click and go to Edit Sketch. And I could double-click. And maybe I could change that 75 guy. And I go finished sketch. So you can, you've got control to be able to go back in maize and edit them. So now we've got a, well this one is 55, 75, and we will not develop into a cube like we did before. So the way we do that now, the way we model from a sketch is by going to extrude. Okay? So I click on Extrude. And again, fusion's going to take a guess on what it thinks I want to extrude. So the only object in this model was up rectangle sketch. So quiet correctly It's guest, you see it's highlighted in blue. If I click on it, it's deselected. Fusion has selected it for me because it's taking a guess on my object I want to extrude. If I left-click again, I've selected that rectangle. And now I can drag this to extrude shape, or I could just type in 25. And again, I've got our usual things there. So I've got a dialog box here for Extrude. Now, let's suppose I wanted to go that way. Okay? Now this way, now if we go that way from a sketch is going to, it's going to say as minus k. So this way is plus units, that way is minus unions. And so it can go minus 25. And we'll look more extrude in later on and we'll look more at these kind of different commands lights are on. But I just want you to understand the difference between creating objects with these primitives here and what most people do, which is to create a sketch, okay, now it might seem like we're about to 25 and click Okay, you see we get the same thing here. We've got a feature so we can right-click that and we can edit. So maybe we wanted to make it 35, we can edit it. But it might seem, when you're watching this, you might think, well that seemed a bit more long winded when doing the primitive box. Okay, So why would you, what would you do it that way? Why would you do a sketch when you can just use a box and you'd probably be right in terms of a cube or a cylinder. But I'm just going to left-click. I'm going to highlight all that and I'm gonna delete that. And I'm going to delete that sketch. So you probably right in the case of a cube or cylinder, but usually you'll be creating some fun, a bit more complex from that. So I'm just going to show you an example again, I'm going to, Let's click on Sketch. I'm gonna go to our work plane. I'm going to look at it. So looking face down at it. And now instead of using this two-point rectangle, I'm just going to clip this line here. I'm going to start there as arrises snaps to it. And now you'll see when you draw a line, you get to dialog boxes and you can use tapped go between the two. So you got the angle here. So if I type in 90 and then tap to live on, you'll say it's locked now at 90 degrees. And then you've got your distance. So I could type in 100 here. And it's drawn a line at 100. Okay? Now I'm going to carry, I'm going to click line again and what it will allow you to lie. It's a snap so I could snap to the midpoint. I can snap to that end point. I'm going to go on the endpoint. And this time, just to show you, I'm just going to draw something completely random. And I'm going to snap to our endpoint. And you'll see when I snapped to our endpoint, I get a blue shade. Okay. If I right-click, I can go okay. But blue shade based, it means it's a closed shape. You see? There's no open lines. Think of if I was to fill this, it couldn't leak out anywhere. The lines are all closed at the end. Okay. So if I go Finish Sketch now, and I'll go into a bit of a 3D view again. I can click on Extrude. Again, it's slightly but shape for me. And I can extrude that 100. Okay, Now I don't know why you'd want that. But you can see nowhere. Obviously in these primitives is a shape that looks like this. So using sketch will allow you to do well whatever you want basically in terms of shapes, whereas the primitives are just cubes and cylinders. So usually we will base all our objects of a sketch like that. Okay? And you could add it as so if I wanted to edit the extrusion, remember this is, this is made up of two things. A sketch which was kinda profile shape, and an extrusion, which is how it's extruded. So I can right-click, I can go edit feature, which is the extrusion. And this will let me edit things like the size of it. And I can also go back and I can right-click, I can say Edit Sketch. And maybe I wanted to. If I just left-click on my line OC is it allows me to drag it. So maybe I could just drag it and make it, make it smaller. And now for finished sketch, it will automatically shape. I see in my timeline you have these two items. Most of the items you create like this will have two different things. You'll have your extrusion and you'll have your sketch. Okay? So var is basic modeling with Sketch and in extrusion. Now we're gonna go in a way more detail about sketches and we're going to look at more detail by extrusions. But this is just an overview of a modelling process. So if you want to have a play about creating some sketches and extrusions, don't worry if you get any errors or failures of things because they will become clearer as we look at them in more detail. But that is basic modelling. Ok? Using sketches, we can use ways if you want, and certainly we pipes, you might use them, but generally, you basic objects, we use sketches and extrusions. 7. 07 Basic Modelling 03: Okay, So I'm going to close out and not save it. And it will automatically start a new project for us here. So we're going to look more at this extrusion now because it's a command you can use all the time. And I'm going to show you, let's, let's create a sketch first, okay? And we're going to use that plane there. And we're going to look at it. And now I'm going to go to, we use this rectangle before. Again, we'll look at sketching in more detail in a future chapter because it's quite a, it's a very important and it can be quite complex area, but we're going to click on this, which is circle, okay? And what is he's going to want is just a center point of the circle with case we use 0000. And then it will want the diameter. I'm gonna go with a diameter of 200. And when I press Enter, zoom out a bit with my wheel. And you could clip this corner. I'm going to hold down shift and middle wheel and just give myself a VR1, okay, something like that. And when I finished sketch, so we've got our sketch down here. Now I'm going to go to extrude, and I'm going to drag this out. And I'm going to do it, say 250. Okay, so we've got a cylinder. But what I want is I want is going to be kind of like a, a shaft type with different diameters. So what we can do, we do a sketch again, but this time instead of choosing one of the planes to do our sketch on, we're gonna do our sketch on this face here. And you'll see it's a center point. Ultimately, it's in a circle. The face was a circle, so it gives a center point. So I can go again to sketch circle, centerpoint, snap to that. And I'm going to bring this out. So that was 200 and estimate is going to be 150. Enter. And now, if I finish that sketch and go to Extrude again, it will allow me. You see, I can click inside the circle. And then I can pull this out and I'm gonna make this 150. Okay? And remember when we create the models are SEC's one object. We're not, we haven't got two cylinders here. You can see the face is a highlighting, but this is one object. So I'm gonna do another sketch on here. And I'm gonna go same again. We'll look at it. I'm going to create a circle. Snap to the center point. This time, let's go with 100. Finished sketch. Okay, hold down shift in the middle, we'll get a 3D view. Extrude, select that sketch, and let us make this 150. Okay? So you can see you can get these kind of shapes, something like that. And we're going to, once more, I'm going to go sketch onto that face. This time. I don't need to look at the unknown what we're doing. I'm just going to create a circle, snap to that. I'm going to look at it. I'm going to create a circle again. And this is going to be a MIMO is 50 diameter and okay. Hold down shift and middle wheel. And I'm going to finish that sketch. I'm going to extrude just as we did before. I'm going to select this rectangle. Sorry, I'm going to select the circle and you'll see it. We can do exactly what we did before. But if I go this way, now it turns red. And I'm going to go into 100. So it's one hundred one hundred date. Okay, so what I need to do, you might remember it's plus minus, so minus 100 will go in. And I'm going to say OK, so now we've got this object and it's got a hole in the end. That could be something like a shaft or a tool some Finland up that would be taken down on a lave. But they gave us basic objects. So this, the thing I wanted to show you in this lesson was the sketch and extrude. It builds on top of each other. So we've got sketch and you can see them here. Sketch, Extrude, Sketch, Extrude, Sketch, Extrude, Sketch, Extrude. And you can build up quite complex models just with those commands, the sketch anime extruded and something you'll use a lot. The Sketch Extrude you'll use are over time. And it really is the basics of this whole process and a lot of voice. So you can have a play about with that. Maybe you wanted to do a, let's do a sketch on this face. And this time I want a rectangle. So let's look at I want a rectangle. Now if I go to the two-point rectangle, it wants a two points obviously. So it would be hard to centralize it, but there's an eruption MS center rectangle. You can click on that. And then it will allow you to do a rectangle in the center. So now I can say, okay, let's go 250 by 250. Finish our sketch. And then we can extrude. And this time we've kind of seen as two different items. So both the items and let's pull out 200. So now you've got S cubed. And again, as I say, this is one item which is one model. And now you've got these phases. You could maybe do some fun there. Let's do a circle. So let's look at that phase. And I will circle. I'm just going to put it about there, okay? And it will be 50. I'm going to extrude. I'm going to go in 100. Oops, is you have to put a minus. Remember, so I can click that right-click Edit Feature and only need to do is minus 100. That you'll see again. Nothing's happened. Well that's because it's on Join. So if I right-click Edit Feature, you'll see the operation was joint suits create a solid. We're going to solve it, which is nothing. So I need to uncut vector, you get that happen. It just means you need to change it to curve. Usually it does it automatically labor. So then maybe I'll miss plane. You've got some kind of rectangle down here. Let me go to two-point rectangle like that. And this is going to extrude out. Sketch on, and you can see I'm completely making this up as I go along. But I just wanted to show you this process of creating different sketches and then extruding them minus 150 to create these kind of shapes. And you can see might be something you need. So that's the basics of sketching and extruded soybean sketches we've done for these kind of holes and this rectangle there were but random usually what you would do, let's say we wanted a circle here. You'll usually know where about it wanted to be. So if we say lookup and we create a circle here, and it's usually you would have a dimension from this phase and a dimension from that phase. And we can do that, we can lay that out. So once you've drawn your circle under Create, if you post on, you will see we have sketch dimension, okay? If you click sketch dimension, and now I will, our dimensions probably being given to us as a distance from that edge to the midpoint of a whole. So that's what we're going to click. We're going to see these lines now we've slightly dimensionally things highlight as we go over it. We're going to left-click that line and we're going to left-click essentially a hole and you get I mentioned, just drag it out and click it and see where it drops. So that's the current distance. Now let's say we wanted that to be 75. We can type in 75. And you'll notice the circle moves. We've tied it to a dimension. So good about again, create sketch dimension. And we'll go from that line this time to the center and we'll make a 75. Okay, so now that sketch is tied on that plane. So if we finish it, hold down shift and middle wheel and now extrude it. And we'll extrude it at 50. But object is tied to those dimensions. And we can, if we want to change it, we can go back in our history. Find the sketch for objects, which was about one right-click Edit Sketch. And we could change a, so it may be that wanted to be a 100 or the object was changed. And he said, now we want this to be a 100 and not to be 150. We finish here and it updates every day so you can go back in history and you can change things. We could change wherever we want. We could find a sketch, maybe that one. And we could put some dimensions on here. So let's try it with, so that's a 100 by 50. Okay? And we wanted the distance from the edge to be 25 and the distance from the edge to be 50. Okay, finish. And you'll say of days. So you can go back in history and you can change everything. You have full control in this modeling process. But that sketch in and extrusions, sketching and extruding gives you that control. You can just change the position of a sketch. But if we want to change the extrusion, we write, we click on the feature of extrusion. Right-click Edit Feature and we can change that maybe animals to come out 100. And there we go. So you get this kind of full control over the history of design. And already, we've got quite a complex part here. And it's just been muddled. Who taught same process, sketch extrusion, sketch extruded. So that already modelling already now to do that, and I would say a large part of most people's modeling is done with sketches and extrusions. Now we're going to look a bit more at the extrusion itself and the different options you can get. 8. 08 Extrusions 02: Okay, So I'm going to close again. You can save it if you wish to. And I'm going to look at more of the extrusion options and dialogue box. So let's just do a sketch on this face here. Already Vishnu becoming fairly familiar, we're going to look at that. We're going to do a circle is 200. Okay, so Finish Sketch. Hold down, shift the middle. We'll give me a bit of a 3D view. And now I've got something I can extrude. I've got basic circular sketch I can extrude. So we're gonna go to Extrude fusion selects. It knows what, what I want to do. Now up until now, we've seen that you can extrude that way. You can extrude that way by adding a minus 200 units. We can create an object like that. E reverse directions basically, but there's way more you can do with Extrude than that. So let's look at this dialogue box and let's work through it. First thing is asking us is type of extrusion. Okay? So if we wanted, this is a normal extrusion. It gives us a solid cylinder. If we click on that one and just click Okay. Now what is done here is given as just the outside of the circle. So this is like a pipe. And if you go back to your options at it feature, you can see you can select the thickness of that wall. So if we wanted it to 0.5 pipe, then that's an easy way to do that. Okay. I'm going to go back to these options by Edit Feature. We're just going to stay on is normal type of extrusion first, which is this cylinder. And the first option it asks for is a profile. The profile is basically the sketch. What do you want to extrude it slightly, but ultimately there was only one profile image file, so it's selected, but I'm a profile was up sketch but you could select multiple. So let's go. Let's delete that sketch and we will put another point on the circle. I'm just gonna do it by eye. Completely random omega finished sketch. Okay, so I'm going to undo, go back to our sketch and I'm going to select another circle. And I'm going to do a rectangle. I'm going to finish our sketch, okay? Now if I go to Extrude and it's a slip profiles, it doesn't it doesn't know which one I want to select, so it hasn't slept. We ultimately, because there's more choice basically, before we only had one circle, it was obvious which profound it now, I need to actually choose the profiles on to extrude. So thus, this option here, profile, it just means which object D1. Okay, so let me just get rid of that was again, 3D sketch is true, so profile is the object. Now start. Where do you want the extrusion to start from? Most of the time? You would want it to start from the object you drew. Okay? So in this case we drew the circle and we won't be extrusion. Start from that, but we could say we want the star to be offset by 50 millimeters. Okay? And now what it's gonna do if i okay. Law, our sketch spit had to save it. If you see our sketch is back here. It's offset 50 millimeters and then started it. Okay. So that's this offset you use out when you sketch it answered. So if we were to use a plane of an existing object is a sketch, we can offset it from there. Generally, you'll be using this profile plane direction. We wouldn't side, this is one-sided extrusion, so that's our sketch. We've extruded side, extruded that side, that's one-sided. But you can do two sides. So now I could have extrusions there. So maybe I wanted it to extrude a bit out here. Which will be minus 20, which would be, you don't use a minus here because you already told me going out to the side. So if I was to go 20, it will, it will move it 20. Or if I put a minus on this one because it knows we're doing it either side it would it would bring it in if that makes sense. So 28 by 50. So again, they had to say, but our sketch is basically this line here and it's extruded 20 that way, I'm 55, so it's two-sided and you can type that in here. So you see when we've got a direction to size, we've got side1. We went a distance of, let's change up to 70 and Psi 2, we want a distance of 30. So we can change our OK. And you'll notice there's some other options here. So as well as a distance of 70, we could have a taper. So we could take about 45 degrees. And you'll see it tapers out. Again. Right-click Edit Feature maybe wants to take the end, so it'll be minus 45. And we can do some Finland. Again, you can always control to do what looks like a fairly complex things just easily with the extrusion command. Generally, I wouldn't, if I wanted to create a shape, I wouldn't do it that way. I'll show you, we'll do some art later on and I'll show you how I would do it, but it's a two-sided extrusion. You've got two different dimensions for each side and you extrude and each side of the sketch. Now the other one is symmetric. Here. If you've only got one distance now you are extraordinary. Both sides again, but both because it's symmetric, both sides of the same distance. So if you put 15 here, it will go 50, both sides of the sketch. Okay? Hope that makes sense. Now, down here, use the operation. We've got new body, we've got Joins, we've got coats, we know when we've looked at them, but we've also got new body. And most when we've been creating these objects, It's been putting on new body. Good bodies and components is something you need to know, but not quite yet. We'll look at that. Okay. And there you go. So there is a bit more too extreme. You can extrude from planes. And for example, the best way to show that is when we create in an actual model, it will make more sense. But that is your extrusion command and your options. 9. 09 Revolve: Okay, So I'm going to close up and not save. I'm going to start again. And now we're going to look at some of these other creation techniques that are available to us. Extrusive looked at now will be doing way more of I me examples. But we're going to occur these ones as we've got revolve sweep and loft. Okay. And let's have a look at those first filling rents. Do is I'm going to do a sketch on this plane. And I'm going to, Let's look at that. Okay? And I'm gonna draw a line. So I'll slit line. I'll snap to this 0. And I'm going to go straight to Australia, going to make sure it's on 90 degrees. Okay. And it's kind of snap to the 90 degrees. And I'm going to go let's go to 50 percent. Uh, okay. So it gives us a 250 millimeter or 250 unit line straight up. Now I'm going to click on line again, and I'm going to snap to that point. I'm just going to I'm going to go straight out there. And let's go 25. And to do a line again from there. And I'm going to go now merely the rest of us just by, I don't worry about exact commands. Now, I want to show you if you click on this line, you can do as well as straight lines. Cvs were Australians, you can do arcs and you do that when you left-click it, you need to hold it down, hold down Alt left-click. So if I, instead of just clicking once on that, I'm going to click and hold it down. And then I'm going to drag the mouse out. Okay. As you drag your mouse because I'm still holding down my left button. So you let go. It will create this kind of arc. So when we let go, I'm gonna do the same again, hold it down. And I'm going to create that kind of object. And the same again, hold down left k. And I'm going to create some fun like that. Just by eye. In fact, just by I'm going to put there and then I'm going to again holding it down and I'm going to snap to that endpoint. And then I'm going to press Enter. So now Go is really weird kind of sketch shape. If you didn't quite get those abs, feel free to undo. Again. Don't try and get exactly the same shape I've got. Just any random shape will do for this guy. So I'm gonna go Finish Sketch. And now if I look at this by holding down the Shift key and my middle wheel, you can see we've got these very random kind of shape here. But now if we wanted to create something, maybe it's some kind of vars or I don't know, could be a door knob or something like that. But we can use this command here called revolve. And this is one of those commands that makes way more sense once you've seen it being done. So I'm just going to show you how it's done here. We click on revolve. Again. The profile is, we've only got one profile sketch in this file, so it's selected it. Now the axes is valine is revolving around. Again, it makes sense once you see it happened. So I'm going to say slip axes. I'm gonna slap this line here. And then you'll see what it does. It's revolved a shape based on our sketch profile around this line. And if I okay, that you can see we've got this very complex shape here. Could be an animal, it could be some color on top of a fence gate, like a metal gate could be a tuple or a bed post or something uneven. But it's a very, very complex shape. You could turn that on, on a CNC lathe or some Finland. And to model that, if you looked at that, how long does it cause pain so far? Maybe an hour, not even that yet, if I have shown you that and so you can easily draw this shape within an hour. You might know believed it, but there you go. This complex circular model is as easy as doing a revolve and we can right-click, we can edit feature, we can look at some of these option. So we select a profile which was your sketch. We slept at the axes, which is obviously the central line we've revolve around. Now the type was angle, so we had a 360 degree angle but didn't have to be maybe it was just a 180. So maybe it was something that sticks on a wall. It's an ornamental thing that it's got a flat face that sticks on a wall and that comes out. I don't know why you do it, but maybe that's something you wanted to do. All sorts of things are modeled. And the skill of using software like fusion or any kind of 3D modeling is knowing which tools to use to create an object. If you did want something that looked like that, you could puzzle for a long time over how you create it. But it's fairly simple with just this Revolve command. Okay, so we're gonna go back to 360. 360. And again we've got one side so you could do it. Well, let's say, let's go back to say 90 degrees. Okay, So this was our sketch. And it's rotated at 90 degrees, but just like within the extrusions, it could have been symmetrical around the sketch 90 degrees. So it's got 90 degrees evil way. And now it will sketch with him as center. Nothing will be symmetrical or two sides with two different distances. So slightly extrusion command is where you are taking my sketch from. I'm going to go back to one side and free 60. And you could carry on modelling. Guess you could say you could put sketch on there. Could draw a circle. If you wanted a kind of a fitting. You go. Now you've got so you've you've created a coughing convey exact name but it goes on the end of the gate, metal gate posts and it's going to run on a mental thing and it's got a hole that you can fit it on so you can model quite complex things easily with this Revolve command. Anything circular kind of vases, that kind of thing. Also, you can use if a shaft, if it's a complex shape, tend to use extrusions and circles, but if you've got a complex shape, you can use up no problem. And if you're going to turn on a lave, chair, legs, ornamental chair, legs, table, exact kind of thing. Perfect fall, Revolve command. 10. 10 Loft: Okay, so again, we'll close up, not save it. Next one I want to show you is the loft. Now we have created a if you remember, we have extrusion, we tape it via angle. Similar things. What I'm going to create a sketch on here. I'm going to look at, and I'm going to create a circle which is 150. And I'm going to finish up, okay. I'm going to show you if I just show you what it means. So a shape like this. You can do it with an extrusion in a table, but you do need to kinda know the tape or ongoing things generally. Usually if you were to create this, you would know the damage of the circle, the diameter of that circle, and this distance between the two. Okay. So trying to work out the taper angle and that kind of thing, it'll be a bit of a nightmare. But what we can do, we can use with love to create these kind of shapes. So of course, our sketch here, we've got a sketch, we've gone back into the modelling environment. And now I want to draw the circle at the top of the object. But if I go to Sketch, I've only got in this plane of only got this origin plane here to join. So I could do a sketch on this previous sketch. I could do a sketch my plane, but it's in the same plane. I want it to be above. Okay, so what we need to do, we need to add planes. And just like we have these free origin planes, we can add our own planes wherever we woman. And this is a very important part of modelling that you'll be doing a lot. So we have this pull-down menu here, construct. And it allows us to create planes, axes, and points. And we'll look axes and points later. For now we'll concentrate on planes. Depending on what geometry you've got to work from and what you want, where you want your plan, you will select one of these options for us and the woman people use most is an offset plane. Okay, So I'm gonna slap an offset plane. And now what it's doing is it's going to allow me to draw one of these yellow planes are composed sketch on. But I need to create a plane in the correct place first. So it wants to know, okay, which plane and my offset him from. So we're going to offset, we could either use this plane of a sketch, but I'm going to use this origin point here. I'm going to offset from there, okay? And suppose the height of our shape was 100. And we offset my plane. Fellows go 150. So we'll offset my plane 150 and press Okay. And now, as well as the origin planes, I have this plane here. And this is where we can start looking at this file menu now. Okay, so we've got some settings here, which is basically our units you could change to inches. We've got some views, which is just done. Our main views appear. We worry about for now, our origin, origin point, we know is this black point. So we've got the origin in x, in y, and in z. And you'll see the blue line tells you where is. We've also got origin planes, which is this x, y, y, z. Sorry. Why is it amazing when planes that come up? When I was to do a new sketch, its phase planes here. Okay. But turned off by default because it can get him away. Anything in terms of visibility. You see a symbol is I. Okay? Fast on our alpha tells you whether it's visible. In this case, all the origin things are turned off. You CVI is, if I was quit out, always origin items like these origin planes will be shown. We've got sketches, services with Sketch, it's in our model, and this is our model file that we're working on with whole thing. So inside this model, we've got these origins and we've got these sketches. Okay? We've got sketch one. And we've got sketch to sketch too, is we're in the sketch environment. We create a sketch for us. That's basically what we're doing now. Okay. And then we've got construction. So construction is things you've added yourself like planes and axes. We've got one plane which we've just added. Okay, So what is asking me a moment? I've chosen to create a sketch and it's asking me, where do you want me sketch? Now because of terminus? Or I could select one of these origins like we did before. I can do a sketch on that one. But we've created this plane for a reason which you probably guessed we're going to do a sketch on there. So once I've selected Create Sketch, I can just select that plane. Okay, So let me go back to the Father chose a sketch. Okay. We've added this. Plane now which we can see under our construction plane. Now when I go create sketch, I can select that plane. And I can say look at, and it looks like we're on the same sketches before we draw a circle. But if I hold down shift, you can see our origins. Hey, we're actually onmouseover plane, we've slept it. Okay? And that'll become more clear when I create a circle, which is 50 and Finish Sketch. And now when I hold down shift and middle whale, I can pan. We've got two sketches. These are both kind of image same orientation in terms of x and y, but on a different planes in the z direction. So now we can use the loft command. I'm going to select loft and it's going to ask us for the profiles. So we want this profile here. And we want this profile here to be a new body. And I'm going to select OK, and now it's giving us the same shape. So again, you might think that it's a bit more long winded than doing it with the taper. But you generally, you won't be given a taper. You'll be given what we've used here, which is sketch one, diameter, sketch to diameter, and this distance which you will use to do your plane. And again, you could add it up playing, you could, you could change that distance. Maybe it was May 250 go is changed now is much longer. So it gives you greater control. Whereas if you just go out taper and the distance changes, you've got to rework out the taper angle again is, it is just when you modelling infusion, you want to always be thinking this will change. And a lot of times it will always be thinking, if this changes, how would, how can I model this item? So at any future changes can be done easily. And believe me, when you've got these free dimensions, that's a lot easier than trying to work out taper angle. But that's loft command. And also what we can do, I'm going to close that so I can show you again where aloft really comes into its own is when you use in different shapes. So I'm going to create a sketch on his origin, plain milk. And I'm going to create a midpoint rectangle to make it two hundred, two hundred. I'm going to finish up, okay? And then I'm gonna do a construction plane of set from that offset by 200. Okay, I'm going to sketch on my offset plane. Let's look at that. And this is going to be a circle. Let's go 100. And I'm going to finish that now. I want you to imagine if he was modelling and trying to work out things like angle, taper angles, how you would get from a square to a circle. It would be modelling book. You can just go loft. So let up profile. So at this profile, click Okay, and you'll see fusion has automatically created that shape for you. Which is amazing, really, the computing power, it's extra fraction of a second is great. I'm going to show you some of the options and the loft, if we right-click Edit Feature profiles is just slapped him a profile. Okay, In fact, let me, let me, let me do a bit more of up. So I'm going to undo and I'm going to, I'm going to offset another plane. And this time it's going to be offset from, say we can go offset plane. And we can flip this item. And I'm going to offset a 100. I'm gonna, I'm gonna do offset plane from there. And I'm going to go to 100. So now we've got multiple planes. And we could do a sketch on that plane, which is another circle maybe to a 100. Finish our sketch. And then we'll do a sketch on that plane, which is an inverse square law, which is three hundred, three hundred, three hundred split. I mentioned 300. Okay. So now we've got multiple profiles. But that's fine because we can not as many as you want in here. So we can say, now, important thing is when you add them, add them in the order of aloft, don't advanced one. And then back to that. Whenever Craven in the order of the loft, and you'll say it looks almost like some kind of goblet or glass. But it's created a lot from all those. And what it's done, if you notice, is, is kind of done a smooth transition between the shapes. So we've gone from square to circle to circle. It hasn't just gone from here and a straight line straight through there because it knows it's coming back out to a wider circle is, is create its own flowing curves between the shape. So it's a lot of intelligence going on in this command. The way it can go from different shape profiles and create the curvature. And just be aware. If you get very complex, it can get a bit confused. Its own is a very complex operation is doing here. So generally it's fine, but on very complex things. Sometimes you do want to split it. So you could do another loft. You could, you could create offset plane from here. You could create a circle. Again by finished sketch. So now you could do a loft and you could actually select that shape in. You haven't done a separate sketch if the profile is still there. So you could do that. But it's been doing because it's been dealing two operations. It hasn't done, it hasn't worked out the flowing curve between it's done a tie edge because it's going directly from there, if that makes sense, Is this still is two different operations. So if you did want map, kind of sharp transition, just stop and start and have a loft. But that's the last command again and have a very powerful command. 11. 