Learn Fusion 360 in 30 days for Complete Beginners! (Part 3 of 3) | Kevin Kennedy | Skillshare

Learn Fusion 360 in 30 days for Complete Beginners! (Part 3 of 3)

Kevin Kennedy, Product Designer

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11 Lessons (2h 12m)
    • 1. Welcome To The Course! (Course Introduction)

      1:03
    • 2. Day #21 - Fusion 360: 2-Part Mold

      11:52
    • 3. Day #22 - Fusion 360: Sculpt an Earbud

      12:11
    • 4. Day #23 - Fusion 360: Sculpt a Computer Mouse

      13:58
    • 5. Day #24 - Fusion 360: Sculpt a Halloween Pumpkin

      13:52
    • 6. Day #25 - Fusion 360: Assemblies and Joints - Assemble a Demo file

      14:29
    • 7. Day #26 - Fusion 360: Create 2D Technical Drawings

      15:48
    • 8. Day #27 - Fusion 360: Patch a Model (Patch Workspace)

      11:37
    • 9. Day #28 - Fusion 360: Render a Utility Knife (part 1 of 2)

      11:42
    • 10. Day #29 - Fusion 360: Render a Utility Knife (part 2 of 2)

      11:06
    • 11. Day #30 - Fusion 360: Animate a Tank Assembly file

      13:55

About This Class

Are you ready to build your very first 3D model in 2019 with Autodesk Fusion 360? 

This is the perfect course to start with. This course is designed for beginners like you that are ready to learn 3D modeling without any previous CAD or 3D modeling experience required.

I've had students from 12 years to 63 years old complete my tutorial lessons. It's never too early or too late to learn Autodesk Fusion 360!

3D CAD Modeling with Autodesk Fusion 360 is the perfect tool to add to your skillset!

THIRD AND FINAL - WHAT YOU WILL LEARN EACH DAY

21. 2-Part Mold

22. Sculpt an Earbud

23. Sculpt a Computer Mouse

24. Sculpt a Halloween Pumpkin

25. Assemblies and Joints - Assemble a Demo file

26. Create 2D Technical Drawings

27. Patch a Model (Patch Workspace)

28. Render a Utility Knife (part 1 of 2)

29. Render a Utility Knife (part 2 of 2)

30. Animate a Tank Assembly file

Why learn from me?

Hi there, I’m Kevin Kennedy, a Product Designer based in Seattle! I’ve been building “stuff” with my hands since I was four.

Throughout my childhood, I mastered the art of woodworking, leatherworking, lego sets, and eating ice cream!

I knew from an early age I’d pursue a creative field, but it wasn’t until my Junior year of High School that I stumbled upon Industrial Design. In Jr. High/ High School I learned AutoCAD which led me to learn Autodesk Inventor and CREO.

  • 2012: I started to study Industrial Design at The University of Illinois and picked up SolidWorks, which was fairly easy coming from Autodesk Inventor

  • 2013: I started a SolidWorks User Group, with their support, and started teaching SolidWorks to the community/students. I met some Autodesk fellows as they were heavily pushing F360 to students around its official release. They tried to get me to focus on Fusion instead of SolidWorks but at the time (I’ll be honest) Fusion 360 was pretty clunky!

  • 2014-16: I started teaching in-person Fusion 360 and 3D Printing classes to the community and fellow students. I slowly started using Fusion 360 more and SolidWorks less… and somewhere in there I decided to switch over completely.

  • 2018: I missed teaching Fusion 360 so I decided to start the Product Design Online YouTube channel, to help awesome people like you!

I’ve been 3D modeling in CAD programs for 10+ years and I’ve had the pleasure to work with clients big and small – but most of all, I enjoy passing along my knowledge of Fusion 360 to “students” like you!

I spend the majority of my “free time” creating FREE tutorials and helpful articles for those trying to learn Fusion 360. If you’ve found any joy in my videos, even if you’ve only learned one single thing, then please do your part and share it with other Fusion 360 fans!

I love how simple Autodesk Fusion 360 can be when it's broken down into small achievable daily steps!

I still remember the first 3D object I built myself. It was a real struggle just to get it to look the way I wanted. I've kept everything in mind while creating this course. I'll explain each item step by step in its own video. I'll also be happy to answer any Fusion 360 questions you may have in the student discussion forum for this course (available to enrolled students only).

COURSE CONTENT (FULL 30 DAY SERIES)

  • You will learn the essential features of Autodesk Fusion 360!

  • You will know how to export your files for 3D printing.

  • You will learn how to render products in Fusion 360.

  • You will learn how to insert SVGs in Fusion 360!

  • You will learn how to create 2-dimensional drawings in Fusion 360.

  • You will learn how to import existing models in Fusion 360.

  • You will learn how to create an assembly in Fusion 360.

  • You will learn how to create a product animation in Fusion 360.

DESIGN AND BUILD YOUR FIRST 3D MODEL IN FUSION 360

No matter what your goal is with learning Autodesk Fusion 360, I want to make sure you're able to achieve it. If you have any questions or run into any roadblocks, then I'm here to help!

Who is this Autodesk Fusion 360 course for?

This course is for new 3D Modelers who want to learn the essential features of Autodesk Fusion 360 by building 30 everyday objects. This course is NOT for those looking for a long and boring overview that simply talks about the features of Fusion 360. It's been proven that the best way to learn is by doing, that's why you'll learn in my course by actually building something each day! If you are interested in simply just watching an overview of Autodesk Fusion 360 then please check a different course.

I can't wait to help you build your very first 3D model in Autodesk Fusion 360!

