Fusion 360 for 3D Printing - Design a Working Light Bulb | Vladimir Mariano | Skillshare

Playback Speed

  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x

Fusion 360 for 3D Printing - Design a Working Light Bulb

teacher avatar Vladimir Mariano, I'd rather be 3D Printing

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

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

23 Lessons (1h 18m)
    • 1. 01 Intro

    • 2. 2 What We Will Make

    • 3. UI Update

    • 4. 03 Tweak Settings

    • 5. 04 Sketch the Base Profile

    • 6. 05 Spline and Revolve

    • 7. 06 Getting a Smooth Top Curve

    • 8. 07 Editing the Spline Curve

    • 9. 08 Splitting Our Body

    • 10. 09 Custom Threads

    • 11. 10 Sweep

    • 12. 11 Slot for Battery and LED

    • 13. 12 Pres Pull and Section Analysis

    • 14. 13 Pipe Tool

    • 15. 14 Making it Look Good

    • 16. 15 Export as STL

    • 17. 16 Cura Recommended Settings

    • 18. 17 Cura Custom Settings

    • 19. 18 Iterate

    • 20. 19 Extend Buld and Align

    • 21. 20 Amend Sketch for LED Fit

    • 22. 21 Reprint and Test Fit

    • 23. 22 Congratulations

  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels
  • Beg/Int level
  • Int/Adv level

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.





About This Class

The best way to improve your design skills is just to practice and this is the perfect project to help you sharpen your skills. Like all my other models this one is designed with the intention that it will be 3D printed. Therefore, we will discuss improtant considerations that we'll have to pay attention to along the way.

We'll cover valuable design techniques including:

  • How to approach a cylindrical design by starting with a sketch and taking advantage of the revolve tool

  • Designing custom threads using the coil tool

  • A creative way to use the pipe command

  • Use the sweep command to make cuts that follow a custom path

  • Designing two parts that are meant to fit together

  • Preparing a model for 3D printing using Cura

  • plus many more

After completing this course you'll feel much more confident in your Fusion 360 skills and in the entire workflow of designing a part for 3D printing. Plus you'll have created a beautiful model to show for it.

Meet Your Teacher

Teacher Profile Image

Vladimir Mariano

I'd rather be 3D Printing


Vladimir Mariano is the instructor of the course 3D Designing for 3D Printing with Fusion 360. He is cofounder and president of the Fairfield County Makers' Guild, an independent makerspace in Norwalk, CT and founder of CT Robotics Academy. He teaches 3D printing and design at the makerspace as well as electronics and programming classes. Vladimir also teaches several maker related classes at local libraries and schools and was the coach for a local robotics team. He has a degree in Geology from West Virginia University and a RobotC Programming Instructor Certification from Carnegie Mellon Robotics Academy.

See full profile

Class Ratings

Expectations Met?
  • Exceeded!
  • Yes
  • Somewhat
  • Not really
Reviews Archive

In October 2018, we updated our review system to improve the way we collect feedback. Below are the reviews written before that update.

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.