11 Sweep: So we have a kind of automatic creation when I want to look at now is this sweet commands we have extrude, revolve loft. With that, let's just have a quick look at this sweet Command K, and I'll show you how this works. This is, this comes in handy if you're using if you join something like a maybe it was a handrail around something or a even a pipe sometimes. And again, it will become clear as we draw it. So I'm going to create a sketch and I'm going to look at, and this is going to be a line which denotes which center line of some handrail. And so I'm not going to put in the dimensions. I just wanted to show you. Again. I'm going to hold down. I'm just going to do something. Okay? And I'm going to, okay, So this is like a central line of some kind of a 100. We've got, I'm going to finish our sketch. And then I'm going to draw the actual profile of the object. Again, this is gonna make sense when you see what happens. But I'm gonna do is on the, on, I'm going to do a sketch on that view and it's going to be a circle. And then snap it there. And I'm gonna say one millimeter finish. We draw it, we're creating something very small here, but we basically got two sketches here. Now, we've got a sketch which is the center line of a pipeline or a handrail. And we've got this sketch in that profile, which is imagine if you cook for over a 100, oh, that's a shape I want it to be. So now if we go, if we go to sweep, it's going to ask us for a profile. And the path. That profile is that I'm a path is okay. And if I select Okay, I'm going to turn it a bit smaller that hopefully can see what it's done is taken that profile and it's swept along the path of that central line. So we've kind of 100 now or pi wherever you want to look at it and allows you to create, to sweep but object as it's called, sweet, sweet. They object with profile along the center line. And we can right-click, we can edit is so we can have, this is a type of sweep. So it could have a guide rail which is basically puts a more of a guideline it just up to stick with single path for now. Let's not get into a single path. And distance you can change this distance was the profile. So I can put this up to five. Um, I change the distance. Distance is the taper angle so you can taper it, can twist it, all sorts of things. But that's basically the sweet command, not something you use an awful lot when you do need it. If you are doing a 100 fall apart when you do need it, it comes in very handy in Dade is particularly good for doing something like a beating. If you've got a beat him around the edge of an object. You can show it by just sweat images and doing a sweep. But it's not something we use an awful lot. But they are the main kind of automatic modelling things extrude, revolve, sweep, loft. And then we've got things like buttons and things which we'll go into later. But that was a sweet command. 12. 12 Sketching 01: Okay, So this is the sketching portion of this course, and we're going to take a bit of time to go through sketching constraints, that kind of thing, and teach them good kind of work practice here because your sketches can be thought of as the foundation of your model if you like. Whereas when you build a house, you need to get good foundations because it's the basis of the whole structure. With 3D modelling, especially infusion, you need good sketches, the fully constrained, unlocked, and you'll know what that means soon. And you need those good sketches to provide a solid base for your model. If you've kind of doubled infusion or you've been using it while maybe you will probably come across models which just tend to, they almost kind of just destroy themselves when you try and edit them because they're not one dimensional wouldn't face and the whole thing kind of either crashes and gives areas are just changes in a way you didn't wish it to amass because that's usually because the sketches that that model is based on haven't been, probably don't, haven't been probably properly constrained and dimension that kinda thing. So we're going to look over these next few chapters. I'm really getting into the detail of sketching. So you can be creating good sketches from the beginning because there's no point carrying on with the modelling until you really know how to create good sketches. So first I'm going to talk about when we use sketches and basically you sketches. When you want to create any geometry, really everything is based on a sketch, okay, and you have 2D sketches. I'm 3D sketches. We're going to concentrate on 2D sketching for the time being. So the thing to remember if you're going to create any object. And we're just going to talk about a square metal plate to begin with a very simple object, you will to create that object, you need to know where you're going to create it, okay? And so you need to use a plane, an existing plane to create a sketch on. Now, the way you can think of this, if you are standing outside somewhere new, want to create this metal plate. You might draw that first as a sketch on a piece of paper where you gonna put up piece of paper. You're not just going to hold it in the air at any kind of angle and sketch on my paper, are you going to draw it where it needs to be? Okay. So let's think is a plate going to be on the ground, okay, then we'll use a ground plane or construction plane. Is it going to be, is it going to be fixed to the side of a wall? Okay, Then we'll sketch on the wall and then you can extrude that out from that place if that makes sense, but you need a flat plane, okay? So if that might sound confusing, like all of these things is going to be second nature when you say you see it in action. So here's my fusion of a blank brand new jar and open. I'm just going to close it. If you've got this open, you can close it here. If it isn't open on yours, Don't worry. Okay, and so this is a completely blank project. Now, just as good practice, first we're gonna do is first for me, I always do is go pair, right-click and go to new component. And I'm just going to okay that. So now we're working on an actual component rather than in our main project. So we never want to be working in this kind of default model pair. You want to be working on individual components books that's covered in a different chapter. So let's create a sketch. We have this combined effect, which is called, Believe it or not create sketch. And when I click on that, it's going to ask us now for a plane, a miss convey, you'll see it brings up our default construction planes here. So these are on our different plane. We've got a coordinates, so x, y, z. So that will be x, y plane, but will be Zed y plane, and that will be exit plan. And if ever you get confused which one is which you can see up here. Usually in CAD, you will work with you in today, you will work on the x, y plane and then Zed will be kind of extrusion. So I'm going to follow that kind of method of working just because anyone who's coming from AutoCad, that kind of thing are using sensitive a bus that will just be what we're used to, but you don't have to do that by any means. And when you are creating a sketch on existing geometry, you probably won't do that. So in this case, we're going to create our sketch on today's plane. Okay? And I'm just going to click it and you'll see. My screen automatically Aryan takes itself. So I'm looking down on my plane now versus setting that makes it do that. So yours may not have automatically the month. Okay. I'm just going to undo. And I'm going to go to Create Sketch. Now if I go to my preferences. So under general design, it's also look at sketch. Now fusion as it does, it changes all the time. So it may or may not be in the same place, but it will be called Auto look at Sketch and it probably isn't the best general design tab, even if this might look a bit different. We do have a habit of changing the way things look the day after I record a cost, us progress as both. So they go, It's called Auto look at Sketch. And if you select that a new select a plane, it will automatically look down. Now varies a chance. Again, even with option selected, it doesn't automatically look. And that would be if you have this 3D sketch enabled. So if I was to click on my plane, and you'll see now it hasn't done that because I have 3D sketch enabled free if you are scheduled in 3D, you probably won't want to look straight on, you'd want to remain in a 3D view like this. So fusion gives you that choice. You could always automatically look straight down on your sketch by clicking this hair look at, okay, and if you click that, it will orientate itself. But for now, turn off 3D sketch, okay? Um, and when you create a sketch, select x, y, and you'll be looking straight down on it. And we've talk about these planes, visa, what we call the origin planes. Okay. So when you start a blank project infusion, all you'll have is your origin and your origin. You can turn it on and off here. So this eyeball, so you can see now this is your origin. So in space you've got x, y, z coordinates. This point here, 0, 0, 0, 0, 0 and x, y 0 and z amaze they are Plains your x, y. And when I highlight them, if you look here, you'll see what happens. So X, Y, Y is that exact value applying amaze lines are your axes. So your y-axis, x-axis, that actually the K. Just to recap of Allah, because it's kinda need to really grasp for sketching. So let's just say, and you don't need to follow along here, but let's just say we had existing geometry, so I'm just going to create a box anywhere and extruded live out. Okay. And so again, you don't follow what? I just want you to understand this principle of sketching on planes. So now when I create a sketch, I can still use these origin planes, but I also can use a plane on existing geometry. So I might want to sketch on that plane. And now I'm sketching on my face. Okay? So when I say you need a plan, it doesn't have to be one of these or origin construction planes. It can be any flat surface on existing geometry, on a origin plane or on a plane you create. And we'll look at creating planes like that, but it just has to be on distinctly asked to be on a flat surface. Okay. So let's Hopefully that makes sense. It will become second nature just when you do it. And I'm sorry if I've correlated with point a, if you already knew that, but I just want everyone to be on the same page when it comes to this. So what we're going to do now we're going to create a sketch and I'm going to on this x, y plane. And now you can say we're looking straight down and we have our x-axis and our y-axis, and we forget about the z-axis now because we're doing a 2D sketch, so we're only working in these two, x and y. And you'll see we have some figures here. We've got this grid and meshgrid has separated itself into units for us. So 25 units, 50 units. So each of these squares would be five units. And if you zoom in, you can see it kinda separates itself even more. And the more you zoom in hope to appoint a more kind of separates itself down. But one thing to be aware of with these coordinates, this is u, there, is there a point. So whereas that would be 50, if you go this way, it's minus 50. That would be 50 this way it's minus 50. So if you would join down here that point, that would be minus 50, minus 59 would be 50 by 50. Okay, that makes sense. So this point here would be minus 15, x and y. This point here would be. 15 x and minus 51. So anywhere left or below of the arginine is minus and above and to the right is a positive. So now the most important thing, as we've already discussed is to have fully constrained unlock sketches. So we're going to look at now and we're going to, I'm going to show you what these constraints mean because people get a bit confused with him. And a lot people don't use them because they don't like using them. The thing is fusion will use on whether you want to or not. So you need to understand them. And as I said, your models can just become very, very manageable if you don't use locked sketches. So I'm going to draw a rectangle and this is going to be the basis of our plate. Now, another thing we want to think of in sketching is symmetry and Mrs in fusion as a whole, in modelling everything, you always wanted to be working symmetrically around the origin, if you can, with individual components and parts. So what do I mean by that? Well, if I was to draw and we're going to draw a platelets 250 by 250. So I could go pair and we have all our sketch commands. We have rectangle, central rectangle, line, circle will go for all of these. But for now if I just click on two-point rectangle, is going to ask for bottom corner or one corner umami of a corner, and that's going to be howard. You are. Okay. Now, we said 250 by 250. So let me undo that. I'm going to, and you'll see, when I tried to draw, my cursor will be as a snap-on. So if I go near this origin, it goes boom, it snaps to it. Okay, Now I'm not snap into these individual squares, but we can't do that down here. You have grid and snaps, and you can have some options for your grid. These gray lines of the grid socket, I could turn on Snap to Grid. And now you'll see it kind of snaps onto V's five millimeter squared. And again, the million zoom anymore, you narrow down the squares and loyal snap to them. So it might be something you like to turn on. For me. I usually have it off because you go into a dimension in any way, but you will snap to this origin point. So we've got is two-point rectangle. Now, I'm going to click the first corner and you'll see a asks us now for this got two-dimensions when an x when in y and the one in x down here, I can't point to it because the whole thing moves. If I'll try and move my cursor, but down at the bottom where it says 42.99 to the ISI, it's highlighted in blue. So if I was to type into 50, it will go into that one that's highlighted in blue. And now I've typed, then you'll see it's got a lock symbol. So I can only move in misdirection to swap between the two boxes. We press the Tab key on the keyboard. The two opposing arrows usually on the left-hand side. And now I can type into 50 there. And now it's locked because of timeline. Okay, and I press return. And there we have our square. And thus we spoke about if we want to go misdirection it, when it would be minus 250. Okay. So 250 by 250, and we've got this plate now, I'm not as our sketches simple rectangle. But as I mentioned, we want to draw it symmetrically. Why we can't. It just makes our life easier if you want to mere objects and things. I, it's just good practice. It's one of those things. It's just it's just good practice. So I'm going to undo that. And I'm going to, instead of slip them is two-point rectangle. I'm going to slightly center rectangle. And what this will do, it will ask us for a center points of the rectangle so I can snap onto this origin. And now you'll see it's creating a rectangle that is symmetrical around the origin. So if I type in 250 and went up to 50. Now we have a rectangle with the center point here, which is good practice. And what we want. 13. 13 Sketching 02: So as I said, we've got other sketch tools available to us. We've looked at these two rectangles. We've got a line, which will just draw a line. And if you left-click, left-click in, it will keep drawing a line, okay? And when you get to the end, it will kind of snap to its own point and close itself. We've got a circle, centerpoint circle, which works like a rectangle. There's only one dimension here. If we were to put in 300 with setting the diameter of a circle, okay? And we have a splines. We're going to look at all these different options afterwards. I just want to get this idea of symmetry and things and constraints first. So Let's have a look at this rectangle that is drawn for us because it's, it's added raised four lines, but you would expect in a rectangle. But we've also got some other things that we've got these little symbols on our lines when we've got these dashed lines AS so what do I mean? Well first, the dashed lines. When your modelling, and again, if you come in from other cuts off, you'll know, you'll know about SB. We have things called construction lines. Now, construction lines are lines The aware to help you, but don't necessarily appear as parts of your model. So these lines around the outside versus the outside of our rectangle. But these lines have is just showing from diagonal, diagonal to show us that it is a rectangle. But not going to be part of a geometry. We're not going to be able to do anything with those. It's just there as a guide. And one of the places you might use construction lines for instance. And again, you don't need to follow along here, but if I was to create a line, I can click this. And I can right-click it and you'll see I have normal or construction, so can swap between the two. Now I've made that construction line. I might want to mirror this plate around that line. So I will select the rectangle and the mirror line. I would use a construction line. Okay, now I have two rectangles. This line, I don't want to pair it. I don't want to mobile, I don't want it to appear anywhere. I wanted to use that so I could put a dimension on it and get the accurate place to mirror the line. Okay. So it was used to construct the sketch, if that makes sense, but it's not actual geometry I'm going to use anyway. So that is what construction lines mean mechanically guidelines. You're not going to be able to extrude it or anything. I wouldn't be able to extrude just this triangle because it would only see these as kind of a guideline. Anyway, that's construction lines. So now we've got our rectangle and it's symmetrical around these origin points. So that's good practice. But what we've looked at construction lines, now, what do these symbols mean? Well, these symbols are constraints. And what constraints do they set your, they lock your sketch in place. Okay? So if I was to if I was to look at this rectangle, you can see the lines are in black. I'm in black is what you want. You want your sketch lines to be black. That means it's fully locked, fully constrained. Good job. If I just click on this line here and I just draw a rectangle by I. And I'm not even going to attempt to be accurate here. I'm going to be very, very inaccurate. I'm not as my very best attempt at drawing a rectangle by a new will see that it is blow, whereas this one is black. That's because this is where travel is not constrained to all. We've got one. I'm going to delete that. So this isn't constrained at all. Okay? So I want to plot this. If I tried modelling with this rectangle, it would be an absolute nightmare. Things would move all over the place because you haven't told fusion anything about it. Now here the only thing we told Fusion, you might be thinking is it was 250 by 250, but we actually told it a lot more when we selected the rectangle command. Rectangle by nature tells fusion a few things. It tells us, okay, this line and this line are parallel, and this line and this line are parallel. You see on my very rough attempt, these lines aren't parallel. And if you look here, we have the symbol. And if you notice up there and the constraints, we have the same symbol. And if you hover over it, you'll see it comes up and tells you what it means. It means parallel. So this symbol here, when I highlight it, this parallel symbol, you might notice, if you watch this, when I go over it, this one highlights as well. And that's telling me these lines are set. So this line is set to be parallel with that one. So I'm going to choose with parallel constraint, and I'm going to select both these lines. And you'll see now the change so that the lines are parallel. Okay? And we have parallel on the hair as well. So I'm also going to select, with parallel still selected, I'm going to select these two lines and now they're parallel. Okay? And if I escape out of that, we'll say our line is to align the snowblower far from fully locked yet there's lots of things, lots of different shapes. It could be if I grab this line, we haven't told it the length for anything. So it doesn't really know, whereas here you can move it about because it's fully locked. So we're going to have to give it a length. And we can do that. We can go under Create. If you go down here, you've got dimension, sketch dimension. And you can select the line here. And I could say 250. Okay? Now that line is locked in length. And I can do the same here. 250, okay? But you'll see it's still blue, it's still not constrained. And if I select this corner here, I conjugate about, um, what, what this basically means. Well, what this is called when it can move is VCs degrees of freedom. And we'll, you'll get used to work in with degrees of freedom and find knowing what they mean. But basically it means this object can still be moved, inserts in certain ways because it's still information missing. And that information, we can say up here, if we zoom in, you might not be able to save as a tiny little constraint symbol that, and if we hover over it, we get this. These come up here. And what that means is it's an angle constraint. So whereas here, when we move it, you can see these angles changing. On this one we angles a set, so we can do that. And there's a few ways we can do is we could say coincident, okay? Or we can say that is T-shaped. We can say it's perpendicular. So if we use perpendicular will say that line is perpendicular to that one. Okay? And if I escape that now, you'll see that if I move this corner, it stays baseline, stay at right angles. But this one, it can still move around. So it's still got degrees of freedom. And ANOVA, I don't need to be doing this. Click in and grabbing or no because it's below. So there's another constraint here. And it looks a bit like this, parallel, but it's horizontal. I might give you a clue as to what it means. You'll see a pair you have horizontal and vertical. And horizontal symbol is this one here. So we want to say this line is horizontal. And I'll stay power. Now. We can change the shape of this object anymore. It's locked. It knows this. These two lines are perpendicular, parallel. Sorry, these are parallel. This is a right-angle and Mrs. horizontal. So we've kind of set our orientation and it knows that they are 250 by 250. So we've set the size. The only thing we haven't said is a position. Because we did this from you. We use the origin as its position. This is locked in space, okay? And if we now were to grab this and snap onto the origin, you'll see it turns black. So it's fully lot now, we've told you everything it needs. No. Alternatively, we could have put a dimension from what we could've done it from here. Ok. And you'll see now that would have locked these lines in space. And then we could have put another dimension from here to there. And that would have loved the whole thing. So we've sketches, It's all about locking in place and locking the shape. And the reason it's so important is if you don't have a lock sketch and new change one item, it can, it can just for your model. And again, you might have seen this happen and not knowing what was, what was going on, but that is why it's so important to lock your sketches. So I'm going to delete this and go back to our play here. 14. 14 Sketching 03: Now, I want to look at a sketch which is a bit more complex than that. So let's say we wanted to get, it's gonna be, it's gonna be a, a methyl object of a certain shape. And I'm going to do is completely random shape, okay? And we're going to tidy up with sketches. So I'm going to start, I'm just going to start down here. I know I spoke about being symmetrical around the origin, but not all shapes are symmetrical. This is going to be a random shape. So I'm going to start this one. I'm just going to start down hand space and I'm going to start drawing. Now, fusion will kind of say five. It will snap to a horizontal constraint. It will want these because it's intelligent software. It will try and work out what you're trying to do. We say it tries to snap that to a right-angle. It snaps it to horizontal. So I'm actually going to purposely try not to. And it's an vertical, I'll say, but I'm going to purposely try not to do that just by drawing it very, very badly. These automatic things we're there to help you and they are very helpful. You say, if I wanted to come out with my sketch to that level with corner, it put some with construction line to say snap. In this case because I'm showing you an example, I don't want that, but I'm going to create a very bad attempt sketch, okay? And you'll see when I click on the start point a now shades it blow vats to tell me it's a closed object. This line is closed, is there's no gaps in it. Basically. A very, very bad attempt that joined some thing which I want to be nice and square and baselines to all be right angles and parallel. So where some people go wrong with fusion sketching is very tried to do everything. We have dimensions. And if you were to put on your dimensions, you might say, Okay, well, on the SAT, that angle actually that you'd probably do, you'd say, Okay, I want that angle to be 90. Along that angle to be 90. Okay? And that's how you say it is parallel. And when you might say, I want this angle to be 90 degree a milk around like that. And you'll see people doing sketches like this. And it's not really good practice because its dimensions. And that's why you have constraints. Don't need to be doing this. Sometimes you'll see people sketches and I'll be full of dimensions. And then one thing will change and it will throw everything out. And you've got to hunt round, working out which dimension you need to change. It's just, it's a very good way of working. But the best way to work is to go for your object and use constraints to set it all up and then just put on the dimensions you need. So let's look about now. First, numerator is kind of a baseline, but we can use to constrain things from. So I'm gonna go with this Latin here, and our nervous wants to be vertical. So if I select that horizontal, vertical and click on it, it sets it as a vertical constraint. Now, it's the same button with Iran. What horizontal, vertical fusion basically will take its best guess. So it will know that it will set to horizontal for instance, but when it would set the vertical, okay? So I've selected that one and we've made this line vertical now. And now I could do that. But I did bass or could, I could slip out horizontal with constraints is usually more than one way of achieving the result is not a big deal. Which one you use in general, in 3D modelling, you trying to do things with the least amount of commands as possible. So sometimes you might go one way or the other, but as long as it's constrained, how you do these various ways doesn't really matter. I'm what are its setup one baseline like this, and then work around me. So I'm going to use actually perpendicular. So perpendicular basically means triangle and I'm going to change out the perpendicular. Okay? Now I'm going to choose parallel. So I'm going to select this line and select that one. Okay? So these two lines are parallel. Now, again, I could have done, I could have made these two perpendicular. And it would have achieved exactly the same thing. I'm also going to set this line now as let's do, I'm going to go parallel. I'm going to make that one parallel. And this line, I want it to be horizontal, but I want it to be in line with. I won't miss edge to be the same. So what I can do here is I can select co-linear. Now what colinear means, and if you want to know any of these main just highlight over and you'll get a description constraints, two or more objects of a share a common line. So that's what we want. So I can select that line, that line, and you'll say it brings it in line. So these are now co-linear. I'm going to go parallel this one. We've got one. And I'm going to make these co-linear and parallel with R1. Now, you'll see what's happened when I've tried to do that. It saved, I get this error message. Sketch geometry is over-constrained. Now infusion mixed messages about things being over-constrained, you're going to get that a lot. And it basically means you've given me too much information. It's futures way of saying you've already told me about. You don't need to tell me again, fusion doesn't like being told the same thing. Model models. So we've got a constraint that came in automatically. This was done when I sketched out in my life. It took a guess at this and it got it right. It was saying, Okay, well, I think these lines are going to be a perpendicular to each other. Perpendicular constraint on. So then when I set this is parallel and this is in line with that line which is perpendicular to this one. I already knew this information. We knew that these lines are parallel because of the way then other constraints don't. So we can leave that non-issue. This is a constraint. How again, how you do up as no right or wrong way rarely about how you tell it as long as you tell it. So let's now make these line. You'll see this is baseline here. They already had parallel constraint on it. So again, if you're not sure which lines it's set to, you can see by hovering over it. So we've just added with parallel constraint to make this line parallel with this one. But it's already got another constraint on which is the SAT. This line is parallel to that one. Well, I don't actually want my, I'm going to delete that. The other parallel constraint is AES, which is correct. So I'm going to leave on, I'm going to make this perpendicular. So now we're salaries right angles by using perpendiculars and parallels. I'm going to make this line a misalign, co-linear. So very in line. I want a perpendicular constraint here. I want a parallel constraint here. And I want, we could even do parallel with that line or perpendicular hand. It's gonna go perpendicular. Okay? So now let's get our object in terms of rights, angles and lines is set. If I try and move up, we've got this co-linear, so both these lines are going to move. We've got our right-angle setter and it's constrained nicely. It still blow and it can still be moved about. But in terms of the object, basic shape, parallel lines, et cetera. That is constraint. I'm just gonna put an, a co-linear here. We want these lines in line, okay? So now when I move them, they both move same here. So what we need to do now, we need to think all it knows the basic shape, but it needs to know the size and that's why the lines are still glow. That's why it's not locked you up. So now we need to look at dimensioning. And again, go round them fully constrain it before you do your dimensions, we've saved so many dimensions in terms of all the different rectangles and things. By setting these constraints, we just need to sell a few overall size is now. So I'm gonna go to create dimension, and I'm going to give it an overall size here, let's say 750. And then here It's going to be 750. Okay? And now we will need to say, okay, we can even say when you're dimensioning, you could, you could say, well, the dimension from there to there, 3200. Or instead of saying from that value, you can just say select that line and we'll make up for 50. Okay? Now, we've told it this overall length is 750. We've told it this shape, this line here is 200, the sign here is 450. So if I now try and dimension this gap, you'll say, you'll say it comes up with this message again. We'll over-constrained the sketch, the same phrase over constraint. Basically it doesn't need to know this. I've already told it because it knows that this dimension here is 750 minus 450 minus 200. It knows that already because I've told it. So this is what we've overconstrained means. I do still need to give it some size is 0. It needs to know this line is 1 as 250. And this line, Let's make it free 50. Okay? Again, I don't need to give it this gap because it knows it doesn't know this dimension. So that'll be 200. It doesn't know that dimension, which again will be 200. And now it needs to know this shape here. So again, we're going to clip this line. Let's map out 350 and this line. Okay, again, it's going to over-constrained the sketch. So looking at this, you might wonder why, because we haven't given it this dimension of this dimension. So why will that over-constrained the sketch where you might have guessed this is because we have this co-linear. Here is collinear constraint. We've told it this line is in line with that line. And so really we have given this dimension to a 100 because these two lines are in line. So we don't need to give it anymore in this, this distance here, it knows it's 750 minus 350 minus 200 will give us this. Okay? And if heavier, so now it's still blow is still not lot. If ever you're unsure, you can, you can click things and see what will move, okay, so you know that this line is going to move. This line here is the one we still need to set. So I'm going to sketch dimension in. Again, you can either click on that line or click on those two. And I'm gonna say 200. There we go. And this shape now, it's pretty much locked with the constraints and the dimensions. It knows. We're in a survey. The only thing it doesn't know is where it is in space because we just created this shape randomly, not from an origin point. So we could put dimension from an origin if we want, because it's not symmetrical. I'm just going to type a bottom left corner and I'm going to pull out onto the origin. And now it's gone, block that shape. Now it's fully constrained. So that will be considered a good sketch. And that will, in terms of work in practice, this is what you want to say. You want these lines to go black and you want it to be light blue shade to show it's closed. And again, as a good sketch. 15. 