Cheers,

Kevin Kennedy, Product Design Online

Transcripts

1. Welcome To The Course! (Course Introduction): Hey there, I'm Kevin Kennedy. And welcome to part three of Learned Fusion. 3 60 in 30 days for complete beginners. I'm a product designer with over 10 years of cat experience, and I'm excited to give you this beginner fusion 3 60 course. Absolutely free for the greater good of the Fusion 3 60 community. Now, in this course, I'll walk you through the core features a vision 3 60 while three d modeling familiar everyday objects. This third and final part of the course covers days 21 through 30. So if you haven't already done so, I recommend you watch Parts one and two first to kick off. Part three of this course will start off by three D modeling a two part mould in day number 21. Also, be sure to check out product design online dot com forward slash fusion 3 60 for Helpful Resource is little reference in each tutorial. So what are you waiting for? Let's get started 2. Day #21 - Fusion 360: 2-Part Mold: Hey there it's Kevin Kennedy and welcome to day number 21 of a learned fusion 3 60 in 30 days. By the end of this tutorial, you'll be able to three D model a two part mold that you can three D prints. We'll take a look at how to use the combined tool to subtract a body, how to split a body in half and how to create registration pins for the mold to get started . I'm going to open up this doughnut file, which I'll create a mold of in this video. If you remember, in day Number 20 we created a one part mould. So in this demo will take a look at how to create a multipart mold when the three dimensional object is too complex for a one part mould. Before I do anything with this model, I'll want to right click on the master component and select captured design history to ensure that our process is captured in the timeline below. Now similar to the one part mould, the first thing will want to do is create a box that will encompass the entire object. I'll hit the keyboard shortcut letter are for rectangle. I'll select the XZ plane, and before I select the center origin, all select center rectangle in the sketch palette, I'll select the center origin, and I'm just going to make this 110 millimeters in each direction and hit. Enter. Now I'll hit the keyboard letter E for extrude, and I'll select the rectangle. And again, we want this box to cover the entire doughnut. So will first select two sides for the direction. I'll drag the arrows for each direction around 20 millimeters or so until the box covers the doughnut shape and you'll notice that it defaulted to the cut operation. So we want to make sure that we have new body set as the operation before we click. OK, at this point, I want to start naming the bodies, so it's easy to keep track of them all. Toggle. Open the bodies folder and rename the first body doughnut and the second body mould box toe . Help us see what's going on here. We can go ahead and change the opacity of the mold box. To do this simply right, click on the body, go to a passively control and change the opacity to 50% now will want to use the combined tool to subtract the donut shaped from the box will select, combined from the modified drop down list. And then I'll select the mold box as the target body. As this is, the object will want to cut away from for the tool bodies or the shape that will use to cut . I'll select the doughnut on double Check that the operation is set to cut, and I'll also make sure that new component and keep tools is selected and I'll click OK and the combined dialog box. Now, since we had new components selected, you'll see that our mold body that we just created was created with in a different components. I'll go ahead and rename this component to doughnut mold by double clicking. Line it and I'll turn off. The original two bodies at this point will want to cut this mold into two parts. Before we split, the body will need to add a construction plane to reference as the split feature. I'll select a mid plane from the construct, drop down menu and then select the top and then the bottom of the box and click OK, and you'll see that the mid plane created a nice construction plane directly in the middle of the box. I'll select split body from the modified drop down list, and then I'll select the mold box as the body to split. And I'll select the construction plane as the splitting tool and I'll click OK now to make this even easier to look at all, select the construction plain and hit the keyboard shortcut letter V toe, hide it. I can also turn the opacity back to 100% of both bodies to make them even easier to look at and will rename the body's top and bottom so they're even easier to decipher. I'll hide the top and look at the bottom, and then I'll do the opposite by hiding the bottom so we can look at the top again and you'll see that we have successfully cut out the donut shaped from the mold box. At this point, we need to do a few more things. We need to create some registration pins so the mold always lines up correctly when it's placed together, and we also need to create a whole that allows the resin or chocolate or whatever liquid you pour into the mold to get into this inside cavity. Let's start off by creating the registration pins. I'll select the top body and hit the letter V on the keyboard to hide it, and I'll select the top plane of the view. Cute. Now you can go ahead and create registration pins with many different shapes. But personally, I like to use this fear feature so all select sphere from the create drop down menu and then select the top surface and I'll make this 10 millimeters wide and I'll make sure the operation is set to join. I'll select rectangular pattern from the create drop down menu as well. Want to pattern this to the other three corners under the pattern type selector will select features, and then I'll select this fear from the timeline for the direction or click on the edge of the mold. And I'm just going to use the arrow here to adjust these fears to approximately the same spot as the exact location is not that important Now. Once I have a new sphere previewed here in all three corners, I'll go ahead and click OK, now, we'll have to subtract thes fears from the top side of the mold. So we can three d print this mold and the registration marks will actually work. I'm going to turn the opacity of the top back down to 50%. Then I'll select the combined tool once again and for the target body will select the top. And for the tool bodies will select the bottom. I'll make sure the operation is set to cut. Select a new component and keep tools and click OK, now you'll see that we no longer need the original top bodies. We can hide that, and I'll double click to rename the original component to doughnut mold bottom. And I'll also go ahead and rename the other component that we just created to doughnut mold top. I'll turn the opacity back on for the top, and we'll hide the bottom by selecting it and hitting the keyboard Shortcut Letter V for view or hide, and you'll notice that now we have both the top and bottom pieces of the mold, each containing these nice registrations fears. So now we need to create a whole to pour the material into, and this part is really subjective to your specific needs for this doughnut. It's likely on Lee going to sit with the frosting side up, so I'm going to go ahead and put the hole in the bottom of the object as it may leave a small ring on the final object. We'll hit the keyboard shortcut letter H for whole and select the bottom surface off the bottom box. I'm going to click and drag the whole point to be about in the middle of the doughnut ring , and we can adjust the whole settings to counter sink. I'll type in 18 millimeters for the With of the counter sink. I'll choose simple and angle and for the height, all type in six millimeters and for the with all type in 10 millimeters. Now, these whole settings again really depend on your object where the whole cavity is and what you're trying to achieve with your moles. You may have to three d print out a test object and tweak it based on the results you get. Now, If I turn the opacity back to 100% and take a look at the bottom part of the mold, you'll see that we have this nice pour spout to pour into the bolt. The last thing that we need to do is check the draft analysis to see how well the object will come out of the mold. I'll select draft analysis from the Inspect Drop Down menu. I'll select the body and then the top surface as the direction and click OK and you'll see that we may have issues with the edges coming out of the mold as it's read here. But this really depends on the material that you're working with. We can re show the top mold and right click and select a repeat draft analysis and then do the same thing. I'll select the body and the top surface as the direction and click OK, and if we go ahead and take a look at this other side of the mold, you'll notice that we may end up with some undercut issues here in the frosting