1. 01 Intro: hi and welcome to design a working light bulb infusion. 360. My name is Vladimir Mariano with desktop makes and I'll be your instructor. The best way to improve your three D design skills is just to practice, and I've got the perfect project to help you sharpen those skills. Like my other models, this one is designed with the intention that it will be three D printed. Therefore, we will discuss important considerations that will have to pay attention to along the way. You learn how to approach a cylindrical design by starting with the sketch and using the handy revolve toe to efficiently create your model will cover splitting one model into two separate bodies and how to design your own custom threads. Using the coil tool will also cover some very useful tools infusion 3 60 such as the Sweep Command to make cuts that follow a custom path and a creative way to use of the pipe tool. Since this model will be designed in multiple parts and intended for three D printing and assembly, we'll also learn some tips on designing parts that are meant to be fitted together because three printing is all about rapid it orations will cover have to quickly and easily amend our design by using the powerful timeline feature Infusion 3 60 I show you how to use Fusion 3 60 to export your model for three D printing and will even jump into Cura, a free and powerful slicing software where I'll go over the settings will use to three d Print our parts. After completing this course, you'll feel much more confident in your fusion 3 60 skills and and the entire workflow of designing apart for three D printing. Plus, you'll have created a beautiful model to show for it. This course is designed for those that already have some basic working knowledge of fusion . 3 60 If you're a complete beginner than I recommend, checking out my intro course designing for three D printing with Fusion 3 60 Okay, I'm excited to get started, so let's jump right in 2. 2 What We Will Make: here's a quick description of the project will be making. We're going to design in three D prints the light bulb and two parts the top bulk part and the bottom bass part with its custom threat. After three D printing, we can assemble the parts, which will simply require an led an A C R 20 32 coin cell battery for extra effect, you can use ah color changing. Led as I did. I'll leave the link to these led ease in the video notes. I've used my light bulb in several different projects, including this one that I titled Girl of Ideas, where I cut the girl profile out of wood. And then instead of using a real light bulb that I had to worry about wires and plugging it in, I kept it simple and used my three D printed lightbulb, and it made for a really nice display. As you can see, you can get creative with this project, which I'm sure you will 3. UI Update: a great thing with fusion 3 60 is that they are constantly looking to improve the software . They really do a good job of listening to user feedback and making changes in upgrades to improve the whole user experience. Now, for the most part of these air little tweaks along the way that they make. But more recently, they did do, Ah, big revamp of the user interface, where I felt it wasn't big enough of a change that I should come in and explain the new layout. Now, if you've been using Fusion 3 60 for a while now let's say you're halfway through the course. You'll most likely figure it out on your own. However, if you are new and you're just starting the course, I'm going to take some time and just explain the changes. And like I said, they're mainly cosmetic changes in just a little bit of reorganization. Okay, one of the changes is that instead of model this new houses designed and if you click on the drop down here, oh, you'll see the other environment now in this course were mainly going to stick to the design environment. So that's all you need to know there. You also notice there's some tabs here. Surface sheet metal in tools. Again. We're mainly going to be in the solid environments here, So if you accidentally click on any of these tabs and you're noticed that your tools don't match, just always go back to salad and make sure this says design and you'll be fine. The next thing you'll notice is that the icons changed a bit, but that's really not a big deal. They just cleaned it up a little bit, and you'll notice that they're still very much the similar shapes. Another change is that this catch menu is now gone. So in the course, I often say, Go to sketch and then choose create sketch When I say that all you're going to do is just go to creates and then go to create sketch, or you can simply click on this icon here. The rest of these menus are the same. We have to create, modify, assemble and so line. The other big change has to do when we go into our sketch mode. So if I go to create and then creates sketch, I choose a plane you'll now see that I've entered the sketching mode. I'm in the two D environment, and once you go through the course, you'll see that we take a normal workflow. Where we go into sketch mode, we create a two D sketch, and then we come out of that sketch and we extrude itude the object into a three D shape. So there's two moans were constantly jumping in and out of, and that's sketch mode and three D mode. The changes here are that the icons are a little bit different, so we see line rectangle. They're gonna look a little bit different in what you'll see in my videos, but they're still lines, rectangles and circles, or they're not gonna be that hard to figure out. But the other big change here has to do with that sketch menu. So before all these menu items here were under the sketch menu, now they've been separated into the create and modify menu. So before where I would have said go to sketch and grab the rectangle tool, you're simply going to go to create and grabbed a rectangle tool, and it's the same for each one of these shapes. Lying rectangle circle arc. Those are now under to create menu. If an item is not under to create menu, it's going to be under the modify menu. For example, Philip Trim extend. An easy way to remember this is create is when you're creating a new item like you're creating a line, A rectangle, a circle, and modify is when you're making modifications to those sketch entities, such as applying a fill it trimming or extending. So again, all these items used to be in one menu called Sketch. Now they've been separated into the create menu and the modify menu. So in the video, you would hear me say, Go to sketch and grab the circle and center diameter circle. You're just gonna change that to create circle centre diameter circle. And likewise, I would say, Go to sketch and grab the trim tool. You're gonna go to modify and grab the trim tool. Okay, now we'll go to finish sketch, and that's going to bring me back into the three D mode, and this is actually a great change that was made because the problem before was that when you went into sketch mode. So, for example, if I go into creates, catch and select my plane. Everything used to look the same. So it was hard for my students to tell which mode they were in sketching or the three D mode. Now you clearly get visual feedback that okay, we're in sketch moment because the icons look much different than they do when you're in the three d mode. So you notice these icons how they look if I goto finish sketch, you know, now they're actually three D icons instead of just those two D icons. And once in three D mode, you're also going to see the same menu items that create menu and the modify menu. Except these have different tools inside them. So you'll see. Now we have instead of circle and line, we have extrude revolved sweep, and if we go toe modify, we have champ for Shell Scale combined. So these are all modifications were gonna be making 23 D models, as opposed to when we were in the two D mode. Those were all menu items that were for two D sketching, such as create a circle or a trim align, and finally, the other big change. You need to know about is that the three D print option is in the Tools menu now, so you'll go to tools and then you'll see the make the three D print option. So when you're sending this to be three D printed, that's where you're gonna find it. That used to be just within the regular menu. Now you're just gonna go into tools, and that's where it will be. Okay, we'll go back to our solid tab here, and I'm in the design environment, and that's basically yet Don't let the whole new look throw you off or scare you away. It's really that simple. Just things got reorganized the bit and the user interface, and the icons got cleaned up a bit. If you're just aware of those changes that I've just described, then you'll have no problem going through the course. 4. 03 Tweak Settings: Let's begin by first tweaking a few settings so that we're both on the same page will start with making sure we're working with millimeters as our units go up to where it says browser over here and then right on the right. You should see document settings. Click on the little triangle, and that's gonna expand it and hover where it says units and then click on the little Ah paper pencil ruler icon here and that's gonna bring up this dialog box next to unit type. Just click on that arrow and select millimeter as your units and you can see mine's already selected and I have it set as the default, since I mainly work with millimeters. So go ahead and click. OK, since I'm already selected as millimeters, I'm just gonna click cancel. Next, we'll make sure our modeling orientation is set to Z up, so let's go to our preferences, which is found on the upper right hand corner here right under our name. So if we click on that little drop down arrow, it will bring up the preferences option will choose that, and we're gonna looked where it's is the fault. Modeling orientation you'll find that just under the general, but in here on the left, if that's not already selected so that general Tap go down to default modeling orientation and then make sure you select Z up. Click, apply and then OK, and finally head down over here to grid and snap settings. Click on that little arrow and you'll see that I have my layout grid unchecked. That's just my preference and now go to grid settings and changed the radio setting here from adaptive to fixed your major grid spacing. We're gonna answer 10 millimeters for that in a minor subdivision off one check reference numbers if that's not checked, and then click OK to make sure that these changes to take place. We're going to close our current design, and we can do that simply by clicking on the X here on this tab so we'll close. That infusion will automatically open up another one with our changes now implemented 5. 