15 Sketching 04: But we've only used a few constraints here. We've got all these constraints available to us. So let's look at some of those that we could have used. Okay, so coincident. If I I might draw another line here. And I'll put it on. I'm going to, I'm going to let it do some automatic constraints for surveys right angles, because we've been through them. I'm going to right-click and select. Okay, so I've drawn this shape. I want this to be a cutout like this one to be cut-out here. These lines, the reason it hasn't really seen is because these lines don't extend. Now, we could use with our sketch tools under here, under Modify, we have extend. So how extend works? We're just, if you hover over line, it will guess where you want to extend it. You say at this point in red, that's kind of a preview of where it will extend it. Okay? And is in terms of constraints, this coincident. And again, if you hover over it, it will tell you what it means. It constraints the position of two points are points on a line or curve together. So if I was to select that now, and I was to click this point, I could say I want that point to touch on line and you see it's actually moved, It's not extend, it is moved it. And I might now say, use the same again and say I want this point to touch this line and its extended it. So, so now if I touch, I could just use this trim command and Vo Trend works. It's like extend. If I hover over the line on to trim out, you say highlights in red, and it will trim out. And I get told some constraints were removed because I've edited to the model, some constraints were no longer relevant. And you'll see we have this blue object here which isn't locked, whereas rest is in black, is because it needs a dimension, so 250. And again, it only knows this hole is 450, so it needs it needs something else. Will need to be 100. I'm not to be 250. Now is locked again. So this coincident constraint, it basically means a line is touching. Now, I want to show you again because if I, if I just draw this line here, if I was to go coincident and unselect the line, this is where a lot of people do have a say my coincident constraint isn't working. I've told it I won't buy line. To touch that line is not working. You need to tell it. You want the point to suture line, okay? So it works on a point. So the end point of a line touches outline. I'm not say coincident constraint limits to it. So we've looked at horizontal and vertical, we've looked at coincident. Now we're going to look at tangent constraint, and this is a very important constraint whenever you are using curves. So how do we draw a curve? This line command which we've already looked at, and we can go around, we can create lines. If you want a curve, what you do, you go about to your initial point. So this is where we've got. We now want to create a curve around here k. So you go back to the point you would just Don't. You, and you press left for you, but you hold it down, you don't, it's not a click. You just hold down my left button and menu drag and you'll see, you get to draw a curve, okay? And, um, and you'll see EEG do get these construction lines where it's guessing as usual, I'm just going to put it there. And if you let go and you carry on, it goes back to the align command, horizontal line, okay? And then right-click okay to stop. So I've got this curve and you'll see it's already put this on. So it's guests that we need a tangential constraint. I'm just going to leave that for now so I can show you how it works. And you might have already guessed, but basically you see this curve is coming off this line and it's at an angle, it's a sharp angle that has a sharp corner. We want this line to smoothly transition into a curve, which would mean it was tangential. So we can say, okay, I want this curve to be tangent constraint with outline. And now it will create this nice smooth curve here. I'm again, we can do the same here. And we get this nice smooth curve. And we can do this with multiple curves. So if I click Align, I'm going to go hold down the left button. Curve, hold down, left button. Curve, hold down the left button. Curtain over curve. And I'm going to do a few curves. All right, yes. Okay. And you'll see it automatically put A's tangential constraints on. So when I try and edit base, it will always keep the lines that are tangent to each other. If I was to delete that one. Now, we'll give you a shot. Strange corners and I do Looks change. Usually you wouldn't want not with curves. So you can fix that by putting this tangent constraint on. Okay? And you'll see it works some kind of an inside tangent as well. So the way to avoid that is by putting these tangent constraints on in the first place. And then we go, so you've got this nice progressive curves. So anytime you using curves, you should really use, I would say 99 percent you oppose tangent constraint equal. So constrained similar objects of sizes are identical. Again, with this one, we could have used the equal if we two dimension off. So we could say, I want these lines to be in line like we've done before with his colinear constraint. But we could have also said I want these two lines to be equal. Okay? So now they're going to be equal length this when he said 250. So that is going to be equal length. And that one can come in handy when you've got multiple. So you might have all these different lines here. And we're all set vertical. But you can now say, okay, on equal constraints among all uneven over not in line. And they're not lined up, make sure that they are of equal length. So if you want multiple items to be collected fast way you can do it. So we've looked at parallel, we've looked at perpendicular, we've looked at fixed unfixed. So when we move this object and we did that by in order to set the in space. We moved it onto the origin. Let me just, I'm just going to put any dimension on, just want it to be locked in terms of size. So, so when we move on to the origin, what we could've done, we could have just clicked that point and fixed it. And you see it turns black because we've fixed that point in space. We haven't dimensional it from anything from me. We've just said that point belongs here and that was enough to lock that object. Okay. I'm going to draw a line. I'm just going to again purposely joy. So if we were to just say these two are perpendicular, that would set them at right angles. Okay? If we were to say these two, this point is coincident with this line that would pull up point on the line. The midpoint will pull up point on the middle of our line. Okay? So again, you'll see, whereas coincident will just touch it, it will move on to align in the same position. Mid point will always put it on the midpoint of a line and I can come in handy when you want something to be halved. Okay. It's still need to tell it that it's you still need to tell it that it's perpendicular. Right angle, but it's on the midpoint where concentric, concentric is when you draw in circles. So some may say I've a circle, maybe you want to hole in the middle here and you can easily do that when you draw the circle by snapping onto the center. But you'll see it puts this same concentric constraint. So every time you snap, what snaps doing is basically automatically using these constraints. Now if you already had your hole there and you said actually I want that to be in the middle. Instead of dragging it, you can just tell it to constrain this circle with this one guy and you see you get exactly the same thing. It's just is. Whereas this would automatically drop your constraint in. If you do it this way. About a fleece is exactly the same thing, but you're doing it manually if you like. Now the thing is, you might have noticed when I did it this way by saying that's concentric, the large circle moved onto the small amassed done, it depends which one you select first if I select a large one, and then this one, the small one mode. So whichever one you slept first is woman stays in position. But that's concentric constraint. Colinear, we've looked at that's put in lines, inline symmetry. Let's say we've got, we'll call this kind of shape here. And this might be where you use a construction line. So I'm going to right-click, I'm going to go construction line. So you might now say, okay, I want symmetry. I want these two lines to be symmetrical. So you could select those two. And then slightly center line. And you'll see now you've got symmetry. And if I was to move up, the moveon changes. But notice this isn't length versus only angle, okay? So the angles are symmetrical. Blanks are not. And you might decide to say, okay, well these are co-linear. They are not the angles that symmetrical around that line. And that is another way you would use construction lines. You don't want this to actually be geometry, but you want to use it for asymmetry constraint. 16. 16 Sketching 05: So as constraints, and you can see there's lots of different ways of achieving the same result with constraints is purely down to personal preference. Lot's of a time. The main thing is use them. So create your shape, constrain it together, and then dimensioning. And when you've got your lines are black. When you've got a fully locked, fully constrained sketch, you can then go to Finish Sketch. And you can use that then as an extrusion so you can click on Extrude and create your solid object. Okay? And you know that this is not going to be moved about or mess about with because it was done on a fully lock sketch. And you can go back now and you can right-click Edit Sketch and you can change any of these. And it will change in the right way. If this wasn't constrained that I edited. And dimension it might have been actually put his line appears somewhere because this wasn't I didn't know this was a right angle. It wasn't locked as parallel to this line, so it would have kind of worked out. Well, he wants me to make this line longer. I'll do it in 45 degrees or something like that. But because it's locked, it knew exactly where it needed to change. And if I go Finish Sketch, you'll see the object updates, the extrusion of dates. And anytime I want I can go back in this model, right-click, Edit, Sketch and change it, knowing it's not going to mess up these right angles and parallel lines and things like that. Okay? So that is the main thing with sketching constraints and getting it a lot. But let's go back now and let's look at some more of these commands that we're going to use. We've looked the rectangle, we've looked at lines and arcs, we've looked at circle, just give it one dimension, a spline. So if you wanted a curved line, what a spline will do, it will allow you to keep clicking until you right-click okay, and create these curves lines and you'll see when you click okay, you get ease green editing, editing points on every point you clicked on, you'll get these and you'll see this one either side. And what this allows you to, allows you to quickly change the shape, the shape of this curve here. Oops. So if I was to click on this point, for instance, I can rotate this to show what angle the line comes off of that point. And that will affect the shape of my my kind of arc. And I can pull it out for a more blunt one or pull it right in. If I wanted to sharpen up a compiler in and want it back out again and then change the angle of it. And of course with a spline is when objects, so as I move this, you'll see the other lines or move into key pair is a nice smooth curve. You can kind of get into trouble a bit with this until you get your head anymore. What's actually changing is one of those things as you use it, you get used to using these control points. But yeah, with a spline does allow you to create accurate, curved lines. Okay. So that's a spline mirror. Just allows you to mirror. So this before we did the mirror symmetry constraint that you can use merit to mirror sketch objects. And our mirror line will be, okay. And it might be we just agree with sketching this rectangle. We just decided to marry this line. These lines. And user side is a mirror line. Okay? And that's give us this. And again, he always done is put these symmetrical constraints on. So it's doing the same thing. These kind of quick tools are just a quick way of doing what you can do by hand using, using constraints. So it's perfectly symmetrical constraints on forests, and it's done automatically. So the sketch tools are using constraints automatically. So I had to think about it and view it was a fairly self-explanatory. You've got polygons, so hexagons, things like that. And it will ask you how many sides you want and the diameter shaped. The best way to, to get used to using these sketch things. I don't really need to go through every one and show you what it is, you know what a circle and click on them and see what it does. Like an ellipse, it will be kind of an oval, so give it a length. And you'll say. What dimension is asking for? And it'll create this elliptical shape. Slot, slots coming and the slots you'll use. But it is often in infusion. So you'd, you'd draw kind of a show you one. We'll give it a length. Let's just say I'm going to type in to me 200, actually two meters. Okay? And now it will ask me the width. So let's say for 800. And it gives you this kind of slot with rounded ends we use to Java is by hands, you draw a circle and a circle with a dimension between the center and then just jumble of lines and trim them out, that kind of thing. And you'll see again, all it's doing it correctly. Circles with a tangential constraint. Horizontal line, these lines parallel. So it is just an automatic way of gray in these different geometry constraints. And all you need to do is you have the ability to just change the different dimensions. Okay? So as a slot does come in handy, if you need that kind of shaped, like it says, it's used for curtains, slots in things. So you could put that on the side of an object and then extrude into slot splines. We've worked that. And again, we've splines, you get the option. This one, a pair was what's called a fit control spline. So the spline, the curves will be on the points I click. Whereas the other type of spline is kind of a best fit. So you'll see it bounces between the points is best candidate creates a smooth curve between them. Best-fit kind of thing. Collect curve, okay, AS account basically. So you've got this control point, is endpoint. Endpoint a man, how far are you wanted to go? And then you can just do not symphony use that much. But it's there if you need it. And points, points are just single points. So I can click, maybe I wanted a point there. And in future this was going to be, it's going to be a whole. Okay, we're going to create a whole EMOC point. We wanted to mark a point. Think of this like getting you center punch and hitting it to create a point on an object where later on you might want to drill a hole or something. But what this will allow you to do is it will allow you to dimension to that point. So our point is going to be a 100. Now that point isn't going to come out on when you extrude it or anything, but it will be very miscarriage. So later on you could reference that point to put holder. So points, tax, tax is self-explanatory. I want to put some texts on here. You're in the sketch, so the text isn't going to be something that is part of your object of a you can extrude sketch text. If I type in hand. And reform Friday. Okay. You'll see we get a normal text options which are probably familiar to you. So I'm going to say it's a 100. You can have alignment middle, right? So that's how it's aligned in your box. Again, I don't want I don't most of you will know exactly what we say is because it's just text editing, old Italian kind of thing. Spacing. Okay? And you have now if I finished sketch, okay, if I go to Extrude, will say you can actually extrude that TTX. You could 3D print out whatever. So you might be that you were to put file, let me go back. What I could do is I could do a new sketch, so you can say Create Sketch. And I could do it on this front face here. And I will say create text. Put in the company name. Make, say 40. Okay, bold. Now if I finished sketch, we've got our texts sketched on the front here. If I go to Extrude and select Text, select this face or D face. We've only got one selected, which is this text. I mean, I could bring in maybe, let's just say ten. It will be minus 10 because I'm going inwards, which we'll click. Okay. And you'll see a text in the text into the audit. So that's good. If you want to do your logo on something. It all depends how goods, if your 3D printing, since a van, It depends on what your machine is to resize the text and things aren't well, that's pretty self-explanatory. So that's text. 17. 17 Sketching 06: Let's go back to sketching. I'll go back here and edit, sketch. And customer surveys among you won't really is mirror. We've looked at a pair. And the other thing to look at now is Patton's. Okay, so let me finish this. And I want I'm going to create a pattern and I'm going to go create sketch. And I'm going to sketch on this face here. And you say ultimately it goes to it. And then I'm going to put a, now if I hover over this line here, you'll see it gives me it snaps to a midpoint so I can bring it down. And you might see we get this blue dashed line. So if I now draw a circle and I'm going to make this diameter, I know that that is in line with the center point where, okay. But what I'm gonna do is I'm going to put a lot constraint just on the center point. So that's locked days gone, black is locked in place. And now I'm going to put a point in the same sketch in line with that fat on it, almost midpoint here. So you can just snap select midpoint and you got to make sure of is blue line continues, okay? And at some point you'll get a blue line that you see I've got this midpoint here and I've got a blue line, but I'm also gonna get a blue line from a circle so I know I'm in line. So if I put my point that I know is point is in the middle here and it's in line with that circle. Okay, so now I'm gonna go to circular pattern. And what I want to do it same when you get your dialog boxes here, when you slept, one of these commands, the one in blue, if you ever wanted to know what it is asking you for, just look at which box is in blue, you'll see objects is highlighted. So it's asking us which objects you want to create a pattern of. I want to do it with object, okay? And you can select multiple, and I've already selected it. Now, I will send this point, so I'm gonna go to Select, and that is my center point. And you'll see it puts these three circles. What it's doing is it's doing a circular pattern around the center point. And we've only got three of them. Well, I wanted Turnitin and now it's equally spacing them around 360 degrees. Okay? And if I, okay, I get the circles equally spaced. And if you want to edit it, you just find a circular pattern and double-click it and you can edit the details. So I didn't want them full 360. I want today rounded angle of weight. Okay, so now it's just don't turn around. So this circular pattern is great for anything that is, I'm going to undo that. But if I wanted to finish our sketch and I want to vase to be holes, I can now select those on the sketch. Now you might do this a different way when it comes to modeling it rather than doing the sketch, but it shows you what you would do with circular pattern. Okay, because now anytime you want you can go back, edit the sketch at it, the circular pattern. Maybe you want 20. Okay. Finish Sketch and you'll see now it's only I would need to slightly over objects in the sketch that you can see how it works. So what I've done is I've right-clicked Edit Feature and it's allowed us to edit this extrusion at it. Okay. But that circular pattern That's wanted to show you. And if I do another sketch, let's just say on this end here. And I'm going to create the other party is a rectangular bottom, which works the same way. But rather than being an angle around the circle, is 50 by 50 foot. Let's move circular again just as you, in fact, let's make it a circle again. Circle. And I'm going to lock up point. So now a rectangular pattern, slightly objects. Okay? And now it's going to ask for the direction. So this is kind of rows and columns we're looking at now. So you can say you want to in that direction and that direction. And again, I want to over 500. Okay. And you'll see we have this symbol here if you want to editor. And what is done is using bows. And what is done using these parameters here. So quantitative Frey, in my direction, Let's change up to 63665. Okay. Again, double-click and in this direction I wanted ten. Okay, now allows you to easily lay things out and misses some fun. You'll use a lot. If you're doing a lot of, if you were to do hold on a peg board or some Finland, you could use this a lot. And if you imagine drawing all these circles individually in putting dimensions onto space amout, it would take forever and it would just be a lot of information with the given fusion that you don't need to do it that way. Okay? And you have other options. Maybe this was symmetrical, so rather than just in one direction from the base point you want IV aside, you can change it to symmetrical. Same with this one here. So it's symmetrical around that and the distance type. So it might be you didn't know the overall distance. You just knew you wanted these holes to be a certain distance apart. You can do it that way by choosing spacing instead of stops you having to do any kind of arithmetic, trying to divide it and work kind of thing. But that's your pattern. So in this sketch, you create a circular pattern for objects around an, an angle and a rectangular will give you rows and columns. Okay? Now we only other thing I want to show which you will use a lot, which I mentioned is this project and include. But we're going to be doing some examples and it's easier for me to show you that how that works when we create an, a proper example because it will just make so much sense. But basically for now, the aim of these chapters, and I know it's been a bit long-winded talking about sketches, but is such an important thing to grasp is having maize fully constrained, fully dimension lot sketches. And if you remember, constrained first, and then just add them, synthesize, make sure all your sketches are black and fully locked and locked in space. Then you won't go far wrong. If you try and take shortcuts and not fully constraining sketches, that kind of thing, you will run into errors, believe ME, and those areas are going to take up time, transport them, right? As your models, which may have a habit of doing become more complex, you're going to wish you'd done it correctly from the stack because it's going to machines going to crash, It's going to slow it down. When fusion doesn't know how things are said, it uses so much computing power, trying to work out and what's changed. And a lot of people complain that fusion is always crushing those people. A lot of the time I use these sketches aren't constrained. So when they say to fusion, this line here, I want it to be a 100 millimeters instead of 200. Fusion has all these different angles it needs to work out. It doesn't know how it wants your shaped change because you haven't constrained a locked anything. But dimension could change in a 100 different ways with different angles and things. And fusion's going through and you compute this journey and it's Jin's work or out and people are complaining, fusion keeps crashing. Well, it's crashing for a reason. You've given all this information, all these options, it doesn't know what to work with if it's fully constrained and Logic will do ASR and it runs very well. So, yeah, that's the main thing I wanted to take away. We've looked at sketching and sketching commands. Don't worry if you don't really grasp what all these different sketching commands are, patterns and the things I do because you'll, you'll use them in the examples and it will become second nature. Again, the object of these chapters was just to reinforce that point. Get your sketches fully constrained, fully dimension, and fully locked. So that sketching done. For now, we're going to be sketching over and over again as we do examples, but a theoretical part of it. That's, that's enough for now. Okay, so what we're gonna do next, we're gonna, now if COVID sketch, we're going to look at some modelling commands in the next chapters and just go through a few is basic commands. And then we'll get on to doing some examples and we'll put it all into place. So as I say for as an all completely some Kenya and things are vague and you don't quite get it, Just don't worry. Just follow along with our examples as we put these into practice, it's going to make so much sense. Okay, so bear with us, and in the next chapter we'll start looking at some modelling techniques. 18. 18 Fillets Chamfers 01: Okay, so we've looked at basic modelling is an extrude and shapes. And we've looked at sketch in so we know how to create a good solid sketch and how to extrude that to make our basic shape. Now I want to show you some of the shape editing techniques that you can use once you've made that basic shape. Okay? So to do that, I'm going to create just a random part. I'll think of this as kind of a part you might have on the side of a machine or some Finland is a bit random, but it will show you the techniques that you need to know. So I'm going to create a new sketch, and I'm going to use this x, y plane here. I'm gonna do a center rectangle from the origin. And I'm gonna make this, let's make it 100 in that direction by 50 in that direction. And I'm going to select, Okay, and you'll see it's fully constrained because we've done it. We've set the image space by the center point. It's a rectangle, so it's done all the constraints itself and we'll give it our two dimensions. So a finished. And now I'm going to go to extrude, and I'm going to extrude a make this 50 millimeters. Okay. So it's a box, if you like. And now I'm going to do another sketch, and this sketch I'm going to do on the top. So I'm going to make sure so x and y. So I'm gonna do a miss face, which will be the top. Okay, I'm gonna do another center rectangle, again using this base point here. And this time I'm going to make it, Let's go with 75 and misdirection by l is go 13 month direction. Okay. I'm going to finish that sketch and I'm going to extrude this shape upwards. I'm going to go with farts. And this process of putting the sketch onto a shape extrude in doing it again, extrude, and that's how you build up these kinds of levels of different, different objects. Okay, and now I'm going to do a sketch on this face. And I'm going to select a circle this time. Now I'm gonna, I'm gonna move my mouse without clicking saga is center point, and then I'm going to drag it along, make sure I get a blue dashed line, okay? And what you can do, given both, you'll see we've got two blue dashed lines, which means we're right in the middle. Can take a bit of practice doing that. You need to find out midpoint, go along, find that midpoint go up, and you'll see eventually you get the two blue lines and might well say, say you're in the center, okay? And I'm gonna make this. Let's go with 20 diameter. And Okay, now it's not in black because it's an, even though we use that to set to our hasn't actually constrained it automatically like that. So I'm gonna, I'm just gonna put some dimensions on just to set it in the middle. And you'll see it's black now, so it's fully constrained. Finish that sketch and I'm going to extrude that out by 30. Okay? And then I'm gonna do a sketch on this side. Similar thing. Let's go from midpoint and this will be 30. Then we do need to add four dimensions. Because we drew it right place. We can just press Enter news values that will come up. Finish that, a miss one. I'm going to extrude. I'm going to say I want to extrude to object. And the opposite phase here. Okay? So it looks a bit like a very basic tank or something, but apart from a kind of machine, doesn't lot, much of a moment, but this is our basic model, modal shapes. So we've used these all reviews is sketch and extrude and we've come up with S. Okay? So now we're going to use some of the Modify options to make it look a bit better. And the first one I want to show you is fill it. Fill it will do it will make a kind of a rounded edge. So rather than a sharp right angled edges, make it look like it's high, it will create a nice kind of rounded edge. So if you select an edge where I'll show you how it works, it will want a radius of age. So if I go to 10, let's go with 3.5. Okay? And if i okay, that you'll see now we've got a nice Curved like machine corner amount, which is lot more, a lot nicer, looks a lot nicer and a lot a lot better. Okay. But we don't just need to do one at a time. We can do multiple. So if I click that line, but I'm going to click all of these lines. I'm going to go with 3.5. And if I occur, you'll say it's done. And fathers don't want it. So I'm going to do it. So this time I'm going to click this line, all four of these lines here. So a 3.5 and you'll say it's going to round them all off. So it makes up tablet button. Now you can do inside fluids as well. So you can use these lines here. And using the same radius, it will automatically know that it's an inside. Fill it. So it makes up a detail there. And it will put those fillets on. Okay, now, as we are everything you can go to your fill it in your design history. And you can say if we go to this one, you can right-click Edit Feature. Some, some, maybe you wanted to change this radius. You can change up to five groups, five and everything that it's a board member. So you can change that. Let's again, you can also use this arrow to set the radius. Usually you would want an exact figure on here. But you can see you can go from everything from 0, which is a sharp corner, right down to 15. So you can use fill is to create around the top because this is width was 36 views of 15 radius. It will create a curves up is a bit of a funny way of doing it. There's better ways of achieving that result, but it is possible to use it. But why most of the time, what you would do B, type it in, you know, the radius and you would type in. So let's go about with free 0.5. Now, very similar options there. You can have the chord length radius, which is a bit complex. This rarely these are visited future these cables, some engineer, quite complicated engineering things. I don't want to confuse you too much. Mostly what you will do 99 percent of the time we fill it in. And chamfers is just use it in this way. Okay, So I'm going to stick with a constant. And I'm not going to mess about these waves and things like that. M is cost. Various different types on the corners. You can have the corner's work in a different way. If you wanted something, feel free to click on experiment with, again with these beginnings causes. Instead of telling you every command, I just The aim for maize to get a confident enough to show you what the basic commands do when you go and you can click Amazing, work out and see what the dough. But generally for this Fill it command, most of the time this is what you'll be doing, either kind of outside Philips like that are inside one's eyes. Okay. 19. 19 Fillets Chamfers 02: Now we also are chamfer. Chamfer is similar to fill it, but it's it's kinda whereas this is curved, curved, conical post straight corner on K. So if you click on chamfer, maybe on here, on this one. We want if we use 3.5 again and Okay, we want to sum Finland up, okay, So it was a 45-degree edge on the, um, what you can also do with chamfer? Maybe just on this one. We don't need to go all around. We could just do one edge. You see this is the type of a chamfer is equal distance. So we've done 45 degrees, but maybe you want to two different distances. And so you wanted five in one direction. And telling me? Uh-huh. Okay. Okay. So what this has done is it's not set it back an equal setting about five millimeters that way and turn that way. And again, this part would be designed probably with a sketch or something like that on pen and paper. And you, and you'd be working this out as you go and these kind of columnar chamfers to fit somewhere else. It might be that on the machine where this was going though as a bolt, Hey, awesome things sticking out. So this Chamfer Edge was enough to clear that. And this is where the design process comes in. And then maybe, let's go with these over fray. We'll be equal distance of time, okay? So these are equal, that's 45 degrees and then this one is different. So for whatever reason you needed to do that and what you can do, you can use them together. So now we've created this chamfer here. We've still got kind of sharp edges to create our chamfer. So you can go back, can you can you can fill it these maybe we put a small film imagist of one millimeter or two millimeters. So now we've got fillets on chamfers just to smooth out these edges. And again, I'll do that here. And you'll see this circle is touch the edge, so it's separate into two. And you'll see this is actually complicated things here with this circle. So what I'm gonna do just to make our life easier, there isn't going to edit that sketch. And I'm going to change the diameter at 25. So we get this nice kind of Chamfer Edge and filleted edge. And already that pi is looking much more machine than realistic. And we might do the same on these here. And you'll see it's selected That was one edge. Even though it goes over these chamfers, you can still chamfer on top of chamfers and we'll generally work out one thing. There's a lot of computational power going on and you compute it to create these chamfers on chamfers. So sometimes you might ask too much of fusion. Well, it might not like it, but generally, It's fairly good. So already this part's looking much better. Um, we might have this hole here, for instance, a lot of the time you would see a chamfer there just to help guide if there's a pin going through that just to help guide up on the edge. So it'll be recessed light that maybe on the other side too. And here I'm going to put a fill it on this one. So open inside fill it, there are two firms just told you about data. Let's make it 1.5. And then on the top, we're going to have 0.52.5. Nice round regiments off. So that's chamfers. I'm fillets and it's one of those things, again, just mess about with them. Use them. It's fairly self-explanatory what to do, but that really do make it easy to create these kind of machine. That is, now one thing I will say about fillets and chamfers. You can, if we go right back to the start. So our initial sketch, you will notice your fillets and chamfers in your sketch. So it would have been possible for us to put a fill it on this corner of 3.5. Okay. We could have fill it our sketch. Now it's not going to like it because we've already added features since. So that's how we get me as I was, but you could have done it that way and extruded your cube with these fillets already implies my preference. And I think most people's preference is to add the fillets and chamfers, as we did previously. This way. So you would extrude a basic square, basic rectangle, and amphiphilic sunlight's because it makes it so easier to go back in your drawer in your model and just right-click Edit Feature and change these. And the radius is like without it affecting other things. If you've done it in your sketch again, extrude, it can have knock-on effects with other items. So really, a lot of time fusion is about thinking, well, what, what might I want to change in the future if I want to change the item that's at this one under separate items, I can go back to and change. And again, when you're thinking about, okay, I could have slept did every single line around this rectangle and give them all a radius. But in the future you might want to change this radius and not that one. So again, if inking separate these into different edges, so this face here, you probably won't want to change this radius without change at all four of them. So I did those together. But you might want to change this one and not change that. So I didn't do them all together if that makes sense. So you're constantly thinking, what might've changed them. A future in which objects are getting always be tied together in the same mass as part of the skill of future. It's something that will come with time as you do designs. It will, it will, you'll get there. But this is general overview, overview of how to use fillets and chamfers. And hopefully that makes sense. So in the next chapter we're going to look at creating holes in objects. 