area of the doughnut. Now again, this is something that you have to play around with. You may find that a complex three D printing mold will work well if you pour something flexible such a silicone, and it may not work as well. If you have a hard material such as resin. With that said, you can always cut up your mold into more pieces, allowing you to remove any type of material out of the mold. Cut this up further. You'd simply have to follow the same steps where we have to create a construction plane and then use the split body tool. And I could also add extra registration keys to the sides of each mold part Now. One thing to keep in mind as well is that although more pieces may make it easier to pop in object out of the mold, you'll likely end up with more parting lines where the mold boxes meat so you'll really have to plan ahead and think about the final results you're trying to achieve. Lastly, to three D Print this, you'll just have to right click on each component and select Save as STL. And of course, you could either save it to your desktop or you could send it directly to the three D printers slicing software 3. Day #22 - Fusion 360: Sculpt an Earbud: Hey there it's Kevin Kennedy and welcome to day number 22 of Learned Fusion 3 60 in 30 days . By the end of this tutorial, you'll be able to model in ear bud in the sculpt environment. We'll take a look at how to create a box, how to select faces and edges and how to use the crease Command Before we get started. I want to point out that this tutorial is going to be a very basic sculpting tutorial. If you're new to the sculpt workspace than you're in the right place, you should also understand that mastering the sculpt or T spine environment simply takes time and hours of practice. You'll need to get very familiar with the commands, as you'll see in this lesson that just by holding down one single key, it can make all the difference and the results you get. Now. Let's get started by hitting the create form button in the toolbar, and you'll see that it will give you this message that you have entered the sculpt environment and you'll have to click finish form to go back to solid modelling. And if you don't want this message to display any more than you can simply select. Do not show me this again before you click OK now to start our ear, Bud will use a box, so I'll select the box and the toolbar and then select the front plane and the center origin. I'll drag out with my mouse and all. Type in 15 millimeters. Hit the tab key toe lock the dimension in place and I'll make the other side 15 millimeters as well, and I'll go ahead and make the depth 12 millimeters and then I'll hit enter to create the box. Now let's take a look at some of the basic sculpting commands you'll want to get used to in the sculpt environment. You can think of it like manipulating clay or some sort of workable material. We're going to control all of these different faces and edges to push and pull and change their position. In order to get the final outcome that we want, you'll see that if I just click on a face, it will select it. But oftentimes you'll want to select many faces or edges all at once to select all faces in a row. You can select the first face and then holding down the shift key. I will double click on the second face and you'll see that it highlights everything in that row. So we'll do this again in another direction so you can see it once again. Now, to select edges all the way around, All you have to do is double click on them. So if I double click on this center edge, you'll see that it highlights all the way around the object. Now. Another thing that could be very helpful at times, especially if you want to select a large number of faces, is to use the paint selection tool. You'll find the paint selection tool under the select menu or by activating it with the keyboard shortcut. Number three. If I select paint selection and drag over the object, you'll see that it will select everything. My cursors path. Now the only problem with this is that I'm selecting edges along with the faces. So if I just want to select faces, I'll need to set the selection priority under the select Drop down menu to select face priority. If I go back up to the menu and select the selection filters you'll see that it automatically changed it. So we're Onley selecting faces, so at times you may find it very helpful to manually select the type of objects you're actually trying to select. Then when you use the selection tool, you won't have to worry about selecting other objects. Now, if I clear out this selection and paint over it once again by dragging over the object with my cursor, you'll see that this time it on lease elects the faces of the object, not any of the edges or other elements already. So now that we've covered some of the fundamentals of selecting faces and edges, let's go ahead and start sculpting in ear buds. For the sake of simplicity. In this very beginner demo, I'm going to make the ear bud that it's symmetrical and before we start here will reset the selection filters to select all. And then I'll change the selection back to window. Now I'm going to double click on the center line to select the entire edge, and I'm going to right click and select edit form. The Edit form feature is the main feature you'll be using in the sculpt workspace. It gives us all these icons here, which allow us to move and manipulate the object in all different directions. I'm going to look at the object from the front view, and then I'll select this horizontal slider, and I'm going to drag it upwards and you'll notice that as I dragged this handle upwards, it's changing our box shaped to have a more rounded surface on both the top and the bottom . And I'm just going to hit enter, and then I'll repeat these steps. I'll double click on the horizontal line and then right click and select edit form. Then, once again, I'll drag the vertical slider until I like the shape. And if I need Teoh, I can go back and adjust the other direction. Now that we have, the rounded shape will want to pull the shape to the right to make the length of the year. But I'm going to select this back face and double click on the face above it again, because this will select the entire row, and I'm also going to hold down the shift key and select the four back faces. Then, all right, click and select edit form. And this time I'm going to use the arrow icon. So if I dragged the Arrow icon, you'll see this icon allows us to push and pull the length or the height of an object, and I'm just going to drag it until the length seems about right for an ear bud. And then I'll click. OK, at this point, I want to create the cavity for the earbuds, so I'm going to hold down the shift key and select all four sides of the front faces. This time, I'm going to use the circle icon in the middle that has three triangles When I hover over it. Now, this icon will either resize your faces or it will create new faces. If I simply select it and drag in and out, you'll see that it resize is the faces. But we'll also want to create some more faces here. So this time I'm going to hold down the option or all to key, and I'm going to drag in with my mouse and you'll see that now. We went from having four faces to a bunch of faces here, so this is really important. You can see all the difference. It makes holding down the option or all key, whereas if we just selected the icon and moved our mouse, it would simply resize. The faces holding down the option are all key again. I'm going to slide this in a bit further, making some more faces here, and you can see that are here but is starting to get a more defined front curve here Now. What the option or all key does is it tells vision 3 60 that you just want to manipulate the faces selected and not all of the faces around it. So if I look at the model from the right a bit more and then select the back arrow, you'll see that as I dragged the arrow back. It's really changing all of these faces in the front here. But let me hit Command Z toe undo. And if I do this once again while holding down the option all key, you'll see that this time it's not changing the thickness or the position of these outer faces. So I'm just going to click OK, and now that the nearby cavity is created, I'll take a look at the back so I can start to create the plastic cylinder. I'm going to hold down the shift key and select the back four faces, and this time I'm going to right click and select the crease tool, which will create a crease or sharp edges between faces. Then I'll select the four faces again while holding down shift, and I'm going to drag the centre circle to make this shape a little bit smaller. I'll go ahead and hold down the option or all key to create some more faces. Next, I'm going to select the horizontal arrow and while holding down Option or Ault, I'm going to push it back into the year. But I'm going to let go of all the keys and then holding down option Alz again. I'm going to drag