04 Sketch the Base Profile: we'll begin by first saving our design. So let's go up to the save icon, Hear that? Click on it and I'm gonna call this light bulb tutorial and then choose your location and will hit Save. You can see that I have two tabs open here. So I have my already completed design open so that we can kind of go back in reference that while we're creating this design, I'll be referring back to it to kind of give you a heads up of what we're going to be making before we make it. So that way you know why you're doing what you're doing. Eso in the beginning. The first thing we're going to do our how we're going to approach this is we're going to create Ah, the entire model here off of one sketch. So I'm going to go back to my timeline here, and I'm gonna open that first catch by right clicking and going to added sketch, and that's going to show us exactly how this was made so you can see that I made half of that profile for that libel. And ah, what we're going to do is revolve this to create that model. So let's now go into our current design here and so will begin by creating a sketch. Will go to sketch our sketch menu here and down to create sketch, and we're going to sketch this and the Z explain, so make sure you select the right playing hover over and you'll see it light up, and that brings us right on that plane. So let's zoom in. Remember that we set our grid spacings 10 millimeters apart, so we know that each square here is 10 millimeters. So what I like to do is zoom into where I'm going to be sketching in a appropriate size. So I'm not completely zoomed out, and the approach we're going to take is we're gonna roughly sketch this out, and then we're going to come in and answer some dimensions and constraints to begin. We're gonna start with the line tools. I'm gonna go to sketch line, and I'm gonna start at the origin here, so I'm going to go out, and I remember. I know this is 10 millimeters. I'm gonna go about halfway, and then I'm gonna come out at an angle here. And don't worry again. about getting this precise cause we're gonna come back and answer dimensions, and then I'm going to go all the way up here to blacks, Which means that's gonna be about 20 millimeters from that origin and come back. And if I want a reference this point here, all I have to do is hover over it for a second. Enough. I go back, you can see I have this Noah Green dash line showing me its reference to that points. I'm going to click again, and then my last click is going to be at the origin and that's going to give me this shape . Notice that we have these constraints here. So I'm gonna hit escape to get out of my line tool and be in the habit of doing this. This is something that throws beginners off. If you aren't, begin there. So it's it escaping. Watch my cursor. It's gonna remove that little line symbol and we have these constraints. So what this is telling me is that this Ah, lying here is perpendicular to this line. We have those two perpendicular constraints and you can always look at your sketch palette to see what those symbols mean? So we see that X fusion automatically set these perpendicular constraints. Now, if you don't want those up, you can always go back and just click on them and delete them. And I'm just gonna undo that. Okay, let's enter some dimensions here who had d and R keyboard for Dimension. And I'm going to start with this line. I want this to be 20 middle meters. You can see I was close at 19.9, but I'm gonna drag out, click and then make this 20 millimeters. Just type that in this top line here. I want that to be 10 millimeters, so we'll type that in. And this bottom line here, I want this to be four. And now this angle between, ah, this horizontal line in this angled line to set an angle there. What you can do is you can click on the bottom line and then also quick on the angled line , and it will click in between that and then set this as 140 degrees. All right, we can see that all our lines have turned from blue to black, which means everything is fully constrained. So our sketch is lack bound. And now we have. This is basically the bass part that we model. So that's kind of this part here. And next. Let's grab this plying tool, and we're gonna make this curve here for the bulb. 6. 05 Spline and Revolve: to create the bull part. We're gonna zoom out of it. So we have some more room to work with. And I know that I want that bulb to be 60 millimeters tall. So what I'm going to do is grab are lying tool here. And I'm going to draw a line from the edge of my base here. The profile we made, I'm gonna go straight up. I'm just going to click somewhere here, click on the check Mark, and you can see that constraint their particular constraint. Show me that. That's straight. If yours isn't that straight, just use that constraint year. Or you can even just use the horizontal slash vertical constraint. Click on that line and it'll make it completely vertical. You can see I already have that constraint. So it's giving me an error. Okay, Lets dimension this line so d for dimension in. And I'm going to click on this line, drag it out, and I'm gonna make that 60 millimeters, and that's going to raise that up. Okay, so now let's grab our splitting tool. I'm going to start by going to sketch and down to spine, and I'm going to start here at this edge and displaying two. As you can see, you can just left click to place however many points you want. And so we'll just do something like this. Just a rough drawing here and that doesn't look too bad. And it can definitely be improved. But let's just go with that. For now. I'm gonna hit escape to get out of this plane to. And if you've never used the spine tool before, you can see that you can come in and move each of these points if you want to edit them just like that. And then if you click on the individual points to get these little dumbbells and you can also change the curve of that spine, let's see what we have so far. So the plan will be to take this and revolve it, too. Make a three D shape blitz, hits stop sketch here and we can see we have our sketch and I'm going to go to create down to Revolve And I get this dialog box and it's gonna ask me, what profile do you want to revolve? Well, I want the base and the bulbs. I'm just like both of those and you'll see it says to selected here, it's gonna ask me the axes that you want to revolve this about. So I'm gonna select that and I can choose any one of these lines here either That blue axes here, that z axis where I can just choose this line here and you can see a win ahead and create that revolution for me now, to kind of show you how this works. You can see I have this little widget here and that is basically this here. I can answer the angle in, or I can drag this, which just move it around. So it basically took that profile and then just revolved it to give me my shape. So it's really, really great tool to use If you have anything that cylindrical, I always think of how you can model it by using this revolved tool. Okay, I'm gonna just answer 360 degrees here because I want that to be complete are to be able to revolve all the way around. So let's answer that. And then I'm gonna click. OK, so there's our model. And in the next video, let's look at how we can tweak it by going back to the sketch and making some changes to displaying curves 7. 06 Getting a Smooth Top Curve: let's navigate to, ah, front view by turning our view cube here and in clicking on the front side. And let's turn on our sketch so you can expand the little triangle here to see your sketches and just click that little light bulb. And now we can see a not line of our sketch now, a quick way to added, this is just to simply grab these supplying cars and you can just move them and you can see how that automatically changes your model So quick way if you just wanted to make some tweaks and see them live. But what we're gonna do is we're gonna go back into that sketch. So it's right Click on our timeline here for that first sketch and go to added sketch. And here we can see not only can we edit these by moving them around, but we can also move these dumbbells, right, Which that doesn't. If we just are working from the modeling environment, it doesn't give us access to that. So a couple of things I want to point out here. So, uh, noticed this part here how this kind of goes in a little bit as it meets that midpoint here . Um so if I click, stop, sketch and go back to our model, we can see where that creates a problem where we have, like, a little div it in there, right? So we don't really want that on our bulbs. So what we can do is I'm gonna go back to that sketch and we can click on that point and it will give us access to, uh, little dumbbells again. And then we can move that. So let's see, what if we did something like this and then I'll click Stop sketch. Now it goes the complete other way, and we have sort of this little pointer, and I don't want that either. So it's hip when you're revolving. A sketch is to make this spine the little doubles on that completely horizontal eso. To do that, we're gonna go back into that sketch again, and I'm gonna click to reveal the little dumbbells and you can set constraints on these. So what I'm going to do is click on it and then go into our sketch palley here. And as long as it's close to being horizontal, I can click on my constraint here, and it will automatically make that horizontal eso that's lack. Then let's stop the sketch again and look at what we have now. It's great because we don't have a dimple or a pointer. It's it's completely tangent, and it gives us that perfect surface. 