20. 20 Holes: Okay, so we've created this pops here and this bit down the middle to me is probably gonna have some kind of penance that goes further, fixes this to a machine, maybe a bolt or something. I want to have a hole here with a fragile, it's going to have a bolt into it as well. Now creative miss the way we did we put sketch on and we extruded it. And that's okay. You would do that for some fun like a void like this. But this whole we're going to have in the end is a whole, it's a whole is going to be threaded. It's going to have all sorts of options. So when you do a map, the preference is not to do a circle and extrude its fusion actually as a command to create holes Here, Okay? And you'll see the difference in doing it this way. It just gives you a lot more kind of intelligence behind the command. So the first thing fusion's going to need to know, it's going to need to know where you want this hole. So what we'll do, we'll do a sketch on here. And I'm gonna do a point. And you'll see it snaps to the center. Okay, so I'm gonna finish that. So we've got all of my sketches is a point in the center of that circle. But now when I select hole, you will say I got the dialog box comes up and it's asking me the first option is placement and face and sketch points. Okay, now, with this selected, it's going to ultimately look for sketches and points. And we've just created one so we can go over it. It'll highlight the sketch. If we go over part itself is going to select a point in my sketch. And then that will set the position of our whole. Now what he's doing now is basically the whole is bigger than my object is inside. We need to make some changes. So the first thing is down here, it gives you a clue of what it needs is we're gonna say diameter. So I want this hole to be 10 millimeters diameter. So now it's looking bad as that. Now the hole is a is 10 millimeters InnoCentive is round of algebra. And you can see in red how deep it's going and the depth is set here. You could also use this slider. But we're going to type in, we will not hold to be 20. Okay? And then down here, you can see it's asking for an angle of this this point. So if this was drilled out, it would be drilled out with a point on the end, but you can change out. We have options here, so drill point, we could have a flat bottom hole or an angled Hall. We have whole type, so a simple hole, accountable whole. Our counter sink hole. This is comes in now it's where I said we've got intelligence behind this command rather than just extrude in a circle. Well, what if we wanted accountable hole? Now you'll say when we change the countable, we get more options here. We can set the counter bar. So we've got 10 millimeter diameter hole will maybe it's a 14 diameter countable, which is five mil date. Okay. And if i okay. That just to let you see it, you'll see is putting our whole the angle of the bottom, which can just say when it is countable here. I'm going to click that right-click Edit Feature. We're going to look at some other options. So instead of countable, we've got a counter sink. And again, we'll get some options here for our counter sink. So if you want to screw to guard hair that would sit flush the new office counter, sink him home. Okay. I'm just gonna create a simple hole for this one. The next option is hold tap type, simple clarence tamped, tape it up. So if you wanted it threaded, for instance, now you can look at the infrared zone and you'll see we get a whole load of options. Now, we can use metric profiles. So you could say, okay, say 12 whole, which would be like an M2. M2 by as you kind of pitch. So an empty bowl. You can have a direction of a Fred right hand, Fred left on Fred for class. Again, this goes into pick pictures of friends and fix that you even know about or you don't depending on your engineering background. It's something where as an option in future if you want to use it most of the time it just be a normal right-handed thread of an M2 kinda thing. But you can get a threaded hole in there. Okay, objects. It's good for your body. And you can say how, how deep your results. So this is distance. You could have added two objects so you want to avoid down to there. Generally we're gonna go with distance. So this one will go with a simple tapped hole with a full Fred flat bottom and it's empty. I'm going to select, Okay. I'm fusion now has modeled that hole with a fret. So some about something would scream at ball or a rod or something would scurry mass and mass. Creative a whole for, is the difference between a hole and just doing this circle. And extraordinary, you get all this information. Anytime you can go back and you can edit, you can change it if it's left on Fred with type, all that kinda stuff. So that's why holes are used. Kind of preference suggest doing it this way. Now if you have that at this, when you wanted to freedom now you could add a thread, so you could just say Create Fred. And then lastly, we'll be looking for a cylindrical object. So you can just click and it will, it will guess it basically, it's, it knows this is at a 25 damage a whole. So it's saying, okay, I think gets at M 25 fret. So you can fit a whole. You can fit a whole that way. It looks not technically a whole infusion, it's just a void. But holes. The best way of doing it if it is this kind of thing. And also what we can do. We can go for a sketch on here. So what I'm gonna do, I'm gonna create a point. I'm just gonna put it here. And then I'm going to dimension that point from the middle. Say 48. Okay? I'm going, I'm going to mirror this point. And then I'm going to do a rectangular pattern of this point. And I'm going to say, so it's 30. So we want that extent to be 60 in that direction. And we won't in that direction to be minus 16, which is double. Okay? And we want, Let's go with four formula. Let's do a free. Okay? So we've done a pattern on a sketch which we looked at previously. And we've got nine points laid out. We can now finish our sketch and we can go to our whole command. And sometimes when you click it, you don't see dollar boxes. It's hidden. So you can pull it out. And we can do the same thing. So this time we're going to go, instead of single point, we're gonna go to this multiple holes, okay? And we're going to, when we select this, we're going to select these points. And you'll see it allows us to select multiple points and again, Misses where a whole is better than using the extrude, but we haven't had to draw these circles, enter anything. We've just selected center points and that's all we need. The rest is driven by our whole dialogue box. So these are going to be countable. And let's go with tapped hole, going to be five mil. In fact. These are going to be simple holes are going to be tapped full angle. I'm not going to be M5, okay. And 20 mils. So we'll go and now we've created multiple fixing holes. Not very good design. I'm amazed. Go straight fruits of essential one. You wouldn't need nine to fix sign place. You probably have forward in each corner, but you get the idea is just to show you the idea by using the whole command and just the points it allows you much, it's just so much finer to edit S. If I wanted to edit the amount, I can just go to the sketch. And all I'm changing is these points here. So I can change the dimension and it's just the center points. If I want to change the holes themselves or can right-click Edit Feature and change these features. But it's better than having to change diameters of circles and just use a mixture. So anytime you doing a whole, rather than avoid, use the whole command. Now that does ask the question, what is the difference between a hole and avoid them? And thus kind of self-explanatory. This is the way I look at a whole to me would be something that's going to be probably tapped. It's going to have a rod or a screw going into a awesome thing, doesn't have to be tough. Maybe it's like a dowel. If you didn't would work. You might have a whole lab is some dal fitting or joints. That will be a whole avoid would be a circular opening that is just an open and you know, it maybe it's a hole, a lightening hole, for instance, you might drill out just to make the object light if it's not needed and it doesn't need to be tapped or anything like that. So that's the way I kind of look at differences between the two. And then hold gives you always intelligence of creating threads and things. If it was just a circular flow, you wouldn't need this intelligence that sit in him about ground. So you might just use a quick extrude, but yeah, it's a whole command and how you use them. 21. 21 Pattern 01: Okay, so now we're going to look at two more creation methods and Bayes rule based familiar from the sketching lessons. These are patterns. So just like in sketching, we have rectangular pattern on a circular path. We also have patent on a path. Gods look at those now and explain why you would use these all over very similar to the sketching wounds. You would use these in different circumstances and we're going to talk about that. But I'll just show you them first. I'm going to create a sketch on this plane. I'm just going to create using a central rectangle. I'm gonna do, uh, a metal plate which is 500 by 500. And then what I'm going to do, I'm going to finish our sketch and I'm going to extrude this play. And it's, it's just gonna be a 10 millimeter plate. Okay. So they will have a five hundred and five hundred square millimeter thick metal play. And now I'm going to create a sketch on here. And I'm going to put a point in this corner. I'm going, I'm going to dimension map point. And it's going to pay, let's say, two to five colors, make it to 100. And then I'm going to dimension it to a 100 and misdirection. I'm going to finish our sketch. So what we're trying to achieve here, I want to put lots of holes in this play. Now we've seen the parts and commanded me sketching tutorial, and we put the holes and we know we can create a whole from this point now by using this whole command. So I can single whole face. And this hole will be, it's just a simple hole untapped. And the diameter will be 20 millimeters. Okay? And from a distance and distance, so instead of doing the distance of a whole is a 175. We don't need to know me. I am going to change up. So we say we can have two here. And I can select that face. So it will just put a hole to the other side or I can say to all, which will put a hole for everything. Now, they're both going to do the same in this instance, so it doesn't really matter, but sometimes when you slept all if you were to add some of the geometry, we'll go through that as well. So I prefer to use the two option and just select the bottom face. And now if I owe cav up, you can see we've got hole through this play. So now I can go to the create method. And I can even use rectangular pots in a pair or can come down in this menu and select rectangular button. And now it's going to say, okay, what type button G1. And we're going to use a feature because a whole is a features feature we've added onto this play. And then it's going to ask for directions. So it won't scenario because it's a rectangular pattern, lightly sketch it will snow, which would directions you won't buy sequencer. You could, if you want to slit light, you could slip this direction and you see you get your arrows. And then you can choose that direction. So now it knows where rectangular pattern is based on this, the square and parallel to this line. So now you can start changing your settings. Okay? So the distance I want to cover is I want to extend. Service was 200 millimeters from the center. So we want it to be symmetrical and goats 200 millimeters there. So our extent will be 400 millimeters. Five putting 400 a month direction and 400 and Math direction. Now it's going to be equally spaced. All it's going to have an equal margin if you like, roundly outside holes. And we've got it selected at frail and modern framework terminus of I want quite a lot. So I'm going to go eight and I'll put a new direction. And you'll see we got a bet that many of us, this compute option now, you can, you can make different types of copies infusion, but it does use a lot of computing power. Most of the time a reason using MS putting command is do an identical object, identical feature, and replicated in a pattern. So identical is that when you want to use a map will be a lot simpler. So we've got our directions, we've got our distances. Just like with the sketching command for Putnam is sketch. You could select spacing instead and have the space in between the parts, the features if you didn't know we overall. So you've got your options there, you've got your quantities, distance and direction in both aspects. So x and y. So this way, and this way, you can adjust and move the arrows and the dialog box is it's very similar to during a pattern in my sketch. Okay, But if I, if I select Okay, now you'll see we get our holes. Now. I know you're probably thinking, why would I do it this way when I could have just done a pattern on the sketch. So there's three main ways you could have achieved the same result. You could have done what we've done here, which is for your sketch to just be the square plate, Craig Hall, and use a pattern in this menu. In the solid editing menu like we've just done to putting out your whole as we've just done. Okay. That's option number one. Option number two would have been to draw your plate, extrude it as we did. Then do another sketch, a circle. I'm gonna do a pattern in the sketch of that circle and then extrude. Anions occur all those times. But you would have to select a few image I'm doing mine and yours. When you select your extrude, cuts out your whole, you would have to get every single circle in your sketch. Okay. Because you've used a pattern in my sketch to set out those circles, but when it constricts Judean the holes in, you would then have to select everyone. The third option where you could have done is the original sketch. When you design this play, you could have put the holes in men and then when you extrude the plate, you would have just slept it outside the hole somewhere and it would have extruded. Replied minus always openings. You could have dhamma again. Making you original sketch you too complicated putting too much info in my original sketch. Now, as we spoke about before, you infusion the mindset you will have is if it's changes in future, how easily lead to edit. And by splitting things up, this way, it makes it much easier. I know looking at this timeline, this hair is my eraser. It's just rectangles my original plate. This is my original single hole. This is my holes patent. And you say if I had to go in and say OK, OK, well, these holes, which sketch was the n? Okay, now go in and, and it is, you're also giving fusion a lot more to do trying to extrude a surface around these holes and things that just giving it more to the more reason for it to crash, larger file sizes, all that kind of stuff. So it's good to separate features like holes into their own kind of command. A member pattern is a command as well. Um, what I can do now is because I've done it this way, I can go to my whole Edit Feature and I am, I say, okay, these are actually, they all need to be 25 and select. Okay, and all that pattern has changed because I changed this one hole. I could go to my Pattern Edit Feature and say, okay, there's only six. Now, sort of a and I don't need to go into his original sketch and change out because I've separated these commands, the whole the paten with sketch into the individual elements. Hogan makes sense is, is you would achieve the same result. But it's a way of thinking of breaking down these major commands into the, into the types, the original sketch you want to be as basic as possible. And this goes back to when we spoke about fillets and chamfers, not putting them in the sketch. Just do a basic sketch. It will begin, which in this case was a rectangular plate as a whole, which is easily editable and then replicate that hole in a pattern. So there are times when you would want to do a pattern in a sketch and there are times when you want a pattern of a hole, okay? And even though I achieve the same result, it's something that you will come with US basically. But by a is a rectangular pattern command on the solid at it too. Tuba. Okay? So it works very similar in terms of sets now Is rescheduling just used in different circumstances. So next we're going to look at the V of a pattern, which is a circular pattern. 22. 22 Pattern 02: Okay, so this is going to be fairly self-explanatory. Here. I'm going to go up deleted this patterns. We have a single hole. So I'm going to do, is I'm going to do a whole and I'm going to do, I'm just going to do a rough sketch. And we're gonna create a new sketch. And this time I'm going to put a point. And I'll be honest, midpoints, you can say a follow-up from there. Again, this is why we draw symmetrically around the origin. And I'm going to put a point. Now. I'm going to give it a dimension here of 200. I'm going to make sure it's got this midpoint dimension mass, and now it's black, it's fixed in place. And I'm going to finish that sketch. And we'll do a whole again. Slipped up point and we'll use simple hole. It will go to this back face and it's 20 millimeters. Okay, so there we have our holder. And now I'm gonna go back down to pattern, this time, a circular pattern. So again, much like the circular pattern before under my sketch, we need to select feature first now, because we want to, for hole is a feature. So it's for whole we want to make a pattern of, so select our object axes. Well, because again, we work in symmetrically around the origin, I can use VSAT origin point where if you weren't on this origin, you would need some kind of axes. And we're going to look at axes and added axes and construction plane. So, but for now we work in around the origin point. So we can use this Omega. So now it's full space in our angles. So maybe we only wanted it half. I'm going to go full spacing and the quantity I'm going to say 10. Okay? And again with Compute option and discriminate them identical. So if I OK. Now this would be something that you might do. It might be a base plate for a column. So the circular column, column will sit on Midsummer bolts will go through into this button. That's a perfect example of where you'd use something like this. But again, we've separated it into different commands. And now if we wanted, we could go into here, maybe wasn't for, maybe it was only a 180 degrees. Okay. So now those tennis spaced would AT, and we have this control again because we've separated it. And we can change our whole by right-clicking Edit Feature. We have always open to us. And we can change our original play if we want to, just by going into this sketch, changing the sign. So they're all split into individual components again, but that's a circular pattern. Now, I'm going to delete this again. And there is another pattern available to us. So maybe that maybe the column wasn't circular, maybe it was a certain shape or maybe we're creating a line or some thing. So I'm just going to delete this. So I'm going to edit this sketch and I'm going to make it five meters long by 100. Okay? So now we've got this kinda long plays margin is the top of the beam is some fin, but it's a long flight. And I'm going to create a sketch on top. So this time I'm going to draw a circle. I'm going to just roughly the midpoint and draw 20 millimeters circle. And I'm just going to put a few diamond couple dimensions on just position it, let's make it 13. And so that's locked in place. I'm going to finish our sketch, a manometer. Do another sketch on here. This time I'm going to create a line. Now the problem of God, this is not going to see this point with geometry because the point was a miscarriage. I'm now working in miscarriage, a separate sketch so I can snap to that point because it's not in the sketch. So what I need to do is I need to project this point into my sketch where I am now. To do that. And the crate we have this project are include k. So project will allow you to select geometry that's not in your sketch, which is about point there. And it will now bring up point into your current sketch so you can project things behind and this is good if you want to line some for now, you can project an object that's behind you. Sketch doesn't even need to be on the same plane, and it will allow you to easily dimension of things and position things. So now I can create a line and I can select this point. And I'm just going to put this line. In fact, what I'm gonna do is I'm going to, and it's going this line just by eye. It's only an example, so it doesn't really matter in this case. What I want to show you is this of a putting commands, so pattern on a path. And then I'm going to extrude our circle sketch. We did make sure it's on joints which creates a new part. Let's met at 50. So this is like a peg if you like, to manifest pain. And now what I can do with pattern is choose Putnam a path. I want feature. In this case, it says pin. It will now ask me for path, which is a sketch. I'll use this line. And I can then pattern along my line. And you see it doesn't need to be. Selective. Blindness is just the path. It doesn't need to be the full extent. Okay? You can use this. So I could go 4.5 meters along that line. And objects, I want 100. Again, I get an error. I went to an identical, and now I have a 100 tags along that center line. So pozzolana path is just as it sounds, is doing on this path and I can edit up feature. So it's still above in the whole distance. I want the spacing and all of these pegs at 350 millimeters. And there we go. So as easily set out now you much in sketch in all those circles and extruding, picking all those is not something you want to be. You don't want to work that way. You always want to work the easiest way possible. Now, I'm going to show you, I'm just going to delete that. And I'm going to go and edit this sketch and delete this line. Okay? Because we're putting on a path really comes in useful is when you've got an irregular shape. So if I finish up sketch, and now we'll do pattern on a path feature will select the object for the path. We're going to select this line. And we can do distance. Let's go with 2.5 meters, 50 objects. And you'll see now the stoma pattern along that path. And that if you imagine doing a sketch and translate, these are individually, it would be so much information and dimensions, the things you give infusion. But this is, this has been so easy just by aligning along our spline. Now on the end here, because we finished our spline array is just continued it because the distance we gave it under this command was longer than the actual line we use. So that's just one thing to bear in mind. But in general, you would be putting them along a line that was complete. And where this does come in handy is things like fences, fence posts, things like that, railings. But it is one of those commands. You don't use it a lot, but when you need it, you really need it. Okay? So that's pattern along the path. And those are the free pattern, solid editing commands. Very powerful, very useful, and they save a lot of work. So we've looked at some ways. We've looked at these main ones with velocity. And we know about our basic shapes, windows, things like hopefully that'll play with those who vote that the mirror my patterns. We still need to learn about constructing, playing things like that. The best way to learn now is to actually create some objects and learn on the fly, rather than just going through individual commands. So in the next chapter, few chapters we're going to create something. We'll get to actually model something. And we're going to bring in techniques as we need them. 23. 23 Brake Disk: Okay, So I'm going to close that. I'm going to save it. I'm going to leave a new project here. We could actually create some for now and we're going to create some fairly simple, but we'll use a few of the techniques we've learned so far, hopefully make them a bit clearer. We're going to create a break desk plate having a car. So now first thing we want to do if we just go and we start modelling now as it comes, it's all going to be saved under this main kind of top level here, okay, So when you start a project, you want to split it into components. And we're going to look at bodies and components of a differences soon. But for now, I just want you to bear in mind that the first thing you do is you right-click up here and you go to new component, okay? And you can give it a name. Desk. Okay? So now you have a component here on the project. And when I go to save this, we have our main project name of pair, which encompasses everything inside. And then we have, if we start sketching, now we're sketching in our MS component case, just a good way of working. Again, it will make sense as we do more things. So for now, we'll go to Edit, Sketch, Create Sketch, and we'll go to this x, y plane and we'll select that. And what we're going to do, we're going to choose a circle from the origin point, and I'm going to make it 300 millimeters diameter. That's it. And then we'll finish that sketch. So I have a friend did damage a circle. And now I'm going to go to extrude, and I'm going to extrude it 20. There we go. So 20 millimeter thick, friended diameter metal plate. And now I want this kind of hope that protrudes on here. So I'm going to create a sketch, and this time instead of choosing an origin plant, I'm going to create my sketch on this face. I'm going to select that. And then we go on because we've been working symmetrically around the origin, I can just select another circle. And I can use this same point as a center point. And I'm gonna make this, let's say 150. Okay? I'm going to finish our sketch and now we can extrude again. And we can bring this out to 50. And they'll go. So this same workflow of use of Sketch, Extrude, Sketch extra effort on top of each other. This is how we can create this kind of geometry here is still a bit basic. And what we need now is for this hub to be hollowed out from this side. Okay, So as you probably guessed, we're going to extrude from this face in. So we can follow how a hollow out here, but we want it to be, we want this to remain, let say, five millimeters thick, but the stale of here, okay, So how do a Extrude inside here? We can go from this face because we want to remain close. So we need to go from this face. So I'm going to put a sketch on this back plate. And now I want to extrude inwards, but we don't know where the server. We need to see this on the sketch. Okay, so I'm going to look at their ELA. And this is where our project command comes in because we can select projects. And by holding down Shift and Joe middle, we'll even in sketch mode, you can orbits around. And when with project geometry, we can select this circle here. And now you'll see it's projected that circle onto our sketch. If I OK this and I go back to directly, we have this circle. Now the circle is just a projection of the shape. If we extrude now, we're going to lose all that because it is the same diameter. So what I want to do 50, but I'm going to go to his offset command. I'm going to select that project. It's cold and it's going to be five millimeters. Now that will project it wrong side because I needed to do minus five millimeters. And there we go. So now we have the pink line is our project. It's circle from here, and we've come in five millimeters. So what we need to do now if we finish the sketch, we can go to extrude slightly in a circle. We want to go that way. Okay. So it's going to be a cut. So what we can do now we can get to extrude slightly center circle, push it that way so it will be a cut. But again, if we come all the way here to this face, it's going to go all the way through. We don't want now we could work out this is 20 millimeters vis was 50 millimeters, so therefore it needs to be 70 minus 5. So we could put a distance of minus 75, which would give us, so minus 65, which will give us the correct distance. But there's an easier way you don't want it to be anytime you do a massless, as you've just seen with ME and my terrible arithmetic, you bring in errors, okay, So you don't really want to do that. What we will do is we will say our extent is going to be to an object and it's going to be to that object, okay? With an offset of minus 5. So what we're telling it now is we've extruded, cut to this face minus five millimeters. And now when we okay, We will have exactly what we want. So this now is a five millimeter kind of thick steel hub. Server is the basis of our plate. And if you want, you could maybe push them from. Now we might need to make if I just go to 0.5, okay? A little bit of a chamfer that just to just the alphabet. Maybe also have a sham from these two, just of two millimeters or something. Maybe we'd also have one on here. Just kind of a machine DOJ liver. And you can see it's already looking more realistic. So that is our main kind of hope. Disc plate is how it's made, but this isn't going anyone knows anything about cows nose, you're not going to be able to use this. We need some fixing holes in them. So I'm going to save that. And let's put some holes. I'm just gonna do a sketch on this face. And I'm going to put our center hall where our hub bulk obey. Let's make that 50. Okay. And then I'm going to finish that and I'm going to extrude two objects, this interface. So ultimately cut. So there we go. So that will be kind of a herbaria. Now we need our whale bone, will bolts wherever we all know it's will go, it will protrude through here. Again, don't worry if you don't know anything about cars and you don't know what I'm talking about in terms of hubs and things just follow along. It's only a modelling lesson. And now I'm going to create a point. So the point is going to be on this line here. And the dimension. Let's go with 50 from the, okay, We're going to finish our sketch. And now I'm going to create a circular pattern. And now I'm going to create a hole using that point, which will be say 15. This is just going to be simple. It's going to go through to this face. Okay. And my eyes are Wilma whole. So now all I need to do is a circular pattern. Feature will be about whole. The feature will be about whole. The axis. Because we drew it symmetrically. We can use this axis. You could, if you've got a circle like this, you can just select circle and it will, it will automatically know the axes in the centers. So if you've got anything circular can just use that as an axis. And now let's say how many five bulbs. And it will equally spaced them. Okay? So now about a space those out and that's what we want. So hey, we have a brake disc which we've done in a matter of minutes. I'm not shows us a few of these techniques we've been using surveys. First technique of Sketch, Sketch Extrude to build up the shapes. By Symphony, you do probably more than anything in fusion with this type of modelling. Then we use projects in order to get geometry from one sketch to another so we could use it as an offset. And then we did some holes and some circular arrays. So it was a good demonstration of a different techniques we've learned and now we've created this brightness. So feel free to save up. Feel free to 3D print it if you want. Do not 3D prints it and put it on your car. Please don't email me and say you've crushed Dakar because you have 3D printed brake discs. In fact, forget I even suggested at Tobago, that is a bright disc and simple. Hopefully you're already getting a bit more confident with fusion. And this method we've done, hey, so powerful, you can, if you look around, you can probably already see multiple things around you in your office or your house that you could model just using this extrude offset. Sketch, Extrude, Sketch Extrude. Lot kinds of fun. So feel free to have a play, do some of the things now. Breakaway from a cost if you want and just do some modelling. If you get stuck somewhere, that's good because it means you've identified some fun LC need to learn, which will probably cover in the next few chapters. If you're happy with that and yet follow along next. And we'll learn a few more techniques. 24. 24 PressPull: Okay, so we've created a basic model now and we can look at some more advanced kind of editing techniques now, Just now we've got something to work with. So the first thing I want to show you is something called push poll. Now, this command, it is, but it's quite powerful command what it's actually doing in terms of computing power of your model is quite powerful, but it can, is one of those kinds that can really help you. But it's easy to get reliance on less instead of editing your geometry and I'll show you what I mean by that. But first I'm going to show you the basics of what it does. So what press pull dose is, you select the face and you see it's only asking for one selection, so it's just looking for any kind of face on your model. So if I select that face and you'll see you get this arrow which you should be used to by now, and you also get a distance you can type in. What I can do now is I can drag this face. So if I wanted to edit this, if I wanted to make it, let's say 100 millimeters large or the business and say I wanted to increase by a 100 millimeters. So it comes out more about a 100 millimeters on his face. But I can just do that. Which is a great command and it's a nice thing to be able to do. But the problem sometimes is because it's so easy to do. It's so easy to edit your model in this way. You can end up down here with lots of these kind of press pull commands going on. And really it can quickly become confusing how your model is changed. But maybe I also wanted to during this phase out here. And you can say I could also increase by 100 go. So it's a very powerful command, is a good command. Have the problem with it as you might have seen, but it doesn't really give you any editable information. So once you've done this press pull, it's hard to change it. The only real way because it's not down here. So the way you tend to change it back is to do another press, pull the same, and then pull it back, and then you end up with more things going on in kind of hitting commands in your drawing, if that makes sense that you can't go back kinetics. So really if I undo this, if I wanted to increase that, then the best way to do it is to find the original extrusion, edit that feature, and increase it by 100. Okay. That is the best way. And men of all, I can always go back and I can find where I inputted by information edited again. Okay, so press Pull. It is a great command. But be careful with it. If you end up with lots and lots of principles, you'll quickly find that you can't go back and use the history as you might have done to change things. The same mat. Let's look at some things there is powerful for, is useful for it doesn't have to be a flat face, it can be a circular face. So you could select this, for instance, and you can increase fat. Now, you might notice that actually put an angle and I'm a reason for that is because we have this we have a chamfer here. So it's going to delete the chamfer is going to keep that chamfer corner and when I move out it will continue that. If that makes sense, You could also actually use, you could use a chamfer, you. But all sorts of strange things will start happening as you go through the reason we get missed gap pairs because we're actually going through a thickness of a material. Sometimes you can use it may be internally. So if you have this whole, hey, you could decrease the size of that. But again, you really want to go back to the main sketch and it just keeps that design information intact. So that's principle is a fairly simple command that will just drag faces about it can be a powerful quote, it can be useful. It can get you out of something. If you're using someone else's model and maybe we haven't even touched design history on. We haven't got any good info, so it can be used in that way. And please don't discount it, use if you need it, but just be very wary that you won't. You can quickly kind of make all of this. The good work you've done in keeping the design history can make it irrelevant by having two repressible. But yeah, it's another tool for your asteroids. Deliver 20 feet TO Bell and keep in mind, use it if you need it, just beware. Okay, so that's the press pull command. 