the arrow back out and you'll see that now we have this cylinder protruding from the front of the year, but I can also hold down the option Ault again and drag the center slider to create more faces and round over the edge of the cylinder. And I'm going to click OK, now. The last thing that we want to do is make the plastic piece that runs vertical from the horizontal cylinder. But before we start to drag the shape, I want to create some more faces, giving us a bit more control. So one thing that we can do is insert another edge or this line here when we need to have more faces. Now to do this, I'm going to double click on the edge to select it. Then I'm going to go to the modified drop down menu and select Insert edge and you'll see that the green preview line is where the new edge will go so I can simply drag the slider to change the position of it before clicking. OK, now, if I look at the bottom, you'll see I have these extra faces here so we won't mess up the ear bud or the back of this cylinder shape. I'll go ahead and select these two faces while holding down shift all right click and select edit form, and I'm going to select the vertical arrow. Then, while holding down option Ault, I'm going to drag down just a bit and release all keys and then I'll hold down option Ault again, and this time I'll drag it down quite a bit. lastly Ah, hold down Option Ault and dragged the center slider to square off this bottom a bit and then I'm going to click. OK, so they see. Now we have a nice and basic very simple ear bud shape that we sculpted Infusion 3 60 Now, once you're satisfied with their sculpted shape, you can click finish form, which will convert it from a T spy model back to a solid body, so you'll see that now I'm automatically back in the model workspace, and I can now use the model tools to change this further if I needed to. So to wrap this video up, I want to remind you guys that in order to master the sculpt workspace, you really need to get used to holding down and selecting the right keys in order to take full control. Otherwise, it can be very frustrating. This first sculpt video was very entry level, and it's a great place to start getting used to these commands 4. Day #23 - Fusion 360: Sculpt a Computer Mouse: Hey there it's Kevin Kennedy and welcome to day number 23 of Learned Fusion 3 60 in 30 days . By the end of this tutorial will be able to model a computer mouse in the sculpt environment. We'll take a look at how to use the symmetry feature, how to insert a new edge and how to use the Crease Command to create a flat surface. To get started, I'm going to insert a reference image into the canvas. If your sculpting a shape off an already existing object, then this could be super helpful in getting the shape started. I've also found the evening or creating a new product from scratch that a rough reference sketch could be very helpful when using the sculpting mode all select attached canvas from the insert drop down menu or by selecting it in the toolbar. I'll select the right plane, and then I'll select the image from my desktop. I'm just going to drag the outer slider and scale it up for now and will calibrate the size in just a bit, so I'll click. OK, let's go ahead and calibrate the size of the reference image. So the sculpted form will naturally follow the realistic dimensions all toggle. Open the canvases folder and then right, click on the computer mouse image and select calibrate. Then you'll see that I can select the first points on the canvas, so I'll just click where the front tip of the mouse's. And then I'll needed to find the second point and I'll click at the furthest point of the back part of the mouse. Now, after I add the second point, I can type out a dimension so I'll type out 114 millimeters and click. Enter and you'll see that the reference image will immediately resize to those dimensions. Now the last thing I'll do is right. Click on the reference image and all select Edit campus, and I'm going to move the image up about 20 millimeters or so, or until the bottom of the mouse is lined up with the bottom plane because I'm going to start to sculpt from this bottom plane. And before I go any further, I'll click the save icon, and I'll save this as computer mouse. Now let's get started with sculpting the mouse. You can really start with a number of different shapes in the sculpt workspace, but I find it easiest toe. Always start with the pre made shape that's closest to your final shape. So in this case, the mouse is really just a rounded box. So I'm going to select box from the toolbar. Then I'll select the bottom plane. I'll click on the center origin and I'll drag out with my mouse. Now I'll go ahead and type the overall dimensions of the mouse, which are 114 millimeters long. I'll hit the tab key to lock the dimension in place and then 62 millimeters for the with, followed by the tab Key toe lock the dimension in place. Then you'll notice the box feature immediately prompts us for the height. So I'm going to look at this mouse from the right view, and you'll notice that the horizontal line of the box lines up well with this horizontal plane of the mouse or this imaginary plain. If I were to cut the mouse through its side, where I could get the largest flat surface here, so I'm just going to click OK, and you'll see that we have a basic shape approximately the same size of the mouse, but not quite, is tall. Now. A few more quick tips before we reshape this box. First off, let's turn off the origin planes by selecting the light bulb in the Fusion 3 60 browser. Now I found that any time you're working in the sculpt environment, you'll want to turn off any other objects that can get in the way as they can get pretty confusing when you're trying to push in. Poll on different faces. Also, you'll notice that the box shape we've created automatically has a transparent appearance because of the reference image splitting it down the middle. If I toggle the reference image on and off, you'll see that the boxes turned to 100% opacity. And sometimes I find it helpful to turn down the opacity of the sculpted form. So it's easier to see the details on the reference image. If you want to turn the opacity down, simply right, click on the body in the Fusion 3 60 browser and change the opacity under the opacity control. But for the sake of this video, and making it easier for you guys to see, I'll go ahead and leave it at 100%. The last thing here. You'll want to make sure that you have your visual style in the display settings set to shaded with visual edges on Lee, as this will ensure that you can see all of the faces that you're able to work with in the sculpt environment. You definitely don't want your visual style set to shade it. The first thing I'm going to do is set up symmetry so we can shape one side of the mouse and the other side will automatically be mere. To do this, I'll select the mere option from the symmetry. Drop down lists. Then we'll have to select two faces, so I'll select one face and you'll see it labeled it Number one. Now the second face we select is going to determine the mirror or symmetry line, so we want this mouse to be symmetrical right down the middle, so I'm going to select the face directly across from the first phase. Then you'll notice that this green symmetry line now appears, and that is in fact, the symmetry line that we're looking for. So I'll go ahead and click OK, now you'll notice that any faces that I select are automatically selected on the other side of the cemetery line. So this is a nice way to save time, be a little bit more efficient and, of course, to ensure that you do have a special shaped in this sculpt environment, especially that's what you're trying to achieve. At this point, I'll want to create this rounded hump of the mouse. I'm going to select the back top face of the form, right click and select edit form, and then I'm going to look at it from the right view. Now, one thing that I want to point out here, and I can't stress this enough is that you really have to get into the habit of looking at your sculpted forms from different sides of the view. Cute. Now this will make it easier to ensure your selecting the right controls as you'll see that if I look at it from a perspective than I have way too many selection options here, and it's easy to accidentally select the wrong one. So again, looking at it from the right view, I'm going to select this rounded rectangle, which allows us to move faces in a plane or direction. Or in this case, we're adjusting the faces along this right y Z plane, so you'll notice as I click and hold with my mouse. I can drag this around, and I'm just going to pull up to the left a bit and you'll see that we're already starting to follow the mouth shape. I can also select the face just to the left of this one without leaving the edit form feature, and I can move that around until it's a little bit better. Now, if you're new to the sculpt environment, you'll find that it's a lot more