8. 07 Editing the Spline Curve: let's continue editing this plane curve. So again we'll go back into that sketch and something I want to point out is that when working with spines, less is always better. So you you're going to get a smoother curve when you have less supplying points so we can click on some of these points. So let's choose this one. For example. If I want to get rid of it, I'm just going to click on it and then hit delete, and it's gone in the same way you can bring back additional supplying points just by right clicking. And actually you have to be. You have to select the line first, we'll select the line Ah, and then right click. And now we can go to insert spined fit points and then we can see when we hover over the spline curve. It gives us this little cross here, and we can set that to include additional splaying points. All right, so I don't want that point. I'm gonna delete it, and I really don't need this one either, so I'm gonna delete that as well. And now that gives us We have 1234 points which I think is ah, perfect for what we need to do. So I'm gonna start tweaking these a little bit, and I'm gonna bring this here and you see how this one dips and, well, I want that to be a little more straight, so I'm going to straighten that out a bit. And I have the option here to also make this or put a constraint on this. So fight click on our dumbbells is we're calling them and I'm gonna just click this time on the vertical. Ah, constraint. Here. Remember, it's the same constrained, vertical or horizontal. It's just going to turn that line whichever way it's closest to In this case, it's closer to being vertical. So once I click on it, it will automatically make it vertical. So now that that's Vertical Aiken second move this and and he's gonna push that in a little bit. And let's zoom out. And this I'm gonna bring this in a bit, too, and this is already ah, horizontal, just like I want it now. So let's take a look at this. If this is snapping, you can override that by holding down control, and you know that would be a command on the Mac. And now you can see it doesn't snap into any of the these edges. So that could be a pain when working with spine curves, because it will want to snap, uh, in two different places and you wanted to be more smooth. So just hold control in that fixes that. So let's click on that. Leave that as is and now will go to stop sketch, and we can see how our light bulb is looking. And it's looking okay, but I'm still not completely happy with it. So I'm gonna right click and go back into added mode. And this is where you know what spying occurs. It is very organic. It's it's what Look you're looking for, you know, So I can kind of maybe I want a fatter it light bulb here. Um, I can drag this out and then just go back again and take a look at how that looks. Ah, that maybe the look I'm looking for. But one thing to keep in mind is how we're gonna three d print this and I want a three d print this without using any support. So I have to be careful about this shallow angle here. And as the layers will be building up on itself, it may not be able to support that. Um, so I'm gonna print this with zero infill and probably used to shells. So if I want this to work, I'm actually gonna have to make this a little steeper. So let's go back into that sketch. And that means I would have Teoh dragged this in. Or instead of this being out, I would have to pull this thumb bell and you can see as I pull that in, it makes that a bit steeper. Now, I'm gonna You can also constrain these by at giving them dimension. So if I had D for a dimension, I can say I want this plane point to be from this sensor line and go ahead and let's say I want that 22 millimeters apart and I could just put that in and that will like that into place. You can also dimension our little spine handles here or dumbbells by clicking on them and setting a dimension. They're speaking, for example, answer and nine there. And that'll set that dimension to make it, you know, lacked in place. So remember again, if you want to remove these, you can just click on the mention and hit the lead. And this if I increase that out, that's what's making it. You know, a lot shallower so and bring it in and makes it steeper. So let's put that the mention back in place and going to zoom out and see what I have so far and maybe I'll make this a little, uh, I won't lock it in as a constraint, but I'll make it a little more horizontal or I'm sorry, more vertical here and maybe just adjust this Ah, a little bit lower. And let's go with that. I'm gonna hit, Stop, sketch and look at what I have still not happy with the shapes. I'm gonna go back into my sketch and it's somehow flipped it for me. So I'm gonna use my view. Cute too. Bring this just the way it was on the front side. Gonna bring this down. You can see I can't bring it left or right because I have it locked in as being 22 millimeters apart. But I can always bring it up or down because that's not like then, yeah, I haven't mentioned that. I'm gonna bring it a little bit down and let's click Stop sketch. And I like that a little bit better, but still not completely happy with it. So we're gonna go back into that sketch, turned this again. We're going to remove this constraint here. So it zoom in, click on that little vertical constraint had delete, and we're gonna take this point. Let's move it up again, Hold control. So it doesn't, uh, ex snap to any of the points here. So you get that smooth movement eso Let's move it to about here and we're gonna grab this spline curve, and we're gonna move it to give it, like, this angle here and OK, so that's good. And we're gonna take this one. Let's move this down. I'm gonna hold control again, and we'll move this to about right here, And we could take the handle here and adjust that as well. Remember, we can also notice that could move this up and down. But if I wanted to like that in place, I can hit d for dimension. And since I have a dimension horizontally. I can also dimension vertically by referencing my origin here and I'm gonna go all the way out till I get a straight up and down dimension and I'm gonna give this 54 millimeters here and I'm gonna take this little handle here while holding control, going to grab it and move it inwards a little bit. And just about that much looks good. And we also drag it out to make it longer. And that looks good Bye right there. And I'll click Stop, sketch. And that's the shape I was looking for. So ah, I'm happy with that. So we're gonna now move on to the next part. But remember, this is it's all about taste. If you want a different style of light bulb, you know you can feel free to experiments. Play with the spine curves. That's the nice thing about it. You can move them back and forth, and tweak decides to get exactly what you're looking for. And that's the best way to learn how to use this plane to lose to just really jump in and start playing with it. 9. 08 Splitting Our Body: next will split this into two separate bodies. Take a look at our browser here. Notice that we have one body here if I expand bodies and then we also have one sketch. And if you look at our timeline, will see that we've only completed two features so far. Which was the sketch that we created in the Revolution that we made to split this into two bodies. I'm going to first draw a line and didn't use that as my splitting tool. So let's start by creating a sketch here, and we're going to choose sort of this middle plane already here in existence. The z explain. Just gonna choose that as my sketching plane and then I'm gonna grab my line. I'm just gonna draw a line somewhere over here and make sure that you get that horizontal constraint. You can see that right there. It escaped to get out of the line tool, and I can position this line anywhere I want, or I can actually constrain it to, let's say this line over here, which shows, actually the delineation between that base part and our bulb. So let's do that. I'm gonna grab horizontal slash vertical constraints. And I want to constrain the edge here with the edge here of this line, but notice it's not coming through. So in order to bring that edge into the sketch, I have to project it in. So let's hit escape, and I'm going to use the keyboard shortcut of P for project. And that's gonna bring this dialogue, blacks. I'm gonna select the specified entities here, The little Purple square here. And I'm just gonna hover over this line and make sure to select just the lying that's over there. Click on it and you'll see We'll get this purple points in the purple line going across. I'm gonna click. OK, now notice when I grab my horizontal constrain here, I can constrain this line here to be in line with this point here and now. That's exactly what I needed. So I'm gonna stop my sketch all afternoon. I was go to modify and go down to split body and I get this dialog box asking me, what body do I want to split? I'm going to select the one body that I have in my splitting tool. I'll click on that next click and select and I'm gonna choose my line that I just created and then click. OK, it doesn't look like anything happened. But if you look here under bodies, notice I now have body one and body to. So what I'm going to do is rename these by clicking twice, and then I'm gonna call our name them what they are. So I can see that since the blue part here is highlighted when I click body one, that's gonna be my base and now click twice on body to, and that's going to be my bulb. Now I like to arrange these so that they make sense with my model. Since base is below the bulb and the bulb is on top, I'm just gonna drag whole click and drag, and I could drag it under. So now that I see that the bulb is on top and the bases on the bottom, then that way it's just more intuitive. 