25. 25 Shell: Okay, So next we're going to look at this. We're going to carry on looking at some of these more advanced, modified tools. And the next one I'm going to show you is a shell command. So this is a very useful command when you need it. There's no other way of doing what this does with so easily, basically. So I'm just going to start, I'm just going to create a quick sketch to show you the basics of this command. Now, I'm going to create a rectangle and let's make it 200 by 200. Okay, Finish. And now I'm going to extrude that. And let's go to 100. We've also got a cube there. And what I want, I want this to be kind of like, uh, have an opening and so an open box and with a thickness. Okay, So what shall command will do? It will allow you to imagine you can have digging out the inside of an object. Again, the easiest way to demonstrate is just to show you. So I'm going to select shell. And the first thing it wants to know is a face. So if you was to kind of dig up a center of this object, which face would you start from? So if I'm going to select that one, and now it wants to know an insight thickness. So this is a thickness of your wall in this box. In this case, I'm gonna make it five millimeters. Okay? I'm going to occur and you'll see quickly what it's done is hollowed out the inside of this object with a five millimeter wall. So if you are creating a kind of box is a very, very simple way of doing it. It's a great way of doing it. A shell command comes in very handy. While I could have also done, again, when I slept faces, I can select more than one. So I might slip the opposing faces here and give it a five millimeter thickness. And now it would have followed all the way through. So again, if you're making a strange shape, maybe Piper box section, but it's one way of doing it. Okay, So the show command hollows things out with a thickness for the wall. Now, where this command really comes into its own. You probably think of various other ways you could have done this. You could have just drawn a sketch and just extrude the walls or maybe circulatory use a pipe command or something. But the where the shell command really does come into its own is I'll just delete that. I'm going to start again. I'm going to create a new sketch. And I'm just going to create a line, okay, so I'm gonna go from that, I'm going to go, let's go up to 100. A man. Let's go out 50. Okay. I'm going, I'm going to carry on this. And I'm going to create, I'm, what I'm trying to do is to create a kind of bottle shape. Okay, I'm going to finish my sketch. So we've seen this before. I'm going to use our revolve command. I'm a profile is selected, says is going to be okay. And it's going to be a fringe and 60-degree profile. So we've made this kind of bottle of our shape here. So what we can do now we can use the shell command dullness by using map phase. And I'm again, we'll go with five millimeters, okay. And if you can see, it's actually hollowed out the inside of that virus and it's followed with this kind of contour. So we've got five millimeter wall all the way in and we'll go as hollow object. So when hollowing out objects, especially for things like maybe 3D printing where you won't be inside hollow. Shell command is the fastest and best way to do that. I mean, again, you get very powerful command. What it's doing here in terms of software is very powerful and is taking all the inside of the object hollowing out with a 50 millimeter thick wall of way round. And you can choose all those, all those components. So you can go back in the timeline as we've a features, you can change that thickness, maybe 13, ten millimeters. Okay. So you've got lot power there in the design history to go back and change it. And that's a shell command. This is doing things like this. This is where it comes into its own with no other way really. You could, you could have done it as part of your revolve sketch. He could have created those faces, but it would have been a long-winded way of doing that. Shell command is by far the best way. So use whatever liver verse commands. You don't use it all the time. But when you need it, it's very good to have it. So keep in mind, is the shell command. 26. 26 More Modify Tools 01: Okay, so let's look at some of the tools now. And again, I'm just going to create a queue pair. And ANOVA is a cube command. I just, it's just habit because i u dot and just prefer to use it this way to use a sketch and extrude. Okay, feel free to use a cube command. If you following along. So they'll go F is cubed. Now, I want to show you this draft option. This is a modified so it can seem a bit complicated in unintuitive, but I'm just going to go through it as we always think the best way to demonstrate is just to show you. So I'm going to select draft and I'm going to select one phase where now that same pole direction, the first selection, but next section is asking you for a face. So if I just show you how it works, it will all make sense. If I select that face vampire, and you'll see you get this rotation kind of symbol. You could put in an angle here. Or you can just use this. If I just do it, I can show you what it does. So if I wanted to make that 45 degrees as you 45 degrees. So thus draft, again, is not the command I use. Often there's better ways of doing mess. Now, you will say Does, does go into your design history. See candidate or even service is usually better ways of achievement shape, but when you do need it, it's bad and over TO fear. It does sometimes come in handy. Especially as with the press Pokemon, if you're editing someone else's model and they haven't used the design history or things like that when you don't have any choice, you can't go back and change these options. Maybe we have this history turned off for a reason. Then. Yeah, these are the tools you will need, your press poles, you drafts fats when these come into error when you haven't got any other choice. But hopefully in your models, you will have designed history on. You've done a nicely structured model and you'll just be able to go back and do change this in a better way. So let's look at, we have a command that is done on this list. Now we've got scale now scale. If you use in any other CAD software, you probably familiar with scale. Even if you know it's, it's kinda self-explanatory, but what it will do, it will ask for an entity. In this case, we can use this as an example. And it's going to ask for a point. Another point is kind of the base point. So if you are going to scale it, you need a point that it's scaling around. Okay, So the point I'm going to select, if I select this point here, for instance, scale uniforms are usually you'd want things to scale uniformly, which means that it's scaling in every direction with same, It's not changing the shape of it. And scale factor. Now, you can use this arrow and you can scale it down like that. Generally would know how much you wanted to scale it by. So if it was 0.55 size things, obviously. Again, you've got to design history down here. So you can change that. Maybe you actually wanted to scale up by ten. Okay? And you'll see the reason for choosing this point is that is kind of recenter that it's scaling around. So if I change that back to one, you'll see is scaled based all around Mach point us kinda be base point. So yeah, again, comes in under scaling objects uniformly. Again is very handy when it's someone else's model. Awesome. You've imported, you just want the scalar whole object. Scale is certainly useful command. Now, we'll look at these Boolean in a minute. But I want to change this offset phase because this offset face, when you first see it, it can look if I divide it kinda like principle is basically doing what press pull dead is allowing you to drug that place is a bit more powerful than press pull. And I'll show you what I mean if I was to do a sketch on this face. And now I know we had a whole lesson on sketching where I told you, constrain your sketching things out. This is just a quick example about to use with tool. So you don't want to, you don't need CMA go round and kind of constraining things. Okay. So very rough sketch. And I'm going to just tidy up. So I'm going to finish that sketch. And what I'm gonna do is I'm going to extrude what's shaping just by time. Okay, So this is something we have. Again, just an example. Just to show you how this tool works. Now if I was to go to press Poll and select this face, I can bring that in. Okay. Now, if I wanted to change as maybe I just want to move this whole kind of side n or, or out. And I'll show you what I mean by that. If I was to press pour principle generally is looking for one face. Okay? So I can move up in that direction perpendicular. It won't let me select more faces. If I was to slip that one and move it. You'll say this extends it just jogging one phase is not quite doing what I want. But web is an option offset face. And what I can do here is I can select all these faces now. And I can drag the whole thing. And you'll say I can change as any kind of shapes ASU. And it will allow me to change the subject here. So offset faces as well, a lot more power behind it. The, the, just the principle command. And if you hover over it, you'll see it gives you examples you can use on curved shapes, such as this example shown here. Again, it's something that if you need, it comes in very handy. Hopefully, if you're working on your models and you've created them correctly, that better ways of doing that. But again, over people's models, you need to use of a command. So if you don't have designed a sphere and you need to offset faces, there is proposing doing quite what you want it to do. Then use offset phase is new. You probably find you get a lot better results with a. Now if i so these, again, just to show you an arrow cave up, you'll also see we have in our design history so we can edit this feature. And we can go back and change it. And if I select these first and then this one, you'll see the last face you select is the direction it's going to let you pull in this case is kinda do the same thing because it achieves the same result by moving ms facing that direction. But the last face you select that you are going to be gigantic perpendicular to that. Okay? So US offset face to be honest, I use offset phase Marlin principle just because I like the fact that it puts it down here and it gives you that extra power. 27. 27 More Modify Tools 02: So we'll look at a few molecules that don't weren't chapters. The volume is quite simple to show you. The next one we'll look at is this replace face here. So this is actually another command that you might not have. First realize how, how powerful isn't what it's actually doing. But if I just create a sketch on here and just, let's just do a rectangle is just by eye. It's just as an example. I'm going to extrude those faces and I'm going to just pull out right now. You'll see because I'm going through an existing object, fusion is assumed. I want to cut through that, but you don't have to, you can change that. I'm going to set new body here. So now we've put this object which is kind of intersecting this one. And let's suppose I wanted this shape, this phase to be on this level here. Well, I can use this Replace Face. And now it's going to ask for your SaaS Phase, which is best one. On your target phase, which is best one, I'm going to select, Okay? And what is done is put up phase, which was a paste, put it down on to this level. But if you can see it's left this one. They only did that the actual face, it's not move the whole, if I undo is not low. This whole geometry or a vein in the insects not move that whole thing down. It's just with one phase is kind of shifted it down to that level. And if you think about that, how it's moved it without moving miss us quite a powerful command that's going on there. So again, not one use all the time that they raised situations where this is the way of doing what you want to achieve. So it's worth remembering. It's very easy to forget about some of these commands, but it's worth remembering mouse where it can get you out of a tricky situation where you would have a lot of other geometry to do. It just makes it so easy. So another 10 pair is a split face. So what split face will do? It will, as the name suggests, it will split the face into two components. So maybe wanted to change vesper only that this top bit here. At the moment it seems this is one complete face. So you can go split face and face. The split is one. Splits into oh, well you could use but Facebook. Okay. Now it doesn't look like it's done if im, but now we can see we've got a face value and we've got a face there. So if we wanted to use any kind of offset faces, we can now select these independently of each other. Whereas before it was just a face. So it gives you an extra pass. You can separate faces down, makes it more easy to do. These are the commands if you need to. Split face, so it's fairly self-explanatory. So again, here we have split body. Split Body Works kind of a same way though. Body to split will select this one splits into, now is, if you imagine it's going to split this along a surface like a knife, blade is just gone through it. So it's looking for something like a face so we can flip up face there. And extent to which just means it's going to extend all the way through your model, okay? So can select, Okay. And now when you quit days, you have two bodies. And again, if every equip aids and you want to set the whole body license only select my face, but you can change the appearance. So under Select, you've got selection priority. If I was selected to face, when I tried to click this, it would only highlight the face. You can change that to body. And now it will select a body. We can change it to component. So it was like the whole component, which in this case is the whole thing. But if I have somebody, you'll see Split body has split into along the face which shows. So that's some of these modified commands on here. Again, tend to be used for editing someone else's models. And you don't have the design history always if you've got a design history, my original sketches and extrusions and things like that. Always go back to those if you can, to edit it. Just you imagine if you were to pull these faces around an offset, these phases and the things you will end up with loads, mass things in your design history is all increasing file size and memory usage and all that. If you could just go button to your original sketches and change him, It's always best to do it that way. Okay, So they got lots of room for the most, the most widely used commands were on the Modified tool. 28. 28 Move Copy: Okay, so now we're going to look at the Move Copy command. And I'm going to, I'm going to do again, I'm just going to do very basic cube here, 100 by 100, new sketch and 100. Okay? So we have r cubed. Now have a pair of is moved copy. And we can select, as now we can select a body full object or this phases. Okay, let's start looking at what is first service Free move here. It's kind of an all in one manipulator. This might be familiar with you if you come in from a piece of software, but generally you've got move, scale, and rotate all in one control. If you get used to work with this, if you're doing a lot of moving about in scale and it can be, it can be useful if you don't know a lot of different things in one go. Generally I like to keep it separate, whatever I'm doing. So I tend to use raisins vase also give you a copy of a copy option. So let's just have a look. So we've got body's selection. We've slept with one body. We want to if you move in, it calls it translate. Okay, that's just a terminal symbol of software uses a translate. And then you can use these arrows to set the direction. If you get lost a bit of x distance, y distance, that distance, easy thing to do is select the arrow in the direction you want to move it. And then just see which one of these changes KML kind of give you your close to a one. I mean, you can type in the distance if you wanted to move it 100. And let me turn off. So at the moment we're moving this object around, okay, using these arrows in the three different directions. If you wanted to copy it, then you just select this box. And now when you move it, it's going to leave the original where it was and it's going to create a copy. Okay. Rotate works in pretty much the same way. Let me let me start again with our own, so we'll select bodies. Rotate, this one here. Okay? He's going to ask for an axes. It is an axis that way you rotate it around. So let's say this one will get this option to rotate it and we can type in an angle here and you can create a copy to leave the original where it was. Okay. Now, we also have point to point. So if you know, if you want to do it from a point, you can just say, okay, well the origin point of view, I want to now be and it will move up. I'll copy it to that point. Okay, so let's just look at the face command. We can select a face and we can move those faces. Now, this is a lot like other commands we've seen such as press Poll and even do an extrusion and thing. And it is just doing the same thing. It's just an easier way if you like, but I won't do anything because you've got this face. So it's an easy way if you like, of of manipulating a face. Again, attentive press pull it from the MS. It's just easier to work with. So that's this Move Copy command is manipulation tool and it just does what it does once you're used to using it. These are generally is if a copy and things more than moving things align. So let's just spin this around. Let's say we wanted this block to be in line with that. We won't face to be in line with that phase. Okay? Instead of trying to measure or move it, we could just say, okay, move this whole body. This one. I want face to be aligned with folks Omega. Because if i so that's our kind of move and align Dilly. Dilly is obvious. 29. 29 Boolean Operations: Okay, so the next thing we're going to look at under Modify section is what are known as infusion rate is comes into this combine. Okay, now that we all fashioned term for these and one you might have heard if you come in from other CAD software is a Boolean operation. So it's just a historical way of modelling in 3D before we had for the powerful software with all these other commands, things called Booleans. Okay, now there's still do come in handy today. And I'll show you what they do now, but it's a basic set of 3D modelling operations. So I've got my standard, 200 by 200 by 200 Q pair. You don't need follow along. You can just watch this. Or if you want to follow along, it's up to you. Just create is cubed. But what I'm gonna do, I'm gonna cut into the queue and I'm going to do about on an offset plane. So I'm going to, under constraint, we're gonna choose this offset plane here and I'm revenues V's origin planes. I'm going to create a new plane, which is going to be offset from that face by 100. Okay? So now we have a new plane we can work with here. And I'm going to create a sketch on this plane. I'm going to put another rectangle here. And again, I'm going to make this 200 by 200, so two hundred, two hundred. Okay. I'm going to finish that sketch and then I'm going to extrude that. And I'm going to go with 500. So actually be minus 500 because it's in the other direction. Now again, fusions, second-guess that we actually want to use this as a cutting tool on here. I'm going to go with a new body, and I'm going to okay that. So now we have these two objects here. But suppose we wanted them to actually be one object. This is a bit of a weird shape, but it could be any shape. These are just two bodies. It could be any things, but suppose we wanted to join those together as one object. We can go here to this combined and it's going to say, okay, target body, tube outer join. And you can either choose to make it a new component of just modify these ones if I click Okay. Now you can see when we do select it, It's one object is seen as one object. Okay? I'm going to undo that. I'm going to go combine again. And you'll notice one of our options here was Operation. Joint Service is a Boolean operation I was talking about. And also notice we are target but in two bodies, well, it didn't really make much sense. What was the difference were only joining them. Why is one retarget one is at all. It will make sense when we look at V over options we have here. So as well as join, we can have cooked. So I might want to cook this object out of that. Okay, so in this sense, that target I'm at all does make sense with target would be the object it cuts him from. Two would be the object you use into COP. And you'll see now I can select that. And I can use that carries out. Okay, So we have is, does come in very handy is if we do that again and we've got a quickselect. If we go to the Kurt and we slept target body, body, and we have the option here to keep the tool. Okay? So if I click okay, now we've still got these components. But we do. This one is actually varies a cutout here. So if you want to, to objects that would fit together, then this is how you would do it. You would select that as a tool to cut out a shape there. And you know, it is going to slot in exactly now this is just a cube. But if this was a complicated shape, when it's, it's an easy way of selecting an object that will fit in. And if I turn this off, then we can see you can see that cuts out that it's made. Okay. And if you were doing some flight 3D printing now, because it's an ease user as the exact cut into it, this might be a bit tight, but then you could maybe going to offset faces. And you could say minus 0.25. And you could go around and you could put in a tolerance, for instance, by offsetting the faces minus 0.25. Okay? And that's where these tools begin to come in handy. And now if I turn that back on, hopefully, if we zoom in, you will see there is actually had C, but there is actually a very small gap between these objects. So you've got a bit of tolerance where now, and that's how you would make two components that would nicely fit into each other. Now let me just go back and look at these other commands. So V over option on the hair. We, we've looked at John, we've looked at Cook was intersect. Now what intercept will do if I select both fees? Okay. I slept okay, Is it only keeps the part of the two objects that we're intersecting. So the two parts overlapped. It's only going to keep on something. I can't remember when I last needed to do that. But if you did need to develop for whatever reason, when it is very easy in handy way of doing it. But most of the time when I use this combined ACE to combine two objects into one object or to use with Kurt to cut out a certain shape. And then again, I might use that with the offset to credibly of tolerance. But yeah, bays, these kind of basic operations for intersects a combines a Kurtz visa, what are known as Boolean operations. So if you hear that term, Boolean operation and you'll see named version of a kind of software. This is where it, what it means is it's this kind of simple 3D modeling or editing of the shapes. 30. 30 Materials: All right, So we've almost done with part modeling now. But before we move onto assemblies, I want to show you the materials section. Okay, So this is something people like to use because it makes your objects look a lot more realistic. But there is a difference between making him look realistic and make him act realistically. Okay, so that's what we're going to talk about now. If we just click our object and it should all select, again, if it doesn't go to selection, priorities, body priority, you can see which one you're on because there's little tick there. And my right-click. And you will see that you have these two options here, physical material and appearance. Okay? So let's click on physical material. And if you don't see anything happen, it may be the menu came up when it's hidden here, k, So you can just click on it. It will come out and you'll see you have a library. You can go to the Fusion 360 material library, okay. And undervalued, we have all these options of different types of materials for each folder. So ceramics, fabrics, glasses, metals would searching for, we go to wood and scroll down, you'll see you get different types of woods. Some to show this, don't worry about it. But maybe the object, you know, which type of wood it is, maybe is a Walmart. Okay. Or it could be something else. For this demonstration, we are going to select walnut. If you just click it, you'll see, I'll go over it. You get this, a 100 object is a 100 icon. So if you left-click and hold it down, you can then drag it over your object and you'll see your objects highlights. And if you've been just let go and drop it on the object, and the object takes on that material. Okay? So this now is a walnut cube. And we could have use some finance if we wanted, we could have maybe used metal. Maybe it was, maybe it was gold. Okay. Now, this goal here, how it looks, it looks quite good once you drop it on, it's very, very disappointing and it just becomes this gonna go the yellow color. Okay? But don't, don't worry about that for now US. It's giving you a representation in this, this is our design space, so we don't want it slowed down by is photorealistic looking stuff. We want to know from a representation that this is gold is by this color. But if it was to actually be shown photorealistic gold, we would never get anything done because the software would run so slow. So don't expect photo realism in this modelling section. We can look at that later on when it comes to rendering out things, okay? So materials, you can choose a material to put your object on. The, if you remember, we had physical materials and we add another option for just comes. We had another option. A parent's. If we select the parents, you'll see is pretty much the same. It gives you the same options basically. So you can pull it up. Less transparent glass opposed. Good. Let's make it would again. So let's make it 10 again. So you can say it doesn't exactly the same parents and physical materials, but the difference is and if I go to again, you don't need do is I'm just showing you if I go to manage materials which you can do in the tools and utility icon. If we go down to this wood and walnuts, OK. And double-click here. So you get some information about it. You get the appearance. The appearance is how does it look, OK? And it will tell you how it looks. And you can change all of these factors. You could change your parents of it is it could change how reflective is the translucency? All that kinda stuff? I would say leave it as it is. For these. Saved materials just leave them as they are. But you also get a stop her physical. Now, you've got advanced New York basic. Let's just look at the basic properties. We have. All this information is a name description that's fairly self-explanatory. But then we have basic thermal specific heat, thermal expansion coefficient, thermal conductivity. And you'll see they're all given settings, mechanical properties, the density of a damping coefficient, Young's modulus. If you don't have a clue, what I'm talking about are what any ways are. Don't worry about it. Okay. This isn't an engineering course. It's a software course. You don't need to change ways ANOVA. You can just leave them as they are. But the reason this information is in if you were to make an object out of Walmart. And this isn't just a fusion furnaces for all. These guy is going to suffer. Inventors, SolidWorks or loss of the software can do inspections and it can tell you, will. This is a weak spot. This is going to break first at this point. How can it no, Well it, because it knows all this mechanical detail of very specific material. So this comes with the software. This is all been put in the standard materials. If symphonies, glass, it knows where, how strong is. It knows all this kind of elasticity in how far it can bend before breaking all that stuff is built into the material. So if you're doing simulations and not just how it will break, it can do things for thermal. It can say how how much heat it can retain, that kind of thing. It's very advanced stuff over here is not really part of this course. This is a uses, a software uses got not mechanical engineering. Because if you give them this info, you can put it in. If you are a mechanical engineer, you can go and learn more about lesson, about the simulations and things. Most people uses software, especially for 3D printing. You don't need to know is what I am trying to show you is the difference between parents and physical appearance. If so, if this was made to appear warmer, it would just look like walnut, but it would still just be It wouldn't have any of this physical stuff that would come into. Okay. If it's been given a physical material, it's got all A's and it can be used for simulations. So when you go slightly object physical material, so that's given an actual material you can use with all of our information, parents as just making it look like some free. So why wouldn't you use use physical material? Well, it might be something that's half a physical materials of Walmart, but look red because it's Walmart that's been painted red or coated in some format. If I make sense. So that's why you have the two different options. You want to do simulations and some things, it's made out of glass, but that glass has been painted. Okay. So that's why you have the two different options. You can upset the physical material and you can set your parents. And there is things like the texture map to that. Again, that's not really part of this course. This is just a get you up and running with fusion. So you combine. Once you know how to use Fusion, you can then go and learn all this advanced of yourself, okay, but that is a difference between physical materials and parents. 31. 