experimentation than Parametric modeling. So you'll want to get into the habit of experimenting. And if you don't like something, simply hit Command Z on Mac or control Z on Windows to undo the most recent action. I'm going to look at this from the home view to give you another idea of why we created the center line of symmetry before we got started with sculpting, so you'll see that it's a bit easier and were able to focus on the shape without having to worry about this other side. Now, at this point, I'm liking the overall shape of the computer mouse, but I want to reshape the front of the mouse so it has more of a sharp angle here. If I right click and select edit form on the front face, you'll notice that no matter what I do, I'm really not going to get the amount of control that I need. So what I would do in this scenario is at another edge or to giving me more faces to control the object. I'm going to double click on the center line of the mouse because double clicking will select the entire line, and then I'm going to select insert edge from the modified drop down list. I'm just going to use the slider to position the line so it's above the center line and I'll click. OK, now you'll notice that right after I clicked, okay, it readjusted the shape a bit and essentially cut these front faces up into smaller faces. Now I can go ahead and edit form on this top shape and adjust the face by dragging the centre manipulator around because this icon represents universal scaling, so you'll see that we can adjust this toe better represent this front shape of the mouse already. So now I want to get the bottoms to be a bit more square, like this computer mouse reference image. So I'm first just going to use the Planer Square to move the faces down a bit further, and I'll do this for the front bottom face in the back. Bottom face. Now, I would probably spend a little bit more time to tweak this side profile even further. But for the sake of time, I'm going to leave it at what it is. And let's go ahead and take a look at the top of the mouse. Now, to make this mouse a bit more ergonomic, I'm going to add a groove to the side for the thumb. Now, looking at the top of the mouse, I'm going to select this top left edge and right click and select edit form. I'm going to select the plane or direction icon and drag it out just a bit so you'll see that looking at it from the back were already starting to get a nice indent. I can also select the points where all the edges meet in the middle and I can use the dimensions to control it a bit more. I'll type in four millimeters and it looks like the top moved a bit. So I'm just going to go back and forth here and move each one around until I'm happy with the overall shape and I'm starting to like this overall shape. So I'm going to click. OK, now we want to make sure that the computer mouse has a flat bottom, so it will slide on the desk properly. So holding down the shift key, I'm going to select all the bottom faces and then I'm going to right click and select Crease. Now you may have noticed that the edges are creased, but the bottom isn't flat yet. So holding down the shift key, I'll select the two faces again, and this time I'll select the flatten command from the modified drop down list, and now you'll see the shape is completely flat on the bottom. Now, at this point, if you want to make the mouse specifically for a left or right hand, you could turn the symmetry off and edit the form on just one side. So to turn the symmetry off simply go up to the symmetry. Drop down list, Select clear symmetry. Select the model and then click. OK, I'm also going to show you another way to do this. So I'm gonna hit Command Z. And if I select the symmetry line first and then if I select clear symmetry, you'll see that it not only saves an extra step of having to use that dialogue box, but this will also help me control a specific symmetry line. If I did happen to have multiple symmetry lines set up in the first place at this point, I can right click on the top edge and click edit form, and I can drag this out a bit more to make this a right handed mouse, and maybe I'll just push the back in a bit more. So this is where the sculpt workspace could be really fun, and you can really play around with the shapes and ideas that would take you way too long to create in the model workspace. Now, obviously, I did this mouse concept fairly fast. So remember that one of the most important tips is that the more faces and edges you have, the more control you have over that area of the model. If I'm happy with his overall shape, I'll go ahead and click. OK, and I will click finish form in the toolbar so I can go back to the model workspace. Now I can go ahead and take this model a step further by using the model tools to really define the features of the computer mouse, including adding a center scroll here may be splitting the keys down the middle, and I can go ahead and hit the keyboard shortcut Letter F for fill it. Select the bottom edge and I'll enter a Philip Radius of four millimeters and click. OK, so that's all I'm really going to show for this tutorial because again, like I mentioned in day Number 22 you really need to get used to these basic sculpt commands before we go ahead and take it a step further. 5. Day #24 - Fusion 360: Sculpt a Halloween Pumpkin: Hey there it's Kevin Kennedy and welcome to day number 24 of Learned fusion Be 60 in 30 days. By the end of this tutorial, you'll be able to have model a pumpkin in the sculpt environment. We'll take a look at how to use the control points plein how to select through faces, how to use the T Spine Revolved tool and how to thicken 80 Splain model. To get started, we're going to need to create the silhouette of the pumpkin with the spine tool, and then we'll enter the sculpt environment and revolve the T spine around the center axis . Now I'll start off by creating a new component by selecting new component from the assembled drop down menu and before I click okay, I'll type out pumpkin for the name. Creating a new component before we do any work will simply help prepare for the future, just in case we want to duplicate the pumpkin or insert the object into another assembly file. I'm now going to select, create sketch in the toolbar, and then I'll select the right plane to get this plying command. I'll go to the sketch drop down menu. I'll find the spine fly out folder, and I'll select the control points Pline, which is a newer feature infusion to be 60 and I think you'll find it's a little bit easier to control than the Fit point spine. I'm going to start by clicking in the middle, just above the centre origin, as this is where that bottom cavity of the pumpkin will be. And I'm just going to add three or four points by clicking in the rough shape of a pumpkin . Then you'll see that the control points blind allows us to simply move these points around . So it's a little bit simpler to use than the fit point spine, which can Onley be adjusted by dragging the spine handles. So I'm just going to move these points around until I'm happy and it looks close enough to the pumpkin silhouette. And if you really wanted to get a specific profile shape, you could import a reference image in trace over the shape with the spying tool. Once I'm done with the spine tool, all hits stop sketch in the toolbar, and before I forget about it, I'm going to rename the Sketch pumpkin by double clicking on it in the Fusion 3 60 browser , as it's a good habit to get into even on these quick, smaller projects. Now we need to enter the T spine or sculpt environment, and you'll see that the only way we can enter the sculpt environment is by selecting create form. So the easiest way to do this is simply selecting it in the toolbar. Otherwise, the sculpt environment does not show up in your workspaces. Drop down list. Now, after selecting create form, you'll be in the sculpt workspace, and we will need to select the REVOLVE Command from the create drop down menu. Once they revolve, dialog box opens up. You'll notice that it's very similar to the REVOLVE Command in the model workspace, with the exception that will be creating a T spine body, which is full of faces. And it's not one solid body. First, I'll need to select the side profile of the pumpkin that we just created, and next you'll see that we have to select a center access so in this scenario will simply use the center access from our origin. But you could always reference a line that you created, or a number of different construction axes that you can create infusion. After I select the center access, you'll see it's already give me a preview of the shape and before we click OK in the Revolved dialog box will want to change a few more settings. If you've watched the previous two sculpting videos, then you've heard me talk before about the key to success when using the sculpt environment . And that is that the more faces you have, the more control you have over your shape. So we'll want to