10. 09 Custom Threads: what I want to do next is add the thread to that base part of my light bulb. So to do that, let's get rid of bulb or untitled a libel here. We don't need to see that. And I also don't need to see the sketches right now, so I'm gonna turn that off. Now, The easy way to go about this is you can simply go into create and then down to thread. And now I, like have to do is select the face that I want to create my thread. And look at this. A dialect box that I get here. Ah, and I have to make sure that I check modeled. If I don't it's just going to be sort of like, um just the canvas and top of that showing a threat. It won't really be modelled into my model. So once I check it, you can see I actually get it modeled. Now there's a bunch of different threads that you can choose from and you have your different options here. But let's say there's nothing there that you want. This is ah, lightbulb. It's kind of got its own thread here. You want to make your own custom threat. Well, I'll show you how to do that using that coil tool. So I'm gonna cancel out of here and to create a coil. First, I need to create a plane where I want that coil to go. So what I'm going to do is create offset planes we're gonna go to construct down to offset plane. And I'm gonna reference the bottom plane here is gonna select that and then I get this arrow. So let's go back to a front view and I'm gonna bring this up and I'm just gonna position that Let's say I'm just slightly above the bottom edge here where it starts to taper in and I'm going to click. OK, all right. Now, what I can do is go to create and down to coil, and it's gonna have me select what plane I want my coil to be in. So I can just if I hover through my model, it'll actually selected if you're having a hard time selecting it, left, click and hold, and it gives you some options. Um, in this case, you know, it won't really be that much of an issue, cause you can't select the surface, so it kind of knows you're trying to select that plane. You can also just entitle bodies and in select the right plain and then bring bodies back. And Okay, so now that we've selected our plane, we're gonna choose how or where we want to draw that coil. We're gonna reference our origin as our starting point, so we'll click wants, make sure you get that little blue box around it and then start dragging out. We're going to give this a diameter of 20 millimeters, which is the same as our cylinder here. So it answered twice. And now if we zoom out, we'll see that we have this coil, but it's going the wrong way. So that's OK. We're going to talk a little about a bit about how we're going to tweak this to get it exactly the size and where we want it. So there's there's three arrows. Um, this arrow, this arrow Here we have this other blue arrow here. Now, these arrows all correspond to these different parameters here. So first thing we'll do is let's make this go the right direction. So we'll take this arrow and I'm gonna start dragging it up. It's gonna disappear. But then it's going to come back. So noticed that when I move this arrow, the height parameter here is what changes. So I know that that's height and notice if I bring it down and disappear. So let's bring it up here for now. Um, and let's go through some of these now. The first thing we'll see is the type of coil weaken set. And we have different options and how to define our coil. We're going to choose revolution and height next our diameter. We've already chosen it when we wrote it as 20 millimeters, But we do have the option of changes here. Revolutions. I'm gonna change this from 3 to 2.5, and that changes the amount of revolutions. Andi. Height. We're gonna bring that down to negative 10 notice. It's negative because we flipped a direction. Also notice that when I hit negative 10 it just disappears. The problem is, ah, based on the parameters I have picked so far, it just can't generate that type of coil. So if you see your quell just disappears. Don't worry. Just continue tweaking some of these variables and it'll come back in this case if I skipped down to section size and I'm gonna change this section size to 2.5, notice that I get it back. So basically, what it was telling me is that it was just unable to generate a coil based on being height of 10 millimeters plus a section size of five with a diameter and a revolutions that I had given. If you tweak some of the settings, it will come back. OK, Some more options we have here is how we want it positioned, weaken, go inside on sensor or outside. We're gonna keep it on sensor and notice. We also have the hype of coil we want to make. It doesn't have to be circular. We can choose a square coil, for example, or a triangular coil here. But we are gonna stick with circle in this case. And as operation, we can choose to do a new body and have an actual coil. Ah, be it separate body. It could be a joint, but we are gonna true's cut to cut away. So we have our threats. So that's basically all we need to do there and we're gonna click, OK? And then we can see our coil shown here. Now, here's a problem. Um, noticing that it's actually ah, a little lowered and where I wanted it to start. I was hoping to have it started just above this line here, above where the Taper starts, but it actually centered it on there. So half of it is to be low. That work, a little bit of it is below it. So what we're going to do, how we change that is actually by changing that offset plane that we made. So remember when we put in the coil, we put it in on this particular plane. If I expand construction, you'll see that there is a plane here. Now we just need to change the positioning of that plane and that will go ahead and change where that coil is. So to change that plane, the easiest way to do so is go here on our timeline and find are playing. It's right here. I'm going to right click and go to edit feature, and I'm just going to bring this up some more so we'll bring. It's about right here and I'll click OK, And now notice that it changed where that coil started. So that's how you would amend that. Okay, so now that we have our coil there in place Ah, we're not done yet. Let's, um, extrude these through because I don't want the, uh, threat to just kind of stop abruptly so we'll go ahead and do that in the next video. 11. 10 Sweep: Let's continue working on these threads now before we actually continue. We don't need to see that plane in the middle there that we created. So under construction here, right next to it, we can untangle that plane. Okay, The obvious way to go ahead and extrude these threats through would simply be to select the surface here and hit tnr keyboard for extrude. Or we can go to create extrude and simply take that arrow and bring it all the way back. We can choose distance as all here on our dialogue box, Uh and then we can click, OK, and we can see that it kind of took care of the problem. The issue I have with that is if we look at it, um that on from right view on our view Cube and we can see that this threat I mean, it's supposed to be continuing to go down, but once it gets its to this part, it just goes straight. So doing that extrusion actually changes the direction, you know, it's going straight instead of continuing that path. The way I think we can fix this is by drawing a line and then using the sweep Command to have a follow within that same path. Let's give that a try and will first undo this extrusion that we did by going here and just going to undo extrude. Okay, Now I'm going to create a sketch. Let's go to a sketch, create sketch, and we're gonna choose this mid plane here. That's going to be our Z. Why Plane Abou green plane. We'll grab our line tool, and we're just going to draw a line. Are going diagonally trying to match as best we can this slope of that threat. So we'll start it here and then just go down, and at this point, just hold control. So you're not ah, snapping into anything in getting some constraints that you don't really want. So we'll just go ahead and click again while holding control and then click on the check mark now hit escape to get out of the line tool. Now we can tweak it by grabbing these edges. I'm gonna line this edge up to this point here and bring this down and just tweak it so that it generally follows the line of this slope. Once we do that, we can just hit Stop sketch. Now we can simply take advantage of our sweep tool to do so. Let's go to create and down to sweep. We'll get this dialog box and our profile is going to be this profile here. Hover over and it'll light up. So once we still like that, we can now select our path. Now notice we don't see our line that we created. That's because our sketch was turned off. Sometimes when you stop a sketch, fusion will untangle it, so you have to go back and turn it on. And in this case, the sketch that we need is the last one that we created here. So we don't even need to see the 1st 1 We just need to see this last one that we made. Okay, so now we can clearly see our sketch line here. So once path is selected here, we could just click on that line, and that's going to create that sweep that's gonna follow along that path so we can click. OK, and now we can see that instead of just going straight it actually the path continues down along with that slope. We can still go back and actually change the distance here. Remember how we did that before By changing that plane height. So right now I wanted to leave. I notice that it's coming a little bit close, and I wanted to leave a little bit more of a gap here. So what we can do is go back to our plane here in our timeline. Right click edit feature. Let's bring that back just a little further up and then click. OK? And now we can see we have a little more room there. So nice ability to go back in time and change events. Great feature. Infusion. Okay, let's do the same thing. But with the top part here. So we're just gonna repeat those steps? I'm gonna click on the left view on my view Cube here. So I'm looking