31 Components Bodies: Okay, So it's time now to move on to more than just simple parts and we're going to look at creating actual assemblies. Now before we give up some things, we just need to understand about the filing system infusion. So I just want to show you again, this is something just to sit back and watch travel and try to follow along these quite palm. And you understand how the system works in terms of how it saves and shares with files that will make assembly. Okay? So some of you will be coming from some finite inventor or solid works. And if you're not, if you're totally new, a step up from Tinkercad doesn't fill it out, just just bear with me here. But in some fracking venter or solid works, you will have different files saved on your computer for each part. When you create an assembly will then pull in all those files is parts, and they went together. We'll go into an assembly file, which I'm not assembly file. All It's basically pull it in a different part files from wherever they saved on your computer. Now what that means is if you give someone an assembly, for instance, you need to make sure that all those separate files are together. Because if fader have the part file, a particular path file that's not going to load up a mask. That's where you can get those problems. Because if he if he worked in my environment, you get used to work in like that book. That's where something like fusion, which is based on line, it wouldn't really work as well. So what fusion does a misuse of how it is. I know what I, I, I moved to fusion from Inventor, misses some fun. I found strange at first. And it saves everything into the same file. Okay, so whereas we've invented, you'll start designing the various parts, saving them as files, may call you different parts and then create an assembler and bring those in. With fusion. You kind of think of it as work. You move away around. You create a new assembly from the beginning and create an all your part file within that same file. Okay, so it's all looked after here in this browser on the left-hand side. And at the very top, you will have your main project. So this is your overall project that you're designing, OK. And undervalue off any sub-assemblies and part files in this kind of hierarchy here. Now what I'm gonna do, I'm gonna show you a fusions, inbuilt kind of sample files uses. And you can get to that anytime. You can go to this show data panel, okay? And you should get something like this. And this will show kind of all your projects as demos. But there's also samples that come with the software libraries and all sorts of things. Now if you, if you go down to this one design samples, double-click. And there's one in here called bike frame. So if you just click on that and let that load up on your machine, okay. You can close out. And now this is, as the name would suggest, a bicycle frame and It's been modeled infusion. So this gives you an idea of kind of things you can do. And if you save a suspension here, you can actually hold down my left butt, grab some fin, and move it by that so you can see how this assembly is made to move in real life. Okay. Kinda gives you an idea for the kind of infusion is capable of. And this is a typical use of fusion, something like this. Okay. But what I want to show you is my left-hand side. You'll see now at the top we have bike frame. They will probably version one. Okay? So that is V overall project and this symbol here, this is your main assembly, okay? So cause everything. Now under here, we have a series cube symbols. Surveys are components, okay? Which means this bike frame is made up of all these different components. So that's fairly simple. The difference between assemblies and components, like assembling parts and some flunk inventors is. The assembly is the whole complete projects, if you like, of the top assembly. And then under here we have the components. And together those components make up the main assembly. But you can also have sub-assemblies. So it might have been let this spring here is piston and the spring, they could have been saved as an assembly called suspension. In this case, they're all just pulling in as individual parts, but you could have a subassembly secret of parts. Maybe, maybe five parts could have been saved in an assembler. I'm not assembler. Could have been saved inside this assembly. So you could actually have a hierarchy, could have a whole load of assemblies. When assemblies, assemblies. And in those assemblies, we're components. Okay? So that's fairly simple. The difference between assemblies and components is fairly self-explanatory. The V area where people struggle is a difference between bodies and components. Okay? So we've looked at bodies, we've been using bodies as we'll be modeling. Our parts are our components. And the difference Is body would be thought of as an item if you live, it makes up a component. Okay, So let's look at this component here. We've got a swinging arm, Weldon. So that's best parts of the frame, heavy arm. And that is a component in itself called sooner. So that might have been the manufacturer of this bike frame. Might have these arms supplied to him from another part of a factory or maybe a different company and they're welded together. So the commons one pace. So in terms of his part file, if he makes a list of parts or it gives out maybe some graphical instructions or something like this is one part. The customer is never going to get this in pieces because as to be welded together. So this is one part. But in terms of how this was made originally before it's welded together, is made up of different bodies. Okay, so if we click on maize, if I miss, I can see by the way, you can drill down using this fall this arrow here, underway component. You can see how it's broken down into sketches and bodies and also. So under bodies, we can say if we just hover over it, it will highlight. And you'll say this highlights here. We have dropout, the earlier, okay. We have dropout break. And then we've got the 27. So always have a separate bodies are modeled individually, which together make up this component. Okay? But you want to keep things as individual component because that's how they will be, That's how I feel about this. This idea is a good way of getting your head around how it works. You'll never, you'll never be supplied as a customer with these individual paths because they're welded together. So we'll make it one component. But how this component was made both in real life and infusion, it was made with different bodies. Okay. And you might want to keep those as separate policy. You can if you'd like. Ringers are and do a design file to give to the manufacturers making this component of the individual products. Okay, so phi is where a lot of people kind of struggle is, again, assemblies and components fairly self-explanatory, but components and bodies. Yeah. You just need to think of it as the component is an actual part. You might give someone, okay, whereas bodies is more about how that pi is made. It's made a cylindrical tube with a block marrow bodies which together make up component. Okay. So I just wanted to show you that. Again, if you don't quite get it with a lot of these fingers, you will, just by using it, it will become self-explanatory. And this, it is probably sounds more complicated to explain it when a is just getting used to it. So let's look at another safe ground surface here. This is a component, this is frame, okay? So this is a mainframe. We can see just by looking at it, but it's not one body area. You've got this kind of yellow outside tube has these silver kind of inserts. And again, they would probably, if you were to go out and buy this, they would come with it. You can tell just by looking at it, but they're not made of the same or the same piece of metal if you like. So frame, it will go bodies say, well, we've got we've got the mount here. Okay? So we've got a space in the middle, we've got a pivot bracket, open bracket. Okay? Yep. So you can say it's different color. It comes with a frame, so it's part of a frame component, but it's a separate individual piece, if you like. So we've got least amount here, C2B, okay? I mean you've got a carbon layout which will be the yellow on the outside. And those bodies together make up the component called frame. I'm a component called frame is in the assembler called bike frame. Okay, so that's components, assemblies, and bodies. Again, equilibrium watches back if you don't quite get it all just, if the idea is half formed, the new brain just go with it and it will become clearer as you use them. Okay, so now we're going to start looking at creating assemblies and putamen together. 32. 32 Starting Correctly: Okay, So one thing we need to be aware of before we start, this is just something is good practice really. And you'll see a lot of people don't actually do this. Now. Just so you understand why we do it, I'm going to, let's just create a quick click objects here. Again, we'll just a rectangle and I'll just extrude, but you don't have to follow along here. This is just to show you principle what I'm doing. Now you'll see I've created this body, which wouldn't be a component. Appear in our browser. We have this one component here called unsaved. This is kind of how fusion starts off. But this whole idea of top-down assembly, where we start an assembly from the beginning and then put individual components in it. It's not really doing that because there's only one component, is just showing it as a component of y. Actually want to show a pair is an assembly. The whole project's been assembly and for this to be a component inside. Okay? Because we've already got one. This is just the way fusion does. But it does mean that if you then, let me go a symbol, if I create a new component, okay. And I'll call this, well, I'm going to call it component two. Okay? And in here sketch, and it's going to be a cylinder, okay? To get it out, we're just going to move it. Move command. Okay? So what we have now we have this component, which is component to the.me. It's activated so it can see it. Okay, Then we have what I want to be component woman. So the block should be Component 1, the cylinder component too. But what it's actually done because of the way fusion styles, it's made. This our whole assembly. And this cube here is actually just a body within this assembly. Okay, Now we can fix that. We can right-click the body. We could go to create component from body. Okay, and now you can see we have, all I need to do is rename that to component one. Okay? Okay. And you can see we have component to component one. And they asked so far is how I want to. If you notice this icon has also changed to an assembly. And I can now, well, when I save this as test assembly, you can see it changes the men. So this is the kind of lab, but I want a file layout, but one, we've got our assembly and our assembly name. We've got component to it, we've got can put it one and any components I had. Now we'll we'll go into here inside this test assembly. And that's correct, but how it started was a bit strange. If I go and undo we address body. This is Q was actually a, a body not so component. Okay. And that's just a fusion thing. There is raising behind it. But for the most part, you don't is a bit of a funny way of going about getting your components under an assembly. So if I just create a star again, I start a new file. For that reason, what I always do before I do anything else is I go to new component. And you can just leave it component when you can always rename these straight away. Now, for us, give us our layout is more useful tools. We have our assembly. So when we say this As, let's just save it as Test 2. So we have our assembly of the correct name. And even though everything is blank and we haven't drawn infinite West, where here now ready to start our first component, rather than not funny Lao Edwards, the body not been quite a component of it. It just is good practice really to start off light as it makes your life easier. So I recommend that again, if you forget or you don't do that, it's not a big issue. It can just it's a strange way of going about getting to the same place and this just makes it a bit easier to follow along. So we'll be doing this from now on. Butts for a reason behind it. 33. 33 Workbench 01: Okay, so let's make our first assembly now. And this is really something that a lot of people do is a bit of a test. What people like to actually build a miser, a workbench for our workshop. So we're going to design a workbench and it's going to be in Word. You could use the same principles to do with the methyl. If you, if welding, you think it works exactly the same bet the next size just to shows how we use assemblies and put things together. So that's up to you. What amount with this one's going to be? What if you want to follow along with me? So first things first, as a meal, the chapter, I'm going to go new component and I'm actually going to call us and know what I'm going to make first. I'm going to call his legs 01. Okay. And I'm going to press Okay. So now we've got an assembler hair. I can save this as work. Actually work then work. Okay. And I'm actually, I'm just going to change this name. Actually, I'm going to put this as like 01 and you'll see why. There we go. So now I'm going to go to Sketch. And this workbench is going to be, the frame of a is going to be made out of wood. The is going to be 75 by 35, as you would most with stymied uses same size section of what you prolly by a few legs, could see it want to be using the same section. So I'm going to presume you've got a load of 75 millimeter by 35-millimeter word light around them. That's what I'm going to use for my workbench. If you're actually doing this to design your own workbench and use dimensions, whatever you've got. You might have to adjust some of the sizes to sue. So just bear that in mind. We're going to finish that. So that's our profile and I'm going to extrude it. Our leg is going to be quite small, so I'm going to do with 900 high for the leg. I'm going I want to I'm going to change a physical material. Now. I'm not gonna do any kind of simulation. So it could just I could have just changes to the parents, but why not? I'm going to change I'm going to set the physical material. Okay. So physical material and sometimes like I've just done you press them for anything, well, nothing's happened. The other word, fusion as a habit of hiding your menus. So what is done is brought it up because I hit it before. When it was up, when I've pressed it again, all it's done is bring this and it's easily to miss it, CZ to miss it so difficult. And there is. So I'm gonna go IV would add, I'm going to use I'm just going to use this. Ok. Ok. And there we go. So that's my part of my leg and that's it. Ok. Now, the way I want to build this audits require strong and I have a evidential I've actually built about five of these in real life. So ANOVA design I'm using and I need small pieces, which will obviously become the same size such words. So rather than sketch an extrude every time what I can do, I can just use this. If I make a copy of this, I can just change the length to whatever lengths are one every time, okay? Okay, So how can I go as well? What I'm trying to do here is this menu again and again, you will eventually get your head into what, how is when you words. But at the moment I'm trying to have copied a component. I'm trying to paste it into my component is kind of getting a bit confused. What I need to do is now I have copied with component. I need to make sure that I'm in our assembly. Okay. If I right-click on the assembly and Thyestes, then you'll see what happens. It brings in into the component, which is what I wanted. And straightway get is move command. That's because it's brought in in exactly the same place, so it's over top of evil one. So I can just shifted up. And there we go. And it's asking for it Exactly. So I'll press return. So now you can see what's happened. It's done. What I wanted, which is to give me another component. Okay. When I was. Copy and paste in. I was trying to paste it in a component inside a component must wait, didn't really like it. And you can see one of them is hollow and one of them is filled us. It's just the active form, whichever has got the dots on it. It's failed. If you want to see them both, you can just go to your assembly and you'll see them both. Okay, So now we've got leg long 001. And if you click it, it will show you which is unlike long 0 to, well, I'm going to call this, I'm going to change the name of that. I'm going to change it to leg lower 01. Okay. And now I want to change the size of risk. This is going to be about, It's going to be 300, okay? Off the ground. So it needs to be free, 100 high. So how do I do? Well, I can go to principal. Okay, and it's 900. So if I put that down and you can see the dimension is 300, but wait a minute. Bau phase components are changing us. What I wanted at all, okay? If I try the other one, you'll see above, changing is not what I want. I just want to change one. Why is that? Well, it goes back to when I pasted it in in fusion and deliver software as well. You have copies and you have instances, and there's differences. So you might want to duplicate an item. And eventually we will, if you had a table, if these were just normal legs and this was our legs, our table might need four legs, would want those to be exactly the same. And any change we made to one, we'd want to affect the other. That would be a paste. So that would be a direct copy of another instance of the same item. So you might draw one leg and a for instance, is about leg. And every time you change one like you want them all to change. And that's basically what we've done here. And we did that when we right-click and we put paste. Okay? So for doing that again, and we right-click again. Just, just okay. And we right-click again. So that would be our fall x and anything you did too one of them. It would affect them all, which a lot of the time. That's exactly what one and that's how you do it. Okay. But we did miss case. We would just wanting to use that because it's the same size would it's the same section which we want it to you, copy it, paste it, but then be able to edit that independently. Well, to do that, you need to go to Paste new, okay? And it looks like you've done the same thing. You need to move out away. But now, if we edit this, you will say is only changing one and these are unaffected. So that's how you do MIS difference between a copy and an instance. And so you need to make sure if that's what you want. You do pace new. Okay. I'm just gonna go I'm just gonna go back. Actually. Going to go back to the, okay, So we've we've done our first lag with extruded it. Actually. 34. 34 Workbench 02: There we go. So I'm going to copy this as we did before. I'm going to go to our assembler and I'm going to paste a new. And I'm going to move it. Just dab away. Okay. I'm just going to select a whole assembly so we see them both. And now I want to change this. So afraid 100. Okay, um, I will go. And then I'm going to copy this one. I'm going to highlight our assembler. I'm going to paste new. And I won't miss him to be 450. And you'll see why. So I'll 60 soon. There we go. So now we have our leg long 001. This I want to change the name to be leg lower one. And this one to be like 01. So I want these sections, these sections in here. So I want these paths here to be fixed on the back of this leg. And why I'm doing that will make sense later when you see Reconstruction as we build it. But for now, what I want do is I want to join. So in real life, this would be glued and then screwed. This phase here onto that face with the bottoms for okay. So now we get onto our assembler command and our joint command. So in order to stick things together, infusion, eager to join, if you, if you come in from Inventor is slightly constrains, but you do have joints, don't invent to actually, but yeah, this joint here. So it will go as some components of a move, right? So this is something that is new tools with position and capturing position. And we'll look it up again. But for now, it's good. It's ascii is saying some of our objects have moved about. Okay, if I'm just going to click on capture position, I'm going to kind of ignore it for now, but we'll go back to what that means in a bit. We've got more things to show. Now. You'll say I'm in this joint mode here and we have different types of joints. We're going to look over joints. For now. It's just a back quite basic. Jhanas is just that side. Stuck to the outside, but making sure of aboutness flush. So some software you'd have to do are over more than one command. First you would say that face sticks to that face, and then you would say this face and this face are flush and meant. It's still about degree of freedom. You'd have to say this face and this face are flush, okay? But fusion is very good with joints. Is it so powerful? You can do it all in one. So what you do is first you would say, Okay, I want this phase. And you can see this icon. The whole face has gone kind of opaque or it's highlighted. But you can also see this kind of circle half filled in at the end of my arrow. Soda, essentially asking for two options in one go is asking for face, but it's asking for a base point as well. If we highlight our face and we move along this face to a base point and you'll see it gives you a hint. Icons here what you could use as a base point. If we use this corner here. So let me share again, we go over the face to highlight it and move down to that common. You'll see it snaps to that corner. We left-click on this. And then we go to this view. We can do is, we can say, okay, so the face is stuck to this phase and mechano is selected, is a corner there. And you'll see it moves together. And it does this kind of shaky finger at the end to show you that they're both moving together. Different kind of joints do different things is it's call it weight described. It said it's animating that joint is showing you, but if one of them kinda shuffles about the oven is rigid to it and it will shuffle that as well. Now could give it an offset here. In our case, I just want it stuck straight, so, okay, so there we go. And you'll see now if I click on it and try and drag, the whole thing moves about in one. Now what we actually want, we don't want it to move at all. So if you can imagine in real life trying to be a bit like trying to build this Workbench on the International Space Station with all your parts floating around in mid-air. You kind of reach up and grab one and put it down on the floor and, and avoid flow often. That's basically what's happening in the moment because nothing is stuck down. So you need to stick at least one piece down and then you can stick everything else to it. That's kind of a way worse. And to do that, the phrase is grounded. That's what they call it. See you left-click it to highlight it. Right-click. And you can see here, you've got ground. You click that. Click on capture position omega. Now this whole thing and keeps saying about positions and captured position. Yeah, just for now, i'll I'll show you what all that means for now. Just capture the position. So I'm going to select join, I'm going to select this face and edge. And then I'm going to join it to that face and that edge. Okay? And you'll see it goes to go nowadays to set rigid book. Don't want, I don't want it to flush out. I want an offset here. I don't want these phases to be flushed. I want this section to be 75 millimeter downwards. Okay? So what I can do before finishes command now, I can select that arrow and I can pull it down 75. Okay, so now this is set how I asked it the joints, but it's often space offset that joint by minus mean it's dropping down 75. So if I press Return and you'll see now if I try and movies about as before because of its long leg is grounded, amazes took to it. It's not going to go anywhere. Now this part here, I actually wanted this to be a different size. I didn't want it to be the same size as we paste it in, but we paste it as new. But I actually want it to be a different length. So I'm going to click on this principle, and I'm going to drag this face down by 150. Okay? So that will be our leg of our workbench. Now. Because we've created our leg, I'm going to walk far away is but I don't want you can say our leg is currently made up of free components. Okay? So I want to create a leg assembly, which is made up of these components which we can use as a sub-assembly. Surveys will be that ONE sub-assembly inside for Workbench. So we go back to our main Assembly, right-click and we put new component. Okay? And I'm just going to rename this lag 0, 1. So this is a component of the moment. There's not actually in it. But what we can do, we can shift, select all our leg components, and then holding down the left button, we can drag them. And if we highlight this, you'll see a few things up amaze drug for them inside. So if we click on this arrow, we can now see they are inside with legs 0, 1, and the icon is changed to an assembly. Okay, so this is what we want. We've got an assembly within an assembly. So this is now a sub-assembly. And inside that sub-assembly, we have our components. So what we can do now we can just copy that four times. And that would be like. 35. 35 Workbench 03: Okay, so we're going to allow legs out here. And the first, I'm going to do one side and then I'm going to mirror it. So I'm just gonna use, I'm gonna do a pattern. And you'll see it's, again, it's trying to set the face. So that's just our default. Hero can change up to component. If we just clip the object, it will still go to the lowest component and slip individual pieces. So we can just select it here, Miss browser, we just quit that. It will select the whole thing. Okay? Now, direction, it's going to be in this direction here. And I want it. Let's go out, let's go 1200. I want my workbench 1200. Why do only want two legs here? I'm going to click OK. And there we have a new sequence can see fuel because it's just not, we've got only wouldn't like select it. Okay, if we go back to our model, we can see them both. Now. I want to do now is Mary them to the other side. But the problem is we've got nothing, no geometry to mirror them around. So we're going to construct an offset plane. Okay? So we slipped up and now we want our plane. I'm going to go on this face here. And then we're going to select it. I'm gonna, I'm gonna move this arrow in that direction. And I'm going to go with, I want my table to be 900. Okay? So I'm gonna go here minus 450, which will put right in the middle. 450. So this is like the word planet is just an imaginary plane. It's not going to show anything, but it gives us something to work with now. Because we can just go to mirror. Components. Will sweat, gland will slept in our browser. Slip those two, um, for a mirror plane will slip up and we'll click. Okay. So now we have our legs laid out for our bench. And now I'm going to create our frame, which will say in these legs and you'll start to say it looked like natural workbench window. Again, this is how actually build it in real life, very strong ventures. So I'm going to go and I want another piece of this timber the same length. To do that, I can drill down into one place. I can go to Copy, go to our main folder of our project, pays new, and bring it down. And you'll see we've got an independent new piece here. Now, I want this to sit in these channels and you'll see this is why we've made these bases, base sizes. So a new section will sit in there. I can't remember the distance or Kanban. If if every account, you can just go up here to inspect and click on with measuring tool. And that will let you measure. We can now measure from that phase to that phase and it tells us it's 12, 75. Okay. I actually wanted, oh, look to our table, 1200 wide. Y is 0. What it's done, it's actually is moved it 1200, but it's added itself. The width for this pace was 75, so 75 millimeters too far apart. Well, that was fine. Needs to go in our history to that where we did our pattern, which was here, right-click Edit Feature, find our 1200 and minus 75. So in fact this would have been 1125. And if we are okay, but now we can now measure this distance is 1200. Okay? So again, the beauty of this parametric history, you can go back and just change things so easily. So this here now, we can press pull and not face. And we'll make it 1200. Okay? So it's now will be a string of it sits in all of these gaps. Liver is enough. First, I'm going to copy and highlight online project this time because I want them all to remain the same. And if the length changes, I want them all to change. I'm not, I'm not gonna go paste, numerator paste. Okay, but check it out. I'm gonna go and I'm going to paste and put it in a form. Surveys for our string is an O needs to do now is under assembled. We can go to joint. This case it would be better to join phase and that corner to that face. And that corner and you'll see where it goes. Okay. And I'm going to okay. I do it a little shake so it's all together. And because we set the language correct, it sits in nicely enough, is going to move. There. We are. 36. 36 Workbench 04: And you know what we're going to do infusion and also for actually you're always looking to make your life easier. Okay. And was just occurred to me here. Is I can do that now by deleting those. Okay. And in fact, I can, I can delete, I'm going to delete these links, okay? Because I can just put these frames on here and I can mirror the whole thing. So let's do it that way. I'm going to do a joint. I'm going to select that face and that corner. And I'm going to put it on the face and back corner. Well, fusion is good, but it's not perfect and sometimes it doesn't quite get what you want. Now, you do our phase offsets and we do have also a road tapes, so we could rotate that until we get to this. And you see it says minus 90. And we could do our n5 over all. Alternatively, we could have used a different method here because we have, we are using this corner so we could go back to joining it with this, this one here and work on. Okay. Now again, it's going to take some revolving. Nothing wrong all with no do it however you need it. So let's just do that. Okay. Let's just do it that way. And there we go. So this is our kind of side frame, if you like, of our workbench. Now some pheromones do, I want this? I want to go back to our plane here, which we can do a confined, I actually want now this, this should be the outside face, okay? So phase plane in order to measure it needs to be on the other side. Okay. I could edit it. In this case is not there anything else? It's not gonna fit in females. I'm going to delete it. Yes. Okay. I'm going to put a new plane on. So I'm going to go construct plane. And it's going to go from here. That y, so we minus 450. Okay, so now we can just mirror this all over top line put up this frame could be built. And this is something you want to be keeping an eye on. Anything that can be built in it's own kind of modular form. Away and maybe away from site or just in a different area. Really want to make as a separate assembly or component surveys. Aside from here, we could call a Sartre, could build two of those and bring them in and put them together. And I think that's how I actually did it in the real world and is HMO do it here. So what I want is to create a new component, and I'll call this side frame 0, 1. And into this, I will put AT and shifts it is, okay. And then drag them into the so that side for him. And now all I need to do is mirror side frame on the UN. Okay. And you'll say it's going off because I'm going to go, well, if I select that by sweat from main project, everything is showing. So as our bench. So now we just need to do the cross-species, which is some water and then on either side. Okay, so let's select that pace. Copy. And in our main project, we will go to Paste new. Okay? And I'm just going to drag it out and I'm going to, okay. Now, let's get a measurement here. Just to confirm from that face to face is 900. So we won't as these here. And our word we're going to split. You can select the whole edge where gamma is 900, so that's fine. It's the correct width. So we can just now to, to assemble. We can join quick capture position. I'm going to join phase and mock corner to face and not grown. And I'm going to rotate it 0 degrees. Okay. I'm going to copy this. And then in the main project, I'm going to paste not new place, new instance. And I'm going to just drag that up, okay, now, we should just be able to drag this up by five to 55. To five. Yes. And there we go. So now I'm going to create another plane along this plane to be in the center. Well, it's going to be in the center of this object here. So we can say mid plane. All we need to do is select this face and this face. And you'll see it's put a plane in the middle of those two phases, which gives us the center. And now all we need to do is mirror on one with this plane just created. Okay? Um, these will be in the correct place. So now we have a frame for our workbench. 37. 37 Workbench 05: Okay. But it does need a top. And what I also do is put a sheet on here as well, which means Goodson out these resources. So we can do are easy enough. First I'm going to put the shelf, the lower sheet. And to do that, I'm going to select on here again a new component. And I'm going to call this shelf sheet. And you'll notice I always put 01. The reason is, if ever I wanted to create more of these shells or more of the same object, I can create zeros who is? In this case, I probably never would need it, but it's a good habit to get into of just number in everything. Okay. And I'm gonna go back to make the whole thing active, okay? So we have this component here ready to go. And it's going to be a sheet that sits on these it I want it to sit on all these timbers but you'll see where the legs are. Kinda need a cutout. Okay. So if I'm an active, all need to do to do that is to go to a sketch onto that plane there. Okay? Just quick. So you know that you're looking directly straight down. Okay. So now I'm going to go to Create Project. And what project will do it will allow us to save this geometry. So what is geometry now isn't actually on our sketch. Nothing exists in our sketch, no lines. What we're looking at here when we see the table is, is, is shown as we outline, kinda goes down. I know where it is so we can line things up. But what we can do, we can use this project command to actually project geometry onto our sketch. So to do that, we go to Project, okay? Yeah, it will ask us a geometry. I'm just going to click that corner. And that corner. And I'm also going to select that corner there. I'm going to click Okay, so often is free points. I don't like including lots of geometry you might not need because it can make you sketch is very messy. But now we can set the two-point rectangle from a point to there. We can select a line. So another two-point rectangle. Okay? And I can trim out these lines. Now I'm going to create a line from the midpoint, straight up. And here from this mid point. I'm going to mirror these lines around that line that okay? And I'm going to mirror Okay, in about that line there. Okay. And you can go in and down. I'm going to trim out ways. And you might get these warnings caught without various constraints and things. Ignore that. Okay, I will go. And now I can actually search for finished sketch. Now. You can see we have this here and now we'll sketch sits inside this shelf, a sheet model called Sketch or one. You could right-click, you can edit it. So what I can do now is I can extrude that shape. I could have deleted those mirror light. It doesn't matter. I can just extrude. It is going to be 12 millimeters thick plywood on top of here. I'm going to okay, that I'm there we go. So we know this part will be cuts out. It will have phase cooks puts in it and it will sit nicely in the middle of a free activate everything. You can say. It will sit there like that. And actually it needed to go to the edge here for some reason it trimmed off. So let's go back and let's just edit our sketch. Okay, so let's extend. Extend. Should do it. So if you finish the sketch and we go back to our extrude feature, we just missed clicking those. And our top piece is going to be even easier because it's no cutouts data, it's just gonna be a flat sheet. So I'm just going to go up here, right-click new component, and I'm going to call this top x0 0. Okay? And I'm going to create a sketch on that plane. We're going to make sure we're top-down. I'm going to project that corner and that corner. Okay? And then do two-point rectangle from the points we just projected. Simple as that finished sketch. And now it's just a case of extrude in some reason it's most separately. Does it matter 12 millimeters? And that will give us our top shape and we'll go about activate the whole thing. And there we go. So now all we need to do is go to, if we right-click this and physical material, again, it's hidden here. Go to wood. And I won a plywood plywood finish on. Okay. So so and so date is not really done. Anything could have been mahogany. So you can say actually, just so it shows it. Oops. Just so it shows it better. Again. Physical material. Let's move the tops mahogany omega up just so it looks better. And that's a workbench. So okay, so you'll see now what we have here. We have our main assembly is called workbench. Now. And about Workbench, we have some two subassemblies, which are our side frames and the side frame assembly. We have another subassembly which is the leg. In the leg, we have these components as well as the leg sub-assembly. We actually have Jay's pieces. It's called them like lumps are what I actually want to rename those because they're more like old lady called side frame. And then you say names and both side frame. So in our side frame. And actually that's not because our assembly is called side frame. I would call them side frame. Side frame. So each frame face I spit long, at least is. So now on the other side frame It's a bit long. It's a bit long, but at least it describes what it is. So under our side frame subassembly, we have the legs of assembly and assign frame, side frame components. Okay, so the purpose of this exercise here was mainly to show you how assemblies and pieces work together. So hope you can see that we are main assembly subassemblies inside, subassemblies, inside sub-assemblies and pieces. And always now is quite illogical. It's quite logical makeup in terms of the assemblies, sub-assemblies, and which ones are underneath overs, okay. And that is how we use assemblies with components to create our projects. Okay. So there you go. You took the first workbench. Later. We'll see later we'll see how we can take these and actually make them into joint. You could send to someone all prints out two you would shop and create itself. But for now, let's the first assembly. 