increase the number of faces here in orderto have a little bit more control over how we shape this pumpkin. You'll see that I can create new faces two ways, either by dragging this blue slider around or by typing out the exact number of faces that I would like in the dialog box. Now I'm going to set the number of faces to nine, and right above that you'll see that we can change the spacing to curvature or uniform. Now uniform will ensure that all of the faces are a uniform size, whereas the curvature selection means the size of the faces will adapt to the shape of the object. So for most projects, you'll find that the curvature setting will be more useful. So I'll go ahead and leave it set to curvature for now. For the type, you'll see that we can change. The angle toe, which are shape is revolved around, and we want our pumpkin to be solid all the way around, so I'll leave it set to full. Next, you'll see that we can set the number of faces in the other direction. And again, I can either drag the blue slider around or type a number in the dialog box. Now I'm going to go ahead and type out 14 for the number of faces. Just below that is the symmetry option. Now. Pumpkins are never exactly symmetrical. But to help us make the individual bulges, we're going to turn on the symmetry for now and then later we'll go ahead and turn it off and we can individually change parts of the pumpkin. So after I set the symmetry to Circular, I'll change the number of faces to three, giving us just a bit more control. And then I will click OK to confirm all of these changes now that we have the overall shape will want to push some of these faces back, creating different ripples that appear around the outside of a pumpkin. I'm going to look at it from the top plane, and then, while holding down the shift key, I'm going to start to select one of the edges that has symmetry applied to it, as indicated by these bright green lines. And I will start with the second edge, and I'll keep selecting them until the bottom edge before it starts to wrap underneath the pumpkin. So once I have them selected, you'll see that all the other symmetry lines are selected as well, and we're going to have to right click and select edit form. If you're new to sculpting infusion 3 60 then be sure to check out my other short video, where I cover what all of these edit form icons meat only to that below in the video description. For now, we'll select the single access direction arrow, and I'm just going to push it back a little bit if I want even more control than I can type a number in the Dimension box. So I'll type out 16 and click OK At this point, we're done with the symmetry, so we'll have to clear it out before we go any further. To clear the symmetry feature, simply select clear symmetry from the symmetry drop down list. And now you'll see that we no longer have any of our green symmetry lines. Now the last thing we need to do is create the stem of the pumpkin. I'm going to zoom way in on the pumpkin shape and double click on the edge here because double clicking will automatically select the entire edge. All right, click and select edit form, and I'm going to select the Universal Scaling Icon or the Centre Circle. Now, before I do anything, I'm going to hold down the option key on my Mac. So if you're on Windows, be sure to hold down the altar key and then will drag the centre circle in about halfway. I'm going to let go of the option key, then hold the option key down once again and dragged the center in a bit further. Then, with the option slash all key held down, I'm going to grab the top single access arrow and I'm going to drag it up so you'll see that holding down the option all key is creating these new faces for us. So it doesn't mess up all the surrounding faces, whereas if we didn't hold that down, if we moved any of these things around, it would drag all the faces with it to make the stem a little bit more tapered. I'll select the universal scaling icon or the centre Circle, and I'll drag it in a bit this time making sure that I do not have the option all key selected. You can also use the sliders to give it a bit of an angle, and we can select and hold on the plane or direction square and move that around to give it a more realistic and not so perfect appearance. The last thing I'll do is make this pumpkin even more realistic by messing up some of the symmetry. Now I'm going to look at the pumpkin from one of the side views and then I'm going to hit control plus one on the keyboard, which will change the appearance to a box display mode. And the main advantage of this box display mode is it makes it easier to select faces of the organic shape, and it will also run a lot smoother, especially if you have fusion running on older computer. Now we'll want to set a selection filter so all head up to the selection drop down menu and for the selection priority. Ah, click on Select Face Priority, which will make sure that we Onley select faces. Now if I click and drag with my mouse to create a selection window, you'll see that we have one problem, which is that it doesn't select all of faces on the top of the pumpkin, especially on the other side. So the easiest thing to do in this situation is to activate the select through selection filter, which will automatically select the faces on the other side's when we use this selection window. So after activating select through. If I try to do the selection again this time you'll see that it did in fact, work, and it selected the entire top. So I can now right click and select edit form, and I can drag the rotation cider a bit and move the planer direction square around to make this pumpkin a little bit more unique. After messing with the faces of it. You can click OK, and then you can hit control plus three to revert back to the normal smooth mode. Now, to wrap up this tutorial, there are a few quick things will want to do. First off will want to fill the gap in the stem of the pumpkin. So in some T spine scenarios, we would be able to use the fill hole. Modify command. But unfortunately, if you move your stem around, it's going to cause some intersecting T spine airs, which won't let us convert this model to a solid body. Therefore, I'll make sure my selection filters are reset to normal, and I'll double click to select on the Stems edge. All right, click and select edit form, and I'm going to hold down the option all key and drag the universal scale icon just a bit , so it rounds over the edges. I'll release the optional key, and then I will hold down the option all key once again and drag the universal scale icon in further. And this time I'll go ahead and type out zero in the Dimension Box, which will close off the top of the stand, and then I can click OK to confirm the results. As of now, this T supply model doesn't have any thickness to it. So before we hit finish form to convert it to a solid body will use the thick in command located under the modified drop down list. Then I'll have to select the T spine body. I'll change the thick and type too soft, and I'll type out four millimeters for the thickness. If we look at the body in the Fusion 3 60 browser, you'll see that it's still a T spine body. So to convert it to a solid I'll hit finish form in the toolbar, and it may take a few seconds to convert. Then I'll turn on the section analysis to show you the thickness that we just created with the thick in command. Now that the pumpkin is a solid body, you can use the model tools to carve a design into the side. Or you could double click on the sculpt icon in the timeline below to further at it the T spine body in this sculpt workspace 6. Day #25 - Fusion 360: Assemblies and Joints - Assemble a Demo file: Hey there it's Kevin Kennedy and welcome to day number 25 of the learned vision 3 60 in 30 days. By the end of this tutorial, you'll be able to assemble components together to represent functional and moving products . We'll take a look at how to set up joints and as built joints. We'll talk about the difference, and we'll also add some rigid sliding and some other motions to the joints. For this tutorial, I'm going to use one of the sample files located in the data panel. Open up your data panel by clicking on the grid icon. Scroll down until you see this sample section and then double click on the basic training folder, then find folder number six, which contains assembly practice files, and we'll double click to open file number six, which is a camera tripod. Once the camera tripod file is open, you'll notice that it's a read on Lee File s stated at the top of the toolbar here, so we'll have to click on file save as and then you can rename this file. If you would like to, as well as choose a new location for the copied file, then clicking the Blue Save button will copy the file for us, So now we can play around with the file and actually make changes to it before we start adding joints and motion to the model. Let's take a look at a few things that you'll need to understand in order to understand assemblies and infusion. 