at this straight on, and then I'm gonna create another sketch so we'll go to sketch creates sketch, and I'm going to select that same plane here. If we look, we can see that That's the Z Y plane. And now I'm going to grab my line tool and then draw that line. And so I'm just going to you know, it isn't the matter right now. Just draw it anywhere, and then click the check mark, making sure you don't have any constraints there. And I'm gonna move this over. So now I'm just going to make this parallel to that slope so we'll try to line this up and so just get it. Ah, you know, as best as you can. Like I said, doesn't have to be perfect. Anything's gonna be better than just just going out straight, okay? And I'm gonna hit, stop, sketch, and then we're gonna go to create down to sweep. We're gonna select that profile and we'll go down and select path in our path is going to be our line. In this case, it's already on, so we don't have to turn it back on. So make sure we select that line and then we can click, OK? And that path goes along with that slope. Okay, let's go to a home view. So far, this is looking good. Ah, final thing we need to do is just add some fillets and will easily do that by going to modify fill it and then we're going to click on the top edge here of our thread also click on the bottom edge, and we also need to select the little sweep part that we did separately. So we'll click on this one and then we'll also click on the bottom one here so we should have a total of four selections were gonna let's go with a radius of one millimeter for our fill it and that looks good and we'll click. OK, on second thought, I'm just noticing that after adding our fill it, our thread once again encroaches into our tapered area. So we are going to have to one more time. We'll have to adjust that offset plane. Hopefully, this is the last time. So let's go back to our plane in our timeline, right click. And then Goto added feature. And this time, instead of just giving it an arbitrary number here just by sliding it up and down, let's type in an actual distance and we'll do negative 7.7 head answer, and that should fix it. What we want to make sure is that we have a little gap here from the bottom, and when we look at the top also, we want to make sure that there's a little gap in between. Ah, and if that's not the case for yours, just adjust that number. So you get it and not we are ready to move on. 12. 11 Slot for Battery and LED: we're now ready to model the portion of our design where the battery and led czar going to fit into eso. Let's go back to my completed design and I'll explain this a little better. Basically, we're gonna take this cylindrical profile extruded up and then come in with the center rectangle to dry rectangle, Well, extrude at down and that's going to be the slit where the battery is gonna fit into. And then we're gonna come in with a couple circles here, and that's going to be extruded down to give us where the legs of the led are gonna slight into and everything is going to be held in place just by friction fit here. Okay, let's go back to our current design and we'll begin this process by extruding this up will select this profile e for extrude Grabbed this aero. Drag it up and we'll enter 10 millimeters as our distance and click OK, now we can come in with our sketch will go to sketch creates sketch, select the top surface of our cylinder and come in with a center. Rectangle will go to sketch rectangle and grab the center rectangle. We're gonna start that right at the center of our circle. Here, click and drag out. Make sure click release in drag out. Um And then we're gonna give this of dimensions that we need. Basically, I measured the ah a cr 2032 little coin cell battery, and I got 33 by 20. So I'm gonna type that in three hit tab and then 24 the height and had Kenter. And now we can come in with the circles for Nello led legs. I'm gonna hit, see for a circle, draw a circle here. I'm going to give this a distance of 0.8 millimeters. Had answer twice. See again. And let's do zero point a second time and then enter. Okay, Now we can stop sketch, and we can extrude these down. So first, let's start with this rectangle will hit you for extrude will select that as well as the inner hemispheres here of the circle and we're gonna go down a negative 10 millimeters. So I'll start dragging that arrow down and just type negative 10 and then we hit. Okay? And that's going to give us that cut now. We want to come in with those circles which fusion untangled. So we're gonna go to our sketches holder here, make sure the parent folder is turned on. Plus the last sketch that we did and we'll see our circles back. We're gonna hit E for extrude, and we're gonna select these two profiles dragged this down, and we're gonna go negative five millimeters on this and then click. OK, so now we can zoom out, turn off our sketches or integral it, and there's our battery and led holders in place. 13. 12 Pres Pull and Section Analysis: Let's not bring in both of our parts together. So we've completed the base and now we can zoom outs and then we'll bring in our ball by turning on the light bulb and we want to print this. But there's one thing we have to address before we print it. We're gonna want ah bulb to fit on tap of the base. But it's basically the plan is for it to wrap around it and have a good friction fit. To do that, we're gonna need to make the bulb a little bit bigger than the base now. An easy way that I go about This is to simply use the press pull feature here to make this a little bit bigger. And it works great with curved surfaces like this because you can't use the extrude feature on a curved surface. So, for example, if I go to create extrude, it won't even let me select. This s I'm gonna hit cancel and I'm gonna go to modify and grab the press poll and grab our go ahead and select my bulb and I'm gonna keep the offset type is automatic and set the distance as just 0.2 millimeters bigger. And if you looked at it, you'll see that it just got slightly bigger. It all the way around. We're gonna click, OK, and maybe hard to see it. But if I zoom in, you can see that we just have a little bit here that's bigger than the base. Another way to actually see it is we can create a section analysis so we can go to inspect down to section analysis. And then we can select the plane so will turn on our origin. We'll choose the Z, explain here and I'll click OK, and we can untangle the origin out again. And over here, we can see resume in. We can see that that bulb is just a little bit bigger than the base. So now to turn off that analysis that section analysis weaken simply untangle that light bulb. 14. 13 Pipe Tool: the next thing we're gonna model is basically going to be a ring that's gonna wrap around our base, and it's gonna act as a stopper that's gonna prevent our bulb from sliding down past our threads. Now, this is going to be held in place with the friction fit. But just in case it gets pushed down, there will be sort of a back up plan to prevent that bulk from sliding down any further. And I'm gonna show you a neat trick and how to go about this. We'll begin by going to, ah, front view here on our view Cube and will create a sketch on rz Explain. So we'll go ahead and select it, and then we'll grab that line tool and we're going to draw a line, and it's basically gonna be right between the fillets and that bottom of our bulbs, so we'll just, ah, draw it in place. And don't worry right now where it is, just draw and make sure it's horizontal by making sure you get that horizontal constraints . If it's not there, just added in. Okay, Once we have our straight line, we can hit escape to get out of the line tool, and then we can just adjust it in place. And you're gonna have the best luck here if you just zoom in and just try to get it somewhere there in the middle. And now we can click stops, catch. And here's the trick. We're gonna go to modify and down to split face. Be careful here to true split face and not split body. So split face and we get our dialogue box is gonna ask us what face to split. Mina, select my face here, which is the bottom portion or my base. And now this isn't selecting bodies. So I'm gonna just to kind of hammer this home, going to de select everything here and show you that with face, you can select either one of these faces. It could be any particular face, anything that sort of has a delineation here. And so I'm gonna want to make sure I select the right face here and are splitting tool. That's based on that line we made and it actually got untangles. I'm gonna bring that back in. The only sketch I need is this last one here. So I'm gonna select here under splitting tool and in select my line and then click. OK, And now if I get rid of the bulb, actually, I see that I have this, you know, it's not a line because it's not a sketch, but it's basically split between this face. That was one face. Now it's too. And here's how I'm gonna use this. I'm gonna go to creates and I'm gonna grab the pipe tool So select pipe. And for my path here, I'm going to choose that ring that we just made by splitting that face and for my section size, I'm going to make it just half a millimeter. 0.5 millimeters will be enough here, and I'm gonna change the operation from cut to join and click. OK, and that's an easy way to just make a ring around any cylindrical object. Okay, we're all set. Next, let's apply some materials to this and just to give it, you know, so nice appearance. And then we're ready to test this out with our three D printer 15. 