38. 38 Joints 01: Okay, so now it's time to create another model and put some of this stuff together. I want to teach you about some more joints. We really need a good model to do this with. And we can use that to just put together some of the constraints we've learned. Just solidify it in your mind. Okay? So first thing, we started a new project. I'm going to go new component. And I'm going to call this component Device body. And we're going to create a small device like a machine is something again, it will be very basic. But I'm not here to do 30 our courses and make things complicated. Gsr can patter out, that's no good tweet anyone knew, just get bored. So it's going to be a fairly simple vice, but it will, it will do the job of teaching or small joints. So this component will be called vice body. And I'm active now I'm going to create a sketch on here. And I'm going to use a central rectangle, which I'll make fifth day by 175. Ok. And now I want to put some lines on Ultimaker could sell on here. So I'm going to do a 2 rectangle. I'm just going to snap onto this line anywhere and just randomly puts it in there for now. Okay, I'm gonna go trim and I'm going to trim buffers lines out. Now I can get rid of is diagonal construction lines because we don't have, somebody must have, not needed. And let's have a look at what we've got in terms of constraints. We can see we've got these parallel constraints here. Parallel with everything seems to be set. Right angles or parallel, co-linear. It's still blow. We need to put some dimensions on, okay? So this side, this will need to be, let's call this. Let's call is 35, okay? And this side will be small, this will be 20. Okay? And now this cutout here will be faulty. Go, it's still blow. And you might think you will all constrained now. But the one thing it doesn't know is where it sits in space in terms of the origin. So we need to set it in terms of the origin with some dimensions, okay? And I want to keep as symmetrical as possible. Again, always travel it symmetrically. So on this line, this point has to be in the center, which means this line. And here I can put dimension on, which would be half of 175. Okay? Now, I could get a calculator out and I could work out what is half of one 75 and type item. But with fusion you can just type 175 sludge for divide two. So that's 175 divided by two. And press Return. Easy. Ok, and you'll see the vertical lines you can block because now constraints, so we just need to give it this dimension here. And there you go. It's all black now, and it's all constraint. And we've got our first component sketch where we can finish the sketch and we can extrude it now. And let's make it 120. Okay? So this is our Vice body here. Now, I just want to set it. I'm going to make this the front. Okay, so the pull down menu and you'll have set current views from now. You might not save up because it's often on another monitor. But when you click this button, you'll get the option to set the current view is from. Okay, so now it's all from. So I'm going to create a new component. I'm going to call this vice slide. Okay? And this will be the peso slides in and out as you twist advice. So let's create a sketch on this plane here. And let's project. I'm going to get that point on that line. And then I can do a two-point rectangle from a point to the line. And all I need to do now is give it this dimension which I will make, will make. Twenty-five action. Okay? Now it's black box constraint and I can extrude this now. And I'm going to go same height bringing notes about level 40. Okay? So now if I make everything active, you can see the whole thing. And I'm going to save this now. Has vice model, okay? And you'll see it changes the name, their vice models. We've got vice model, we've got our Vice body and will go out I slide. So we need to make our turning mechanism though. We will turn to push with vice forwards and backwards. Okay? At the moment is just sits in anywhere. Now this is a good time to talk about the position. We've seen this error message come up about a physician current position. And I can show you this now I'm just going to click on those. So you can see we've got our two components here. And if I go to component view, we can see we've got the vice body and we've got the vice slide. Now that advice slide has gone underneath advice body. We don't actually want that. We want the vice slide so I can left-click and drag it. And I'm going to put it onto the main model, so that brings it out from being underneath his body now. So at two separate components here, okay. But they're going to remain where they were drawn. We drew this slide by doing a sketch of here, and it's actually in the correct position. So we've drawn a Democrat position. We could have drawn out here if we knew the dimensions. But it's in the correct position and it's, and what fusion will do is it will capture that position and it will remember. So even though this isn't joined to the device, but if I was to drag this out, a new command will come up here with position. Now, I have two options here. Maybe attract but into the correct place, in which case I can capture that position and what that will do, it will take as a kind of snapshot and say, Okay, from now on, this part lives here. This is a new position. Or maybe I just dragged out like we did to show that it's not joined, is not part of and really I want to put it back now so I can go to revert. I'm not reverts it to the end. I can do is however many times I want, I can move it all over. It's not undoing, it's not, it's not moving bots with previous position. It's reverted back to a captured position. If I was to move it there and then select capture position. Whenever I click it, it will move back here. Okay? So just be aware, don't either. Sometimes early on we will capture him a position just to be able to proceed because we haven't learned this yet, but a lot of the time you just revert to the original place, okay? Which we'll do now. So what I want to do now is I want to create a hole right in the middle of this face here. And I'll visit hole is going to be the vice body. So I want to make sure we're active on just that part or component. So I want to put on the middle of this face, I want to put a point, okay? Which is just like getting the center position created a mark. So I'm going to get both these blue lines up by hovering over midpoints. And we know now we're in the center of this phase and we can pull up MATLAB. But when you get these blue lines is just a guide of where to put it. We haven't constrained it properly. So we do need to constrain that by putting on dimensions. Okay? It will be in the correct place because we use those blue lines so we can just okay. But we do need to specify if it hasn't got dimensions or anything when it's not, it's not, it's not fully constrained. So we've got our center punch matter. We can finish that sketch. Okay, so now I'm going to select hole, and I'm going to select that placement is at point single whole face is where my point is where it's going to be. This is a threaded hole. And with distance will be two phase. Now the size, I'm going to make it 20 millimeters. Let's make it 25. Actually know 2025 I will repay. It doesn't really matter. It's just example, I'm going to hit 20 and I'm going to click Okay. And what we have there now is a threaded hole. So in terms of his vice body, I'm happy with that now. 39. 39 Joints 02: Okay, so let's MATLAB edit this slide. Let's move the slider active. And I'm going to do a sketch on here on this face. Now I want this circle to be the same. Kind of damage the hair. So I'm just going to project it on a beam, same place, same diameter. So we can just project this. And to face which we get there. Now for this one, I'm going to finish the sketch and I'm just going to extrude this in. And I'm going to go 90 minus 10. I'll do it. Okay. So we'll just have a little hole for our metal rod through here. It's going to screw for this and it's just going to sit in. So let's go and let's make our whole model active again. And you can see these holes line up because I used it for the projected vat to do a sketch. So now we need a new component. So we make sure we're on our main model first and we'll go to New Component and I'll call this, let's call it. Just call it a rod. Simple. And this will be just a simple. I can do it on his face and I can project a circle. Okay, finish the sketch. And now I'll need to do is go to our circle and hungered. So make this we know our, so it wants to be, let's make it a bit longer. Make it 18. Okay. I'm going to make it. So now we have this new component called rho. And we can move this in an hour, even though we made it, we use this to sketch it is still movable. Okay? But let me just revert back. Now I'm going to put a thread on this and I want it. We Office 10 mil hold. So for the idea is the end of this rod will sit about seminal WHO there would be some kind of bearing thing in reality that would let it turn, but we're just going to let it sit in and it's going to be threaded so it will screw on here. So we need to put a thread on this rod, but not all the way. Okay, so let's revert it back to this position and let's create fret. Okay? It's asking for a face. We just select that face. And it's asking for a profile. Won't miss iso metric profile. We slept on. When you select a face, they automatically chooses the best one. Okay. Now don't want it full length because I want I want a blank section here for this to slot into an else on a blank section on n for some kind of a humble. So offset. Let's go with ten, a handle side. So let's go with 25. Okay? So we'll give it a 25 offset. And now the length of if we want 10 mil here, well, we do that by specifying the length. So if a length four all the way to the end, then the Frederick good spin. So we want to bring it back. Let's say 10 mil, okay? So we have a fret on this route, which is a 150 millimeters long, and it starts 25 millimeters in. And if we okay, there we go. So now we get our model is almost at all. I'm going to put some kind of a handle on this. So how can we do about well, I want I want to put a hole through this rod. Well what I can do is put this, if I go to construct, we can put a plane. And we've got all these planes here. And we've got axes, which is basically a line, and we've got points. Okay? So I can put a tangent line on this. And now we can specify an angle. I'm going to keep a 0. I'm going to okay, that I'm not. Let us put this, this plane here, okay? For one side, we commend sketch on here and create a circle. I'm going to make this. I'm going to make it five millimeters. Okay. Finish Sketch. So we can offload some midday. We can now use up. I'm just going to drag that out. We could give it a distance if we wanted minus 20 is going to cut a hole for UA. We wanted. And that's our threaded wrote finished. So we can go back to the main assembly and we can see now we are kind of getting somewhere as beginning to like advice. We just need some kind of pen to go through here so we can turn it. So let's do a new component. And we'll call this pen. Ok. And I'm going to draw this. It doesn't really matter where we draw it. I'm going to draw this on the origin point just so we can see. And this will be a circle of five millimeters diameter. 50. Need to change that to five. Okay, Finish Sketch and I'm going to extrude this out. This will probably be quite long, so you can tell must make it. Let's make it a 100 millimeters. And okay, Well, so there we go. So I'm going to activate the whole thing. And you can say, most of this was modeled in place. This pin wasn't we purposely to get there. So there's demonstration if I go to revert now it will go back to where it was modeled, which is wrong. Now, we can pull all these apart. And sometimes it's easy to see where things are supposed to go when you do it that way. 40. 40 Joints 03: But I'm going to do some assembly now. I'm going to do some joints, okay? And we're going to look at a, so this is where we want it to be to do this demonstration. And we can, we can pretty much see how it needs to go together. So let's assemble it. Let's go. We're gonna do a new joint. And it's gonna tell us about this. So we can continue, we can revert back, we can capture position. So if I just go Continue, it will revert back, which is okay. We can do that. If I could do, again, if I click on capture position, then it would have this new position far as, okay. I'm just gonna go continue. I want to show you also let me revert back under joints. We have joint and we have as-built joint. What's the difference? Well, a joint tool just let you drag one component from anywhere, another component from anywhere, and join them together. And that will be joined in a way you specify an as-built joint is when you want you can use when you want to put items scheduled already met correct place. So let's say this rod amaze phi's are already in place. We can say as-built joint and it will it will know that they're staying where they are. Okay, but we want some, we want to do a bit more of an intelligent junks. We want to add any movement here. So I actually sometimes like to just drag them away and then capture that position. And I know now that these parts needed assembling. And if I was to start putting them together and then go to revert, it reverts and buts here. Okay, So I know that these need building up. It's a bit like assembly, not have any components on a tabletop ready to be assembled. So let's join them together. I'm going to create a joint. It's going to be that circle. And let me want to look in here and on that circle, Okay. And it's going to put those together, but that's a rigid joint at the moment. So we want this to be able to turn. We want to imagine there's some kind of bearing and massive is Rob can turn independently of that block. So we need to add some motion. And we're going to use this revolute and you'll see animate it now. That's exactly what we wanted. We wanted but turning there so we can okay that. And now there is some animation here. We, it won't do anything. We try and target because we haven't grounded any elements here. What I'm gonna do while we're here is ground this vice block. Okay, So the next joint we want, we want to put this, we want this to slide inside this hole here. Okay? So let's vote What's good to joint. And just go click on Continue here because we've grown the best now it's telling me it's gone. Only partially visible saying it can't be moved. Okay. So I'm going to select the face and the center point. And I'm going to select this here, which is put an end. And it's animated mode. We've got it's still set on a revolute. So I'm going to change this to a slide and you'll see now it's animating how it thinks we want to do this. Again, you can just click this Play button here. So that's actually correct. That's exactly what we wanted. We want it to slide through about holder. And if I click Okay, now, you'll see, because it's joined to that block, this will move as well. Okay? So that is like that. Now. But the moment this is set to roadside, okay. We've told it that there is a rotation joint between this pace and this pace. And it doesn't really know, didn't know attributes is it's taking the best guess is doing well, but it isn't perfect. It doesn't know what advice is. So we want the other way around. We want this to stay still and we went up to rotate. Well, what we need to do is join this unless together. So let's go assemble and we'll just continue for now. I'm going to select, I'm going to select this face. I might corner we face, I'm not gone up. Okay. Now it's tried to put them in that way. I don't want them that way. I want it flipped. So it puts some scholars, if you can see what it's doing is it's either join join him face to face, or joining them side-by-side. We wanted side-by-side, okay, but we want some motion here as well. We want to be able to slide. And if we animate that, is, that's the wrong axis, we don't want it slide in there so we can change this x-axis. That's correct. And if would have split the y-axis would have been incorrect. So we want the x-axis, we want the sliding here. And don't worry about it moving through the object. Okay. We'll sell that lights as relocate up. So now it's doing what it did before, but it's not going to let us rotate this. Okay. So again, and let's put our pin in now. So remind ourselves of the length we'll measure from that face to face. It's pretty sure it was a 100100 millimeters. Okay. I'm going to assemble, and I'm going to assemble, I'm going to click on continue on this phase inside the OK. And you'll see we still got a motion and we still got a sliding motion on because this pin will be free to slide through. But again, we're going to select the different axes. And that's what we want, okay? And here I'm going to do an offset in the z-axis of minus 45, which will just bringing in the middle there. Okay, so now we're getting somewhere. This, we have our pen here and we have our vice, but something's not quite right here. This should turn this device, okay. 41. 41 Joints 04: So I just need to do some adjustments here. One thing I'm going to do is edit this joint. I don't. Whilst they can slide. For our purposes here we don't want it to slot, wanted to twist relevance slide. So I'm going to right-click in the history, the last joint, I'm going to make this rigid. Okay. And that will actually make it rigid to appoint. But we still can't turn it and there's a reason for that. So we put a rotation joint between these two pieces. But we haven't got rotation joint. We need to be able to rotate inside the body of nominates slides in the body, but we haven't taught it can rotate in his body. So fusion won't let it do something unless we've told it. So this joint here needs to be amended. And it's this slide joint here. Okay. So let's edit this joint and let's see what we can do. It's a slide in joint which is fine, which is what we wanted. But what we need to do is slide and rotate. Okay? So here we have smoother giants, we have cylindrical, and if you hide it will tell it, it will tell you what it can do. It can rotate and move along a single axis. Okay? So cylindrical, and if we click it, you can see now it's doing exactly what we want if I apply, but again, it's rotating and it's sliding. So I'm going to okay, and now let's see what we can do. We can rotate and we can slide. Okay, So now it is, it's kind of getting there. We do have a bit of a problem. In that moment. It seems to be made a finance. This is going through V over object. So we need, we need to tell fusion. This is object hair cannot actually pass through another solid object. And we can do that with vase contact sets. So we'll click on Enable contact sets and we'll select new contacts. So it's asking for the bodies are the components. So that's fairly simple. Just click on these two and we click Okay. And now you'll see a kind of a teacher and stop. If you were to get you mouse them, kind of false it. This isn't a simulation, this is just in the modeling tool a moment so you can false it with your mouse. And it will kind of push it further inside. But just if you just do it gently, you can see where the concept set, contact sets. Okay? So this is looking nice now, but we've also got some finance. This turning, which is what it needs. But it's no connection in real life, you will be turning this and this will be moving forward and you turn it the other way in liver. But at the moment is just two different joint is rotating and sliding. Well, we can also set up and we can do that with this motion link. Okay? So what I'm gonna do now is I'm going to capture this position. I'm kinda like half open half shot. So I'm going to capture that same motion link. It's asking us to slip the joints that we want to tie together. So we want to tie together this slide in joint with this rotating joint here. Okay? Um, what we're gonna say is the cylinder joint. So it is, this cylinder will rotate fringes 60 degrees for every 10 millimeters of slide. Okay, well, that might be okay. Let's try that. It's okay. Uh, now we can see that as we, as we move this rotation here, I think looking at it, it's rotating the wrong way. Okay, so let's see if we can edit. We just click on reverse. We could have said it rotates 360 for every 20 milliliters, okay. Is known as preview it. But if we OK it and we move this, I'm not looks, that looks better. So you can see now that our vise is actually working as it should. We turn the handle and the thing slides for omega, That's the power of joints infusion. And if we want, we can make this look a bit better. By making it. Let's just make a different cola. See if we've got something here that Let's make it this blue here. Then let's go with a kind of steel and we'll just make it look a bit better. Yeah. So we'll get rid of so that's our vice. Now, you can see how easy it is. How is effusion makes it to make not just models, but actually simulate things and say forward. And you would not only do this to see if it worked, but if you wanted to show some worse, you came up with this design for a new type of virus and you wanted to send it, you can actually let someone say how it will work. And technical jargon is something I studied years ago and it's a good skill to have. And we'll look later in this course about how you can create a technical joint to send someone to model, but it cannot be, being able to just show someone is always going to work. And it's something that fusion is great for. So they go joints. 42. 42 Insert 01: Okay, so now we go into look at insertions and miss insertion menu here and see what we've got on the hip because it's some good stuff there. So derive, this lets you insert components and sketches. Let's say some design yesterday wants to bring in as part of this assembly, we can insert a new power 0 saved part, sorry. So that's fairly self-explanatory, d Tau. Now this is gravis will let you put an image on something so it could be like a logo if you're physically made with a logo fealty to actually 3D print a logo, something you can do about here. So it will ask you where is. Again, it's looking at in your kind of online directory. So if you own something that's on your computer, you can click on Insert from my computer, I have my Terraform 3D Logo. I'm just going to use that. And it's asking for a face. So I'm going to put it on this face here. And now you're gonna get always kind of options you can fill in. But again, it's easy to just use the kind of smart editing tool because it's fairly explanatory level you're trying to do, okay? You can scale it, you can rotate it. And you'll see all these changes are there. And you can move it server. That's going to be okay. And you can make it opaque here. So maybe it was just a slight logo. I'm going to click OK and there we have. So that's plus D. So I will let you put logos and things like that. Okay, so Canvas, so Canvas is if you, let's say we wanted to supposing I wanted to create a new component here. And actually let me start a new drawing. So this is generally symphony used for more organic modeling or maybe we're trying to create a model of an airplane, real-life airplane, or a car, something like that. You can insert these canvases and insert from your computer. Go so maybe you wanted an airplane, okay. You might choose that face and scale it up. Okay. And when you might have another canvas of the front of the airplane on that face. Okay. And scale. And you would have to make sure you've got these scales correct. But you could then start sketching. And you can use this as a kind of template just to roughly, I'm not going to try and address, but it would allow you to then model with a kind of template cinema background, but you could sketch over and get a correct size. Again, I'm not gonna go through the is just to show what it is. If you if unknowns coming from a background from symptom like 3D Studio, I'll one of the more graphical packages like Nia or something like that, this is, you would have done this, you'll know exactly what this is trying to do is giving you something to model. And this is used in things like film, special effects when you women modelling something from Star Wars, is that a spaceship or something like that? What they would do, it would go to an artist who would draw it with an actual pen Proper out John, and he would do what we call a free view. So we do a side view and front view, top view. And then if it came to a Mandala, who kind of employee wouldn't be done infusion. But if it was maybe wanted to do infusion for ever raise money would take those drawings side view, front view, insert them is canvases and many would say anyone who would model around. Okay. So that's what comers doesn't, it's not part of your He's not been an output 25. This is bit like construction lines. This is just some fema background, but it's allowed you to draw. So it's an, it's nicely in physically new drawing the canvas. Okay. Insert mesh. So let's go with new here. If you're into 3D printing, you'll know about STL files and you can download STL files from various places. Some might give you one to print the 3D print. Maybe what's make some alterations to that? You haven't got the actual model, you've just got the output file, which is STL, which is just the 3D print file. And you can download these from websites such as fingers. You can import that mesh in, into your drawing. Okay. Let's have a look. So have I got any STL files or should have Asian hornet chap was one. So we can import that and you can see what it looks like. This was a cage. It was actually add some home. It's one outside my office. So I downloaded an Asian hornet shop cage and this is how it will look. This is how it comes in. So that's been downloaded from some by someone who has made it available to 3D print. And you can bring that into your model. Okay, So the 3D print guys will line up. Let's go file new. So it's an SVG. Svg is kind of a basic image. Maybe you won't, maybe you had an outline of something you want it's bringing, you can bring any news as a sketch. So you could do the outline of your karma be sketched and maybe they will extrude by printing out as a cue in another node. Now smell DXF, kinda same thing. This is what AutoCad guys, whenever S is DXF, you can insert something joining the altar cat today. You can bring that into your sketch and then you can extract, again. These aren't rarely, we don't really need to show if you know what these are. If you use them, it will make sense. If you don't, you probably don't need to know. 43. 43 Insert 02: Okay, So one of the, one of the best insert options in fusion is this one down here, which is insert McMaster-Carr component. Okay? So some of you may know who mock MasterCard are. Some of you may not. It basically a large supplier of all sorts of hardware and components and that kind of thing for that primarily US. But I'm pretty sure you can order from them, but probably do of a website in every country. I've never actually ordered anything from them myself, but I've user components along. Okay, so let's have a look. If we go down now, this is going to look a bit different when we click on it. Okay? So if we go down, if I click on it, it comes up with this catalog of parts. If you just installed Fusion, you haven't used this option before. When you click on it, it's going to go with something a bit different. It's going to basically before you can use this, you need to create an account with McMaster-Carr. Okay, now I've got an account and it's all linked, so it will come up like this. All I can say is you just follow the prompts. It's asking for to set up an account. Okay. You may need to register s0. I need to login if I've got an account, which I'll do. But you probably need to go and create whole account and go through for fame with confirming your email. So I'll let you, I'll let you do about so you might want to pause this chapter and do that and then come back to it. Okay, So hopefully you are logged in. And like mine does, it should say name there, wherever you use name you've created. And you should now have this catalog here. If you have any problems with creates an account with McMaster-Carr. Unfortunately, there's not much I can do in terms of so please don't contact me with an issue with McMaster-Carr because there's really nothing I can do. I'd love to help, but I won't be able to. So you'll need to go through McMaster-Carr fusion, help to get an issues without resolved. But hopefully you've all got to this stage. Eventually. And now, once you've set up and if you've toolbox to keep you logged in newer midtone value would just be able to go down to Insert McMaster-Carr component, OK, and it will log you in. They go. So I'm going to move on. I'm going to say where all of this stage. So what exactly is this? Well, it's a catalog of all these all these parts as ego. I mean, you've got everything. This is tools. If you want to show tools with electrical parts, fabrication parts, these are the things that probably is most, which is the fastest. So things like screws, bolts, eyeballs. Um, it depends what kind of thing you're doing and what industry you're in. But you can have valves. You can even have furniture. Is hardware here. So you have things. These will be good to put on the bottom of a workbench remained so you could level it. Maybe wanted to use it. You've got all sorts who's a hinges surveys are used quite a lot. And we've got all these heating stuff, lubricated. Something, something that difficult too much in how you would actually put them into a drawing. But you might want to show up just for whatever reason. You got a pipe fittings here. The power transmission, again, a really depends what industry you're in. And you also have raw materials. So things like metals, you could have still round tube. Okay. Low-carbon round trip. And so if I go back to the main site, I'll show you how Let's put in if we wanted to bolt, so so we just wanted to I'm just going to go with an if now. Let's just go with that. And I'll show you how to insert something, okay, so you choose the size you want. And you get all these options. So there's all sorts here. You will probably find what you're looking for homes and water margin because it's such an extensive catalog. And let's say this is okay, this is a boat we want, this is when we want to use, okay. It's a bit clumsy how you get them in. But what you have to do is when you select it and you can see it sent out to what they can actually already a parts for. If you've got it setup with your payment. Once you don't exactly Can you cannot be a parts you need. But let's say we've selected our part now, we won't mess and we want to, in our drawing, what you actually have to do is click on this product detail here, are going to exhibit clumsy this part, but you'll see you get all the details of it and you can see if it's what you want, okay? Yes. Let's say it's what you want to scroll down and have a bottom. You get this pull-down menu here. And it's asking for all these different types of z. You can bring it as a PDF. If you use an auto cut, you can bring it in. By the way, this isn't. If you look at this thinking, wow, this would be great for my auto calibration fly. You can just go to a website and you can get a lot of this stuff. So this is just a fusion plugin on now. So you can bring it in as a data Vg and get it off. Get it for autarky. Okay, but what if a fusion for bringing the arch is a freely step, okay? So select freely step. I'm going to select Save. And again, depending on your computer and everything. But there you go. So that's the voltage here. So it's asking us, it's got this normal transform think basically asking is where you want to, okay, We'll move copies if you're just okay. It brings it in omega and less possible. So if you were making connections, you don't actually have to model any kind of bolts or fossils or anything you can get. Mastercard can just bring it in, which makes it really speeds, speeds things up. Okay? It might be one, not so much in bringing in not just randomly chose the size of bolt, so accountant and size it was, but we could bring in you. But then once it's in, once you've got this part and it comes in as a component, as you'll see. So you can do all the things like copying. You could, if you had a bolted connection. So that might be a washer or two washes and a bolt. So once you've created that connection, you can then, just like you do have any component, you can select those for those free components. You bolt washer and create that into a sub-assembly. And then you can duplicate those super sum. If you add ten holes with the same bolted connection, you could just duplicate copy bolted assembly. Offer our children. Okay. So it makes life so much easier. 44. 