3 60 First off, you'll notice that in the Fusion 3 60 browser on the left hand side that all of these parts and the assembly file are made up of components. Now, if you're not familiar with the difference between components and bodies, then be sure to check out my other video in the video description below. Fusion 3 60 treats components as real world manufactured parts, and because of this, you'll only be able to apply joints in motion. Two components and they won't work on bodies. Next, let's head down to the timeline and click the red icon, which represents a grounded component and hit the delete key on your keyboard. We'll talk more about grounding components in just a bit, but for now, let's go ahead and take a look at the model itself. Now the tripod appears to be pieced together. But if I click in Dragon apart, you'll notice that can drag each one of the components around freely. So they're really not joined together. And of course, that's what I'm going to show you in this video lesson. Now the first tip for those of you new to assemblies is when you move something around but decide that you wanted to go back to the original location. You can select reverts in the toolbar or in the position drop down list, and you'll notice that selecting Revert moves the component back to its original position. Now, in order to see the middle components of the tripod. All zoom in and I'm going to click in drag on the red stand and I'll drag it over to the right and also click and drag the camera mount over to the right. You can now see some of the other key components of this tripod assembly in order to make sure these two pieces we just moved, don't get reverted back to the original position will want to click capture position in the toolbar or from the position drop down list, which will capture the current position of all the components. Now the capture position feature is Parametric, meaning that it's part of the order of feature and can be used to create additional features. Later on, you'll notice that the capture position icon is now located in the timeline below. And if you roll back the design, the parts moved back to their previous position. And if I roll the timeline forward, the parts return back to their new position. The next thing we're going to discuss is what grounding a component does. I'm going to zoom in on the top of the tripod, and if we look at the part of the stand, you'll see that this piece has the leg joints and the joint for the camera mount. So because we'll be applying a number of different joints to this specific component, we'll want to ground this piece so we don't accidentally move it now. This is the important part. To ground a component, you'll have to ground the lowest level component. So for this example, this piece is a sub assembly, so we'll have to toggle open the stand sub assembly folder and then I can right click on the Components 25 select a ground, which is located near the top of the list. Now, if I try to select this component and move it, you'll see that it is in fact grounded or frozen in place. Typically, you'll find it helpful to ground at least one component in your assembly file, although this is certainly not something that is required now that we have part of the stand, Grounded will want to add some joints to the legs of the tripod. If I select the assembled drop down list, you'll notice that Fusion 3 60 has two different types of joints. We have joints and we have as built joints. Now both of these joints have seven different types of motion that could be created. But it's important that you leveraged the correct type of joint to help save you time and streamline your workflow. Put simply as built joints are used when the components are already in the correct position . Yet they need to be joined together as bill joints are most commonly used when creating an assembly with imported geometry from the existing model, such as our use case here or if you built your designed with a top down approach where the components were built in place, either touching or relative to each other, which means that they don't need to be moved into position. Contrary joints. Air used when fusion 3 60 components need to be assembled together, but the parts are not in their current position. Later on, when we used the Joint Command, you'll notice that the first component selected moves to the second component that we selected, which allows us to define position and a relative motion all at once. If I zoom out a bit and we take a look at our model, you'll notice that most of our tripod here is already in the correct position. Therefore, will be using as built joints for these components. On the other hand, will need to use joints when we go to assemble these other pieces that we moved away from the main assembly. Let's go ahead and use an as built joint to join the legs. Together, I'll select as built joint from the assembled drop down menu or by hitting the keyboard shortcut shift plus J. Then, before I select any of the components, I'll set the motion type. If I open up the drop down list, you'll see that Fusion 3 60 currently offers seven types of motion. We want the pulls of the tripod to be able to slide within one another, so we'll select slider from the list of options. Now I can select the two cylinders that make up the legs. I'll select the lower great tube first, and then I'll select the white tube. After selecting both tubes, you'll notice that we now have the position option in the dialog box to set the position of the slider motion. I'll select the bottom circular edge of the white tube and you'll notice that it gives us a nice preview of the motion toe hope. Ensure that we're setting it up correctly Now, looking at the preview, everything looks good, so I'll click OK in the dialog box. One thing to note before we move on is that you'll notice that the as built joint we just created was also automatically applied to these other two legs, and this is because they were copied from the original. In other words, all three legs are instances of the same sub assembly. So fortunately for us, Fusion 3 60 is smart enough to apply joints to all instances that are the same. Next, we'll want to add in as built joint to the end caps so they can't be moved around. I'll hit Shift Plus J on the keyboard to call the as built joint, and then I will change the motion type too rigid. You can think of the rigid motion type as gluing two pieces together so they're not able to be moved, and you'll notice that their rigid is first on the list because this joint type is used most often, Infusion 3 60 the engineers have went ahead and organized this motion list based on the frequency that the motion types are used. Now I'll need to select the end cap and then the gray leg and I'll click OK. You'll also see that the in caps were also part of a sub assembly with the same instances. So this rigid joint that we just applied was automatically applied to the other two instances. Now we'll want to add a joint to the top of the lake. I'll zoom in a bit so it's easier to see. Then I'll right, click and select repeat as built joint you'll see that rigid ISS still selected because we use that last. So all we have to do is select the top end cap and the white cylinder and click OK, I'll now, right click once again and select re P as built joint. And we're going to repeat the same steps to connect the arched connector that's kind of hidden here to the top of the cap. And after selecting each, I'll click OK in the dialog box. The next joint will want to add is the Revolution motion that will allow this top connector to move along the stand piece here. All right, click and select re p as built joint. And this time I'll change the motion type to revel oot because REV. Allure will allow this to revolve around a single access. Then I'll select the connector that we used previously, and I'll select the stand bracket for the position will want to select the whole here where a pin or bolts will go and you'll notice that it immediately gave us a preview, which looks correct. So I'll go ahead and click OK now, because the stamp piece is just one component. This as Bill joint was not automatically applied to the other two legs, so we'll have to complete the same steps for the other two legs at this point. Will want to test that our joints were applied properly. Will simply click and drag on one of the legs and you'll see that I can move the lake around the revolution, and I can also slide the bottom two inside the upper tube and to move everything back in place. All select Revert in the toolbar. Now we'll want to complete assembly by attaching the camera. Mount First will want to select as built joint from the assembled drop down list. I'll change the motion type back too rigid, and then I'll select the Panhead and the stand connector and click OK, now this should finish up. Everything with the components that we already had in place, as we