14 Making it Look Good: Let's not make our light bulb look good bye. Given its nice appearances. Weaken, bring up the appearance box by hitting a on our keyboard. And be careful, because sometimes it looks like this and it's minimize, and it can kind of blend into your bar up here and you may not see it. If that's the case, just hit this little plus sign and expanded, and we'll first start with the base here. I think that's gonna look nice as a brass color so we can see we have our folder here of different appearances. Let's go to a metal and I'm going to go down to Brass and I'm simply gonna drag will do a polished brass and we'll bring that over notice. You have these little download buns you when you get fusion, it doesn't come with all the appearance says. It gives you options to choose which ones you want, and you have to download those, and you do that simply by clicking on this button. But let's grab this brass polished one, and we're gonna just bring that over to the bottom body here, and that looks good. And now we can minimize this and for the top. We can go to a glass type of look. So let's see what we have here. Gonna minimize the metals and let's go down to are up to glass. Actually, the 1st 1 on the list and we have some options here. We'll go to say color density, and we'll grab blue here and drag that over. And that gives us a nice clear look to this. So that looks really good. But, you know, you can play with these and come out with some neat type of colors Here, for example, the blue glass here almost looks like a black light there. And to get the most out of the materials, you can go from your modeling environment into your render environment, and that gives it some really nice, realistic views that you can export. And I'm not gonna go into that right now, because that's not really part of this course, but just wanted Teoh let you know about that, if you are familiar with it. Okay, so I think I'm gonna actually go back to my window glass. Here s okay. We're gonna leave it at that. Feel free to play around with these. And in the next video, I'll show how to export these as STL files for three D printing 16. 15 Export as STL: fusion 3 60 makes it pretty straightforward to get your models three d printed and I'll show you how to do that. One way is just to go up to make three d print and we'll get the style like box. We have the options who saved this as an STL or send it directly to a three D prints utility, depending. You know, whatever software you want to use, fusion will simply just open it up for you and place your mile there. So to do that, you would click on this sent to three D prints utility, which I'll come back to in a second right now. Let's just see how to save this as an STL file so that it can be three d printed eso. What you would do is you would de select this check mark here if it is selected, and select your model that you want to send in this case your body. So you know, we can send the top or the base here, so I'm gonna select the base. You can also select your models from your browser here so we'll choose the base and then simply hit, okay? And then you get to choose where you want to send that file. In this case, you see, I created a folder called STL in my documents folder, and I would just simply click save, and that s t l file would be safe there. I'm gonna cancel this so I can show you the other way. And let's go back to make three d print. And so if I click on sent to three D print utility and then click the drop down there Oh, you see, there is a bunch of slicers already built in, but you also have the option of choosing a custom slicer. So in this case, let's say I want to send this to Cura. It's ah, free slicer. That's great to use. I'm gonna click on it and then under application what I would do If this is your first time installing or using Fusion 3 60 with that slicer, I would just click on the application folder and then you have to navigate to where that application is stored. So in this case, you would well, my case, I have it here on there, my C folder here and then it's under program files and then it's under multi maker Cura here. And then you would just find the application folder, which is right here that will click on that. And then you would see that it says Cura here under application. So now if I just select that base portion of my light bulb and then click OK, Fusion will automatically just open up a cura and it'll throw my model in there ready to go , which, which is a great way to go because it saves you quite a few steps of saving the file as an STL file. And in launching the application and loading, it s oh ah, handful of steps there that you can save by just simply opening it through the, uh, through fusion 3 60 have it throw it right in. 17. 16 Cura Recommended Settings: now that are part is loaded into cure out briefly, go over the settings that I used to print this part. So the first thing is that this came in not exactly the orientation I want. It would probably do OK printing in this configuration. Put. I think I'd have better luck if I just flipped it and have this part here sitting on the bed. So what I'm going to do is click on the model and then go appear or to the left, where it says rotate. And then I'm just gonna drag one of these. I can either go with the X or the Y here just to flip it, and I'm going to do that. Zoom out so we can see that it's, Ah, 180 degrees. I'm just rotated and it snaps into these different increments of angles from now. Just lay it there. You also have the option here. If you have a weird, configured part, you can just click on lay flat. Mine's already flat there, so that's fine. And now let's look at the settings here. There's a recommended box here, which is ah for beginners. I would just say start with here. And this is where I'm gonna stick with with this part because it basically gives me everything I need. If you want more advanced features, more control, you can go into custom. So we see under recommended here we have a few settings that we can control. The 1st 1 is the layer height. So that's the thickness of each layer that we're printing. Most of my prints, I stick to 0.2 millimeter layer height, and that's gonna be fine for this one. Infill. So that's the amount of infill in the object that where printing nothing prints completely solid and 20% is a good number, I'd say to stick with, I could probably even get away with going down to 10%. With this particular part, I'll leave it at 20%. I'm not gonna check gradual infill. I don't need supports for this part. And I don't need ah built plate adhesion. I've got enough of a flat surface there that will help it stick. Another great feature to take advantage of is over here. What's the soundview? We can go down to layer view and that lets us see this layer by layer. So if I zoom in a bit, move this up, we'll see that we get this little slider here and I can bring this down and up. And Aiken basically see my part being printed layer by layer, and I can see how that works. It's a great to just do this for every part, because it lets you catch errors that you, you know, don't have toe wait for the part to be three d printed, you can easily have a 10 hour part print and you realize, Oh, you know, I the top didn't come out right on. And that's something you would have caught if you would have just gone through it. A little simulation here, Um, so you can see there, I'll show you, for example, if I increase that infill to let's go to 40% and I'll let it slice. And now you can clearly see that it's ah, denser on the inside. Um, but like I said, I'm good with 20% so I'm just gonna bring this back, and then all you have to do once it finishes slicing is just click here, save to file. And you saved this to. In most cases, if you're printing with an SD card, you just save it onto that S D card, and then you can just pop it in your printer and you're ready to go. 18. 17 Cura Custom Settings: let's do the same thing. But this time, with a bulb, I'm gonna go to make three d print and make sure that sense of three D prints utility is checked under print utility. I'm going to select custom, and I have that set to cure a. So and now I just have to select my part and then click. OK, infusion 3 60 will open up Cura and throw my part right in. Let's see if I can get this to print the way I needed to by simply using the recommended settings so we'll start with the first option here. Layer height. I'm OK with 0.2 millimeters here, infill at 20%. That's gonna be a problem. And I'll show you by going to layer of you. And if I zoom in, we'll see that I'll take the slider down and we haven't info there, and that's not gonna work because I want this hollow. So I'm just gonna take that and bring it down to zero, and that's gonna remove that infill there, and it's just gonna leave me with that shell. So does that outer shell around this part now plates adhesion. I do want that also you. What happens if I take that off? If I do it, it's gonna go ahead and remove that plate adhesion. And it just does what's called a little skirt here, which is basically just a few passes that'll go around. I just to basically kind of clean up the nozzle. So let's turn build plate adhesion back on. But that gives me, Ah, one more option that I really needs its week here. And you see, that's the inside here. I don't want any bottom layers here. I want that to be completely hollow and only have that build played adhesion just on the outside because I don't have to want to worry about coming in and cutting this off on the inside. And I don't have options to change that under recommended, so I'm actually gonna have to go into custom to see that option. Now there's a lot I can go into cure here. You can see right when I clicked and custom, it basically gave me a lot more options, and the one that I actually want isn't even not visible yet. So what I want to change is the number of top and bottom layers, and that's found under here The shell option here. But I don't see anything here actually have to click on this little gear. And this opens up a separate window with a lot more options. And one I'm looking for is here where it says top players in bottom layers. You see there unchecked eso If I want to bring him into view, I'm just gonna check those boxes. And when I click close, see that I have these two more parameters here. Top players and bottom layers. Now top player. I want to leave that as three but bottom layer. I'm going to change that to zero and notice in my part once I change that zero the inside nasa zero layers. But it did keep my, um, brim here around the part. If I go into build plate adhesion, we can see that that's selected as brim. And I have a eight millimeters here selected for the with of my brim. So that's exactly what I want. Ah, I just want to show you that part here. Um, this isn't a whole course on cure which I could spend a whole course and using a cure, which I probably will do. I think it will be a future court. So stay tuned. If you're wanting a full course on how to use care before, not, we'll just leave it at that. That's basically all the settings that I need to tweak here. It's gonna print this hollow with two shells, and it's going to give me the brim to help it stick. So all I have to do now is just click safe to file. Choose where I want ascended, which would again, in my case, be in this D card and unloaded in my printer. 