44 Insert 03: And as a Service, raw materials. So let's say we wanted some steel tube. We can have all our shapes here. We can select Round 2 and we get always. So maybe you want it this which is a Chrome, all the stuff. So maybe we want this one in time, it's a tube. Okay, we can go product detail and we go to the bottom. And so we need to select the length. So let's go over one foot length. And now we get a step file if it's not coming up with this. So insert and it's probably need in my information to narrow down the actual part. In this case, it need to be length, so that's a clue. If it's not giving you that option, it probably needs more information from you. When you've got just select Save. Okay, I'm ever go and it brings it in. I may have got own foot length. Now we're working in millimeters. So generally if I did this, how I like to work is to you can use press polysemous. So if we slept up phase, we can change it to whatever length if we want. We're going to be in millimeters and it's going to ask us for new distance. Well, because this is fate that we import it as a, for them. What I tend to do is make one work out the millimeters I need to add to Rama up into sanely intersection. So I'm going to just change it, but you can only need to do is go inspect and measure from face to face. Okay. And it will tell you the length is 4.8. So I'm just going to do a quick 1 thousand minus 304.8695.2. Okay. So if I now was to press pull a mess and go 6.295 and we should so we've got one meets the length of this now. And what I would generally do if I'm working with this, you can see this is our pipe Paris, our component. So I'll rename that fall on one diameter. Some fun. This again, this is up to you, but I'd call this one meter, okay? I'm not going to use that as my default, so I know about so we'll meet such I would actually use ARIMA model. What I will do is our copy that, paste it. Okay? I mean, you could imagine your first component was for me to length. If you can just rename this, just rename this whatever you want. So pipe one and you notice is a meter. So if you wanted to form its length, it would simply be a case of press pull in free 1000 millimeters. Okay. And that would give you your form. It's a length. So what I would do is copy that. Go to your main assembly, paste new. Okay, and then rename that for instance, 001. Okay, and now this will be our component you could actually do something with. So I always keep a base of a material. This is just how I tend to do it. If you, if you were using if you're going to use lots of these types of pipe. And then free 1000. If you're going to use lots of these types of pipe to make some kind of frame are the same same specification. And yeah, you could have one as your base. Which news meters long. And you could keep copying map. And then make sure you go to your main and paste in new versions. And each time, you would then be free to create different sizes. Okay? But you'd always have this base here, which is one meter, which will make it easier. So you can just copy that and add all minus whatever size you want. I hope that makes it That's often a bit of a tangent I know I'm supposed to be showing you is McMaster-Carr. But for the raw materials, that's why I tend to do it. Just bring in and a lot of them will have. It depends what you click on the not all just in inches. There are some metric dimensions, okay. So some things I'm going to run them, which ones are and which ones aren't. Able to just find one. But a lot of things do come in metric sizes. You don't need to go through that process. 45. 45 Insert 04: So again, the main page, we have always things hinges where it was the hinges very well. And so you could bring in a hinge and you could choose one. And then you'll be able to bring that into drawing. And if you look very dates, but they'll give you what you need. So you could then if you were to use these exact component and maybe order it from master car, Let's say you were making a box of you wants to energy can bring this in and it's actually the whole space. So you could sell your whole spacing based on the actual pi is going to build. Okay? So just, if you start a new design, just to show you how this would work. In action list, I'm just going to create any kind of random planes just to show you. And we're going to put in a hinge. Okay, so we'll go to Insert McMaster-Carr. So the hardware hinges. And I'm not going to be very, again, I'm just going to select random hinge. So far. So you can see we've got this hinge and then we could join that. So put a joint and select this face and corner on that face and corner. I'm older. So they go so that's how you put your hinge home. Now, let's good. As it says. It's a bit, it doesn't really come with all the joints, some revolutions and things that would be a bit too much to ask for. Mcmaster kept up the amount for all the various different types of software. You have to imagine all these different Freddy's work with different in terms of joints. So it would be a massive task from Steve up. But you can never itself if the body is here. So joints, remember, joints only work with components and miss the moon is one component okay. With him. So you would have to you'd have to find it in the browser. And then look at the body service hinges made up of free bodies. So you've got side, you go outside and you've got the pin. So what you could do is you could create components from the bodies and make three separate components. And then apply your joints. And then save that as a super-simple gai. We've done a lot, so that means go for it. But that's yeah, that's why Donald is hinges to work perfectly when you download them there. So you could do things like show them and maybe wants it's recessive. The hinge does, it's almost would give you about size. So that's kind of thing you'd use them for. If you want to do any kind of animations or for example, you need to do better work, but that's my master. I hope you appreciate how much were that would save you in terms of modeling all this stuff. But yeah, it's great. Okay. 46. 46 Drawing Sheets 01: Okay, welcome back. So now we're going to look at how we can output our designs, okay? And there is, I would say, four main ways you will output your design. So you've, you've come up with some flowers. Now you want to share it with the world. So you might be sending it to someone to fabricate, turn it to manufacturer. Maybe it's somebody in the same company. Maybe this machine shop downstairs. You've come up with your design. How do you get it to them if you were to just send a mess? Even though we might be able to move about, we're not going to be very happy. It's not going to give him much to go on in terms of manufacturing, you would need to create a traditional technical drawing. Okay, so we'll look at that in this first section. Server way you can change. The first thing we do is change your environment. Okay, So the pair you'll see, it says design a mass. What we've been doing so far, we've been using these commands to design something in the design environment. But now we want to go into the drawing environment. So we can come down here and we can say jarring. And this is from design. So we want to create a drawing from our design. So, okay, so we'll click that and you'll get this box here. And it's asking you what design you want to do it from. So we want our full assembly design here. We could just sort an individual component if we wanted to join of an individual, individual component, okay, we will be doing that as part of his design, but we want the whole thing. We need to give fabricated the whole thing so it can make it. Okay, So the drawing, we're going to create a new drawing template. So if you were to go into a company that probably have their own templates setup here. And that would be in terms of the company logo machine mock kind of thing. If you find yourself doing a lot, you would save yourself, save your kind of standard Sheol as a template. But this is, I'm doing this as you are with a freshly installed version of fusion. So we're going to go from scratch. Standard service, ISO has SMA. Generally, that's the American and the ISO we use here in Europe. But again, this isn't really a drafting engineering courses is a fusion costs. You leave it on ice. So I SMA if you don't know what the main you probably don't need to know the names of serve as our units, so delight to work in inches or millimeters. Again, it's a preference usually between the guys in America who use inches and European measurement units, which is generally millimeters. So I'm going to leave this in millimeters because we did our design in millimeters. I'm a size of a shape. Now years ago, when I started drafting, 24 years ago, we all did everything on large sheets. So a 10 and these were big canvas on sheets that you ought to fold upon role open. Yeah, that I'm not quite sure why. It was a robot from a drafting days where you'll be on a drawing board. So I'm going to be some drawing board with pens, not on those often not mess around in them days you'll be using pens and if you made a mistake, That's when you always remember the benefits of card when you've got an undo button. Because in the old days if you made a mistake with pen, you have to get a blade out and scratch it all out. So we used to use a 01 generally as a throw back from when it was on a drawing board with the big shapes. Nowadays it tends to be a free and a for y by a large-scale Pluto. And you can just use a normal A3 prints offering. That's what's driving most of it. And so we're just going to slit day free here. And I'm going to okay that. And you'll see everything changes. So fusion has taken us into a whole different environment. Now the drawing environment and all our commands are different. Okay? We have a sheet here that is put on which is kind of a fusion default. And it's almost like we're in different places. Software, everything is different. Well, that's because fusion has these different environments and it's the same really is just different commands that you might need. You don't need any of the old commands now because we're not modeling we need a whole new set of commands. So first thing it's going to ask is, and if you see it highlighted here, it's asking for the base view. So this means, okay, What You want to do a join of your assembly, but which view D1 is your main view. Okay, and again, we've got some options here. So it's giving us a kind of preview of what it would look like. You can see straight away this is going to be too small to conduct to convey any kind of information 21, and that's because our scale is set to one to five. Now our model on a free shape is not begging reliability is any advice or an A3 sheet doesn't need to be 12 file. I'm going to see what actual size looks like, which is one-to-one. Well, this view is quite good, but we're gonna get a few views on hair cells, probably too much. So let's go to once a term that's probably about right, okay. And I'm gonna put this view. I'm going to put it in the top left and I'm just going to left-click. It'll be far though. I'll show you the options here. So if you remember, when we design this, we set one face to the front. Well, we could choose any phase we want here. And it will show us a preview. We could have. We could have kind of a is symmetric faces. Good omega, omega 3 D view. But generally your first vis a vis is the option for your base view. So you're basically wants to be something like top or from, okay, as the base view. And I'm going to use this one. And I'm going to the style, okay, we have the style here. So visible edges, hidden edges shared is specify two. And I'll show you those after. So I'm going to OK LA. And you'll see it puts the enemy position in just a simple line drawing. And that was with style. Okay? If I right-click that, I could go to edit view. And I can change this down R so I can select hidden edges. And you'll see what that does it put some mi edges are actually hidden, but it shows you this dashed two. So you can see the representation. We have the shaded view, which closer and so we have our blue methyl on our chrome handles, so it's made flat colored. And then we have both so shaded and hidden edges. So that conveys the most detail. The shaded view can be a base. What are, I'll show you what I like to do for these views. I like to leave them as the hidden edge views. Okay, so just with non-shared review, now, it's our base view. So far as our first view. We want to view it from a few different angles. So what we'll do now is we go to the next one along which is projected view. And if we click out and it's asking us to which view we want to project. So we just click our base view. And now without holding any button down, you can see if we move to this side, IT projects where view of outside. But if we move to the other side, it will project. And if we move up, we will be looking from below. And if we move down, we'll be looking from above. And also we can go diagonally and get raised for a day view so we can drag these views out. So what adults do is maybe take that view and then a top view and 3D view. And I'm going to right-click membrane click. Okay, so now we have our four main views to create this assembly. Okay? And what I like to do with the shading, I like to just have the 3D view as the shaded without a head note. So this is kinda like a real surveys will convey the information you need in terms of dimensions and things. But unless will be like a snapshot of how that will look, which is always good. Okay, so that's how you set up your main views. Now, one thing about us, we don't, if we just sum is to fabricate, he will say, Well, okay, this, this drawing shows me how to put the pieces together, but you've got 1234 pieces here. I need details of how these pieces are made individually. And that's where this menu would come in. 47. 47 Drawing Sheets 02: So at the moment, all four of our components are ticked. But if we, let's say this was just our join of how to fabricate with vice body. So untick everything except the vice body. And now you can see this is, this is more of a fabrication drawing for the actual pace. And that's exactly what we want. Okay? So now we need to start labeling is still only a picture if you like. So first thing I like to do is Palmer dimensions. So you can see here we have this dimension, okay? And if you pull this down, you can have different types of dimensions. So angular dimension, linear dimension. And then we have one button which is just dimension. Well, this is kind of a, it does all of them rarely ability, it tries to guess. Sometimes there might be times you need to specify if it's not giving you what you want. But generally this is quite good. You can just click on that dimension. And let's use our way. Let's zoom in on this view here. So the dimensions we'd need to make this. And we can highlight line, you'll see it comes up and if you left-click on a line, and it gives you the dimension. And now you can just left-click again to drop it. Off. Click Align, Left click to drop. And what I'm gonna do here is I'm going to click Align. And instead of dropping out, I'm going to click hint of a line. And it allows us to do a dimension between two lines, okay? Now, maybe some just saying you do not dimension to a dotted line. I know again, this isn't an engineering course, picks a fusion core, so Vega, a circle. If you just click the circle, you're gonna get its diameter roll out there. Okay? And I think that would be enough dimensions on there. You can then move to another and we can go here. We can go. Now you wouldn't need this because you've got a overall and you've got base two. So you don't want to put on more dimensions when you actually need, okay. Actually we need to, we do need more on here. We need to put in where this hole is in terms of a face. So we'll put those two on. Now, if you want to move dimension after you've put it on and I like to have my damages outside of the actual component. You can just left with the dimension and you get a script so you can you can move things about. Okay. And again, please don't email me saying, call yourself an engineer. You haven't done any tolerances and things like this isn't an engineering course. So let's put on dimensions, just refer. So you might need, so you can learn how to do the dimensioning. And now you might need some labels. So you can have text and you have lead a text. Guys. A little texts would be something like you might put it on. It will ask you for an edge, so we'll use our edge. And now lastly for a bot attack. So we might put here, I'm just going to account, remember what Fred we use. You'd be you would actually specify the engineering Fred and the pitch, all that stuff, but I'm just gonna write for it or you can write what you want, okay? It gives you the idea. So that's how you do lead a text. Each of these would want a title so you could just quit normal text, just text. And you can just come up with a novel textbox. So you might right side view here and underline it. Okay. So again, front view, close and you get the idea, okay? Symbols. Well, a few different symbols. You might want surface texture, that kind of thing. Again, a lot of these commands, if you know, if you're coming from what kind of background and very obvious what they would do. If you don't know, yeah, you probably don't need to know geometry surveys of things like a synth lines and center marks. So generally a circle or a hole. You'd put some kind of center mark and you can just click it and it goes up. And you might want a center line. In the plan view of a whole C can click two lines and it'll put a line in the center again here. Okay? So move rotate. This took rational view so you could pull it up, you can move it around on the sheet if you wanted. Detail View. So maybe we are looking at actually this whole we need to put a lot of information here. We haven't really got room week do a detail and you'll see these on, on drawing is like a zoomed in section. Okay, so let's do a detail of this apparent view, which is this one. We get this box here. So our detail, Let's just draw a circle around our detail. And it's going to put this here, okay? Now, I'm just going to okay, this, sometimes you need to move this around to get a correct view after. So you'll see as I move this detail view, what is in this view changes. So I want a circle, the circle. And we can edit this view and we can say, okay, is shaded or it's hidden energies, whatever. But now it's going to be C is put an a there. So this is saying is this detail a and a is put on this title. Okay? And it's gonna end. You can change the scale. Some of this was wonderful. You could do it. So that was actually scales of us data Alice hold, okay. And if you do it, Because even the retail goes as well. So you have sections again, if you know, these are pretty self-explanatory, what would do? You could create a sketch on here. So you could, if you wanted to create a little sketch just to convey something when you could do that. Okay, we dimensions you, you've got things like if you were to, if you wanted an angular dimension, you could just click two lines and it will give you the angle. Okay? So for this, this would be our phi spotted. 48. 48 Drawing Sheets 03: And you would probably have a lot of text on here somewhere, which will be on notes, which would kind of convey all sorts of information is good. I'm Miss would say all sorts of things about what it's made of and tolerances in things like you have seen those if you weren't with joint. So here is your title block. Double-click that and you can edit this so you could say vice the details. Okay. You could you could say who drew it, what date? Who approved it, your drawing numbers n Again, this is if you're in a company, this will probably all be standard Europe standard joined numbering systems and all sorts of things. Myself, I spot it. So now you need to do it for you, the components. And you can create another sheet down here with this plus, okay. Okay, So then you'd have to do another base view and the representation. And this one would be one to two. Okay? And this might be your slide. So this is just a slide here. So you could project that. You, for some finance you probably have. Now you'd be thinking, Well I can for everything else on here. So you could have another base view. And you'll see you get a new menu for each view. So this might be the road. For instance. You would have a 3D view. And when you remove a base view, here, I'm maybe it is a bit, maybe its actual size. And this would be the pin. Now the pen, because it's Selma model to be at an angle. It looks a bit strange. And you can modify it so you can rotate this and then project. And you would do all the same kinda dimensions on here. You might do your view because it's got a Fred. You would probably do this as shaded. So you can put dimension of the actual Fred, UW length and things. And you do your drawing, look like this and follow the same kind of standard. And then for an assembly drawing, again, do similar to a similar sets of here. The first one. Okay? I'm going to make this shaded. I'm not going to call it text dimensions on the dimension you have a miss one actually would be anything for the assembly. So where they sit together in this case, you probably wouldn't need think of a need. Need. Yeah, maybe. If you wanted to show how fire and Miss up within a whole, you could pull out distance, that kind of thing. But also it will be important here is which power was wage. Okay? So here you can put a table and I'm going to run out of space here. So what I'm gonna do is I'm going to, I'm actually just going to leave up here just so you can say. So you'll say I input the table and it automatically fill that in. And it's put balloons on. If you don't like where it's put them, if it's interfering with some finance you click. Everything is editable. Okay? Everything is editable. Maybe you won't ever blends on this view. You can click head balloon. And if you click an object. So it's automatically given number 1. Well, that's because I clicked on the body. If I was to click on this rod here, it will give it number 3, which is where it's so intelligent actually knows what you click in, OK. And you can do that in any view. On this table here, it's filled in for part number is give it the file name. The material. Remember we actually assigned physical materials. So don't not far as it's filled by him forest description. So if you double-click this, make sure it's highlighted and double-click. You can select which columns are included. So you give it a name, maybe do one, a number, you just wanted to part names. You could do mass. Well, because we gave it physical material rather than just my parents material is actually knows the mass of that object because it knows the dimensions of it and it knows what it's made of. So hey, we get into the kind of power of fusion. And midst of all this is all pulled in from the kind of information stored in a file. So the name is a file name and description would be the description that save. We're going in the properties of modal. Okay. I'm not sure she and again, you would fill in all the things like the adjoint number. We don't need to go into all that. I'm not trying to purposely put up is cause I'm trying to make it as concise as possible. And omega that's giving you the tools here so you know how to do is you can insert an image as well. So I could insert a logo and then I can just adjust it was normal. I'm drawing. So then you can output, you can output this now as a PDF. You could output it's a delivery j, so you could send it to auto catch, which kept guys were like DXF, which was a CAD system. It could output CSV. Now CSV would be a table. So if we went back to this view, it would ask us for this table. Okay, and we could output that and send it to an Excel or Google Sheets. And someone could use in Excel so that we could employ strains where. So, again, very powerful in terms of working with other people to just print it out, put to a PDF and send it to a printer. That's your drawing shapes. That's how you do all this stuff, and that's how you can communicate your design as a technical drawing. 49. 49 Image Rendering 01: Okay, so let's look at our other methods of output here. And I'm going to save this output here. Okay? So, okay, so let's look at our other methods of output here. So we're now drawing sheets environment and we're, we're under this kind of entitled, see, we've got this, opened up, a new tab here for this. So this is our model, appear under this tab is still there. And this is our drawing sheet. So we can save this vice model drawing. And you'll see it changes it to Vice model joint. So we advise model, which is a model and now we have Vice model join and that saves, this sheet is saved. Okay? So if we go back to our model, let's look at the river output options. Generative design is some fit advanced. It's not really going to be part of this course. It's something I'll probably do it and maybe not caused by some kind of sharp add-on for it later on it. But what is it allows you to create designs that fit. So let's suppose we have a spice model and we didn't have this. It would have allowed us to create this based on our existing model. I appreciate that sounds really complicated. Basically, if you have some components and you need to design a frame around those components, it will help you do that. So if you give it a requirements, it needs to fix to these pages, it needs to do this, it needs to develop and fusion can actually come up with parts fire. Again, that's getting advanced. So the next output we're going to look at is a render. Okay, so let's click on Render. Now this is where you've done your model and you want to show someone how it's going to allow. You want to put it on a Facebook page or you want to send the output any glossy brochure. You haven't actually made it yet, but you know, it's going to look so you can do a render of it. Okay. We have already given it the materials. So we just need to set up our scene. So let's look at the options we've got here. We've got a parents. Okay? So we're going to apply this to the body's components? Yes. Now we've already assigned materials, so we don't need to sign up for materials. But if you have them, if there was some parts that hadn't yet been assigned materials, this is where you could do it in your either needs. Go back to model. You could do it here and you can see we've got all our same materials folders here with our materials in. Okay. So we don't need that. We've already assigned materials to vest and those properties are in. So let's set up our scene. Okay, so what do we want? We've got our environment. So how bright you want environment today can be completely washed out like that. It can be lights off. So how it was I think it was somewhere around the butt back ground. What do we want in the background? You can see at the moment, we've got this gray here. We can choose an environment, okay? And now we've chosen environmentally, it looks like not much has happened, but we've got, we can go through stuff and we can select an environment, okay, from Fusion 360. So cool. Environment may be, okay, must give us here. Let's try it out. Ground plane. So the ground plane is, you can see the shadows being cast onto a floor. So this Pi sudden a flaw. If we turn ground plane off, there is no flow of this pie is hovering, guy. And because we put our environment and you can see there's some stuff in the background, but this pie is hovering emitter. Let's turn ground plane back on. So get those nice shadows. Floods and ground. Okay, so grounds for anyway to our reflections. When I turned around, hopefully you can see the floor became shiny and you can see with kinda reflection Nelis. We can change the settings here, roughness. So how kind of hazy or sharp reflection to be camera. So you're getting into kind of real image settings here that the blue into photography and things would need exposure and focal length kind of thing. That for failed, okay. For that any ray tracing, ray trace and if you don't know, is a type of rendering aspect ratio. So you can have it wide screen, which is for your actual, how you're going to save it out. I'm not will depend on I suppose what you were an opportunity. Okay. So these are your render settings. So I'm going to close up the Cow. We've already put the color on it. Okay? So we've got a texture map, okay? Texture map controls, slats are objects. So this is if any of you are coming from a freely maps or anything that by going you know what this is. And it will appear quite simple to infusion for texture mapping is an advanced really. But for what it is, it's quite good. It's basically saying it's a whale. Imagine if you had a texture on here. So if it was made of brick, you'd have a bricks and mortar in-between. If it was made out of a textured surface, something like wood, that you might have a wood grain in. My bumpiness on it that it was showing. And this is how that's projected. Okay, So this is, this is quite advanced stuff. And again, it is not rarely. We don't want to get an hours and hours into this because most of you won't need to change it. A lot of his stuff. You just make it look good basically. And if you're using the material that I'm building it in, fusion and a lava is taken care of. So let's go to this income, this render. Let's click on. And what that's basically doing is showing us a preview in our campus. So in our editing area. Now my computer is fairly good, but it's still going to take awhile. If you've click this and you compute seems to have died or is making all sorts of strange noises, then I don't know what to say. It's down to the speed of your computer really. 50. 50 Image Rendering 02: So, okay, so income is, I'm now going to press it. What this will do is it will render this out now. And it will, my computer will start making all sorts of noises. It's quite power hungry rendering. But you can render out as an image where it saves it as a file. Or you can render here where is which kinda does it in the design and the current view. Okay, so let's look at our settings first. We've got advanced settings. We've got fast. Okay, so fast is materials and lighting are simplified and we have advanced. So let's go to fast. Okay. So if we click on income, thus render now, it's going to render this in the Canvas, which means the mix design view is not going to output it to a separate file. Before we do, let me just show you've still got all the main folder options. You can still turn things on and off if you want. Okay, at the moment we've got the whole model, but we could, maybe we just want to render the actual body. So we could deceptive. Okay. And that would render out, but just somebody. Now it's showing it hasn't disappeared because we're not rendering. Rendering is a separate process which we'll do now. And if, if we click in canvas render, it will render it in this view. So let me click it and see what happens. And you can see status processing my image. And it's making kind of a photo-realistic image of our object. Perhaps. We should have its environment on, you can say, Is this, what this is? Is our environment reflected in that reflective surface we made? Okay. So if I stop now, if I go back here, Let's go back to our environment. Such so I'm going to, and we're just gonna go solid color instead of environment and the background I'm going to make, I'm just gonna, I'm gonna actually do a white background thing. My brightness. Okay. Ground plane, go reflections. Okay. So let's try and do is render now. Okay? So let's go to a nice view here. And let's do this render now. You can see it's just surrender and he's just makes it look a bit more photo-real. Is very resource hungry and new computer. So this is going, what happened when you press that button is going to depend on the speed of your computer. If you're if it came up straight away a lot quicker than mine and congratulations, You've got a better computer when I have, if you compute to start making strange noises, then maybe it's not as good. Went bang. Don't blame me. Okay. But that's rendering. And it's still going. I'm going to pause this, I'm going to stop. I'm going to go click on Render and we're going to render settings. Because what render usually does is render out as a separate file, a separate image, okay? Now fusion lets you render. Remember nothing is saved on your machine. So this is, this is in the Cloud. This is an Autodesk surface. You can choose to render on your machine or rendering the Cloud. Render on the cloud. Okay, let's just look at this. It's going to tell you how many credits you need. So Autodesk kinda comes with so many credits and it allows you to use those credits or bimodal credits, okay, if you use the kind of rendering, so let's put it on local for now, so it doesn't cost us anything. And again, I'm just going to go. You can have video if you're making an animation. So we'll look at that. If you can have video renders, you can print mobile web. Okay. So let's see what happens when we press printed. Okay, so it's finished this. So let's click here another look, America. So as renders go, it could be a lot better and it would be a lot better if you change the settings and spent a lot of time messing with the settings. And our model as well. We'd probably have kind of fill it nice, fill it rounded edges on him things, but it would also be a $50 costs. So we don't own Omegaverse render. So render is used to create these photorealistic images that you would show off your latest design with. 51. 51 Animations: So the next output is animation. And you would use base if you wanted to create a nice video to show someone a bell other end, if you wanted to put onto Facebook units and it's one, maybe you just want to show someone how it would move. All just a quick representation of maybe this is a solution to a problem. You could send them a lot of video and show how your design actually works. Or maybe it doesn't even need to be movable designs do is you could just maybe you want it to show from different views. So you could have a single part, rotate the camera around it, and then send some amount is quite a handy thing to do. So we're going to look at all here. So this is kind of story about down here, and it's a very basic video editor. So if you've done any video editing, it will look familiar if not, don't worry, it's very, very simple. So the thing to remember about this is it's an animation environment. Anything you change here is not changing your design. If you move things about, all you're doing is changing how it's going to move on a video. You're not changing your design in any way, so don't worry about that. But how it, how it starts will be driven by your design. Okay? So in this case, our, It's kind of half open house, shall I want it to be fully retracted. So I'm gonna go back to Design. I'm going to grab my Vi's and I'm going to put it there. Okay? And so when I go back to our animation now we've got nice starting point. And our animation wants to show this vice closing. And obviously as it closes, this moves, okay. Now your joints, are you doing your design? We've already set up or joints that were misplaced moves, this rotates, but the animation, it doesn't need to drive up kind of separate amalgamation. Okay? It's very simple and we'll do that now. So this here is apply hat, so this is at a certain time and you can see where we've already actually recorded something when a zoomed-in have recorded me zoom in. Okay, We'll go back to 0 and I'm going to right-click and