discussed earlier, will now need to use the Joint Command for the remaining components because we'll want to move them in place and add emotion at the same time To call the Joint Command. I'll simply hit the keyboard shortcut letter J. So no shift key for the Joint Command. I'll make sure the type is set to rigid, and then, as we discussed earlier, will first select the component that we want to move. So look at the model from the bottom and select the bottom of the red stand, and I'll want to select it where the flat surfaces and the cliff icon appears over the center hole. I'll reposition the model so we can look at the top of the stand, and I'm going to want to select the Centre Circle. But you'll notice that it's hard to see because it's technically hidden by this other component. So we'll need to hold down command on Mac or control on Windows toe, lock this face in place, and then you'll see that I can select the center hole and the component will automatically move over and we can click. OK, the last joint will want to apply is a ball joint for the camera mount. All right, click and select repeat joint and then set the motion to ball. I'll select the ball of the camera mount because we want this component to be moved, and then I'll look at the amount from the top, making it a bit easier to select the inside ball. Now you'll notice with this preview that Fusion 3 60 does not detect the material interference that is going on, and you'll have to set up contact sets in order for it to not run through this red component, which is something that will have to be covered in another video. I'll click OK, and I'll just move the camera mount around to make sure that the ball joint does move correctly. Hopefully, this gives you guys a very beginner overview. Two joints in motion infusion 3 60 If you're coming from a different cab programs such as inventor or solid works, then you need to come into this with an open mind. I understand it could be frustrating at first, but once you grasp the concept, I think you'll find that fusion 3 60 joints and motion are much more efficient when creating assembly models. 7. Day #26 - Fusion 360: Create 2D Technical Drawings: Hey there it's Kevin Kennedy and welcome to day number 26 of Learned Fusion 3 60 in 30 days . By the end of this tutorial, you'll be able to create a two D drawing from your Fusion 3 60 file. This lesson is for beginners who have never used the drawing workspace. We'll take a look at how to create a base and projected to you how to add dimensions, how to update a drawing If the file changes and how to export a drawing for this tutorial, I'll be using a demo file that is located in your data panel. Open up your data panel by clicking the grid icon, then scroll down until you see the sample section. I'll double click on the basic training's section and then scroll down until you see the number eight hyphen drawings and double click on that folder to open it. Now I'm gonna use the connector joint file so I'll double click on the connector joint file toe, open it and then you'll notice that just above the toolbar, it reminds us that these sample files are read on Lee. We'll have to make a copy by going to file save as. And then you can change the name or location if you like. And when you hit the blue save button, it will create a copy of the file. Now that we have a working file, we can create R two D drawing. And there are two ways that we can do this. The first way that you can create a new drawing is from any of your design files in the data panel. If you right click on the file in your data panel, you can select new drawing from design, which will open up a two D drawing file in a new tab. The second way is to have your design file open, then go to file new drawing, and then you'll notice that you can select from design or from animation, so I'll go ahead and select from design. Since this is a design file, you'll notice that any time you create a drawing this way, it will first prompt you with the create drawing dialog box that gives you a few different options to set up your drawing. The first option is what the drawing will reference. You'll see that it defaulted to the full Assembly. But if I didn't want a drawing of the entire assembly, I could uncheck this box and then you'll see that I can select specific components. For now. I'll go ahead and leave that set to the full assembly. The next option, which is drawing currently only has the create new option because I haven't created a drawing with this file yet. Next, you'll see the template option. I'm going to leave this to the default of from scratch, but it's important to note, if you find yourself creating a lot of two D drawings, you can save templates to help speed up your workflow. And, of course, this is where you would select the templates that you're wanting to use. The next option is standard where you can choose from either a SME or ISO standards, so I'll go ahead and leave this set to SME for now. Just under that is the units option, and this will default to whatever the files units were set to. But you can always change this two millimeters or inches. Last but not least, you'll see the sheet size where you can change the dimensions of the sheet. So if you're gonna be printing this two D drawing out or sending this over to someone else who will be printing it. Then you'll want to make sure that you select the correct sheet size. I'll leave this set to the default 17 by 11 inches for now. Now, before I click. OK, I want to point out that this standards and the units options cannot be changed once you click the OK button. However, after the drawing has created, the sheet size option can be changed at any time. Now I'll click OK and you'll see that it opens up a new tab with the two dimensional sheet . And as I move my mouse cursor around, you'll see that has the base view pre populated for us. If you want, you can change the orientation and the appearance and the drawing view dialog box. Selecting a different orientation will change the orientation of the base view as you'll see here with the preview. However, the style won't change in the preview, and we can always change any of these settings later on. So for now I'm going to set the scale so 1 to 1 and you can either change the scale by selecting the pre populated options, or you can always type out a scale size. So let's go ahead and set this base view to front, and I'm going to click on the left side of the sheet and then click OK before we move any further. I want to point out that the drawing workspace is the Onley workspace infusion 3 60 that doesn't allow you to toggle back and forth between workspaces. You'll notice that the toolbar is a bit different, and there aren't quite as many options as the model workspace, which is really doing part that there aren't as many functions that you'll need to use with two dimensional drawings. Now to finish, offer drawing want to create some projective use of the model, which will allow us to show some more Ortho graphic faces? I'll click on projected view in the toolbar, and then you'll notice that you have to select the view to project from now. In this scenario, we only have one option here, so I'll select the front view and then you'll notice that I can drag the mouse around. In the view, Preview will change based on the position of my mouse now to set the top view, I'll go ahead and click above the front view, and then I'll set a perspective you by clicking over in the upper right hand corner. Then, to confirm these views and to escape the projective use feature, you'll have to select the enter key on your keyboard. If you want to reposition the views under sheet, you can simply click and drag the CenterPoint around. And if I do this for the front view, you'll notice that the top view will move along with it now. Any time you project Ortho, graphic views will remain connected with the exception of the perspective, which could be placed anywhere so you'll see that I can drag the perspective you around and I can place it anywhere now. A lot of times it's helpful that the perspective you is in full color. If you want to change the appearance style, simply double click on the view and then it will open the drawing view dialog box. I can change this appearance to shaded and then hit close and you'll notice on Lee. This view changed as this perspective is not dependent on the Ortho Graphic views. Before I go any further, I'll click the save icon. One thing you'll notice is that every time you create a drawing from a file, it will automatically add the word drawing to the end of the file name. I'll click save. And now let's take a look at changing the appearance of the front view. Now, which appearance you choose really depends on your knees, but often times it's helpful to show more details. Toe fully depict the shape I'll double click on the front view and then change the tangent edges to full length. You'll see that the update right away and if we take a closer look, this line