19. 18 Iterate: I printed the base with this gold p l a that I had and I used a clear p l. A for my bulb. Both were printed on my CR 10 and after the print was complete, I removed it off the bed. And here comes the moment of truth. And of course, as with most three D prints, the first iteration just does not work out. The parts would not fit together. Plus, the little slats for our led is to go into it. We're just too small, and they're gonna need to be made a little bit bigger. Thankfully, this will be an easy fix with fusion 3 60 Let's start by addressing the problem of why the bulb is not fitting around the base here. If you recall, we modeled the bulb to be the same size as the base. If I remove the base, we see the bulb there. This circle here we made that the same size as the circle here for the base, and then we came in with an offset and that offset that we did. If we find out on our timeline, here's the feature that was a 0.2 millimeter offset. Now I'll explain why that was the wrong offset to use. And I'll do that while showing off my impressive drawing skills. Here is the light bulb that we made and here is the base. Now remember, we made this using a revolve feature off of one sketch, so they're both of the same in diameter. We printed our light bulb with zero infill into shell. So in reality it resembles something like this. Now two shells is going to equals 0.8 millimeters. That's because our nozzle with 0.4 millimeters and 0.4 times two, gives us 0.8 millimeters. Let's zoom into this part of the model now designed the same size. It's gonna resemble something like this. What we really want is the following. We've already established that the wall thickness of our light bulb is going to be 0.8 millimeters plus, we need a little bit of tolerance in between the light bulb and the base and we're gonna set that as 0.2 millimeters. Therefore, our total offset is going to have to be one millimeter back to fusion 3 60 This is where we get to see the power of Parametric modeling. I've worked with other software in the past. We're making a change like this almost basically meant that you had to start over with your design. So here's the beauty. All we have to do is go back to our timeline feature and added, are offset feature. Before I do that, let's zoom in here to this point here, where we see how are bulb actually overlaps our base right here. And we say we have just there's a little bit. So if I go now and find my offset feature, which is here, I'll right click and go to edit. I'm gonna change that from our initial value of 0.2 to one millimeter and then click OK, and you can already see the preview right there. How that has now gotten a lot, Baker. I'll click OK, and we'll zoom out and we see how that looks. And we can even zoom in and let's do a measurement just to confirm so we can go to inspect down to measure. And I'm gonna measure right here in between this face and this outer face here and we'll see that that distance is now one millimeter so we can do the math knowing that this is only gonna print as 0.8 millimeters thick. That's gonna leave his 0.2 millimeters to leave us with a little tolerance there so we can actually fit. Okay, I hope that makes sense. So that will take care of that part. And in the next video, we'll do just one more simple tweak to our light bulb. 20. 19 Extend Buld and Align: I'd like to take the bottom surface of our bulb and extruded down a bit. So what I mean is this surface here. I want to extend that down just a straight extrusion so that we have more of, ah, straight contact between the bulb and our base here. So we have more surface area contacting in there. I think it's gonna make for a better fit. So what we'll do is we'll just select that bottom surface. We're gonna hit E for extrude and weaken, simply start dragging the arrow down, and I'm gonna answer five in our little distance box. But we have to be careful here. Notice how it says join. I click. OK, it's actually going to combine the two parts and don't follow what I'm gonna do. But I think it's been official right now if I just show you what will happen So if you get this error or if you come across this, you'll understand exactly why happen and how to fix it. So I'm gonna click OK and noticed now under bodies I don't have my bass part anymore is just one body. It says both, and it just combined everything into the ball, but even continued that material properties off the ball into the base. So I guess it's not what I wanted. So let's go back to our timeline feature here. All right, Click and do edit to add it. That last feature and the way to avoid it The simple way is just to simply untied Gle the parts that you don't want to be part of your extrusion when you do create that joint. So in this case, I don't want the bulb to join with the base. I'm just gonna untangle base, and as long as as fusion doesn't see it, it won't enjoying it. So I'll just click, OK, And now if you see if I bring based back, it's still there as a separate parts. So we don't have to worry about him joining eso just that quick tip there. Now, the only issue is that the location is not ideal. I want this, uh, bulb to be moved up so that the bottom part rests up here where this ring is and we're gonna accomplish that by using the A line tool. So under modify, going to click on the modify Minion, go down toe a line and I'm going to get this dialog box and I'll select my from you say I have a from in the to field, so I'll select the bottom surface here of my bulb and for my two option here, let's remove the bulb for now so I can get a good selection of this circle here. So that pipe command that we created, I could just simply select that outer circle and you'll see here that little reference for the censor. It knows that it's gonna sense, or both, since they're both cylindrical objects. So I click on that and then I'll bring my bowl back so we can see it and then notice how it moved it right up to that line. So I'm gonna click, OK, so just ah, quick way there to move parts into position. You can use the align tool to do that 21. 20 Amend Sketch for LED Fit: The next thing we're going to edit is the size of these holes here for extrusion is where are led legs slight into. If you recall, there were just too small and are led legs would not fit eso to do that. Let's first remove the bulb so we see it a little clearer. And the approach we're gonna take here is simply to find the sketch that these were based off of. And if we amend the sketch and it'll go ahead and update the model for us, so to find the sketch it's actually a pretty simple. We can just look in our timeline in fine are different sketch features and it looks like this here. And if I hover over it, you see this blue line, it shows me a highlight of what that sketch is, so we know it's not that one. So I'm gonna go to the next one, and it's this one here and you can see that that highlights black. So that's the exact sketch that we need. So I'm going to right click and choose at it, and all we have to do here is just simply change the size of these circles. It's set to 0.8, which, like I said it was too small. So I'm just going to double click. We're gonna double the size. We're gonna go to 1.6 had answer, and I'll do the same thing with this one. Type in 1.6 and that when I click on Stop sketch and let's go toe home view here, we can see that it went ahead and just updated. Our model s so beautiful that fusion 3 60 does that so we can make changes just by updating our sketches. And we can confirm the size by just clicking on the semi circle here and notice that it gives us the dimension here on the lower right so it gives it to us in the radius, form it 0.8 millimeters and radius, which means that's 1.6 a millimeter diameter will bring our bulb back into view. And that's the final change we needed to make. So now let's go ahead and reprint this and see if it now fits 22. 21 Reprint and Test Fit: here's our new print, and that offset did the trick. It slides right and not to lose just tight enough and are stopper does the job where prevents it from sliding in any farther. Now assembly is straightforward. We're gonna take a 2032 coin cell battery and slide that right into our slot and then come in with an led with the led. You just want to make sure that the there's two legs and there's a shorter and a longer one . The shorter one is in a correspond to the negative side of the battery. After sliding in the bulb and then them in delights, you can see that we have, ah, really beautiful display here, love the way this turned out. I even ended up using it and another project that I did, which I titled Girl of Ideas, where I cut a profile out of wood and then used the three D printed bulb instead of an actual real light bulb that made for a really nice display piece 23. 22 Congratulations: congratulations on completing this course, having the ability to design and three D printed your own ideas as such a valuable and rewarding scale. I encourage you to continue to develop this skill so that there will be no hindrance to your creativity. You can do this by checking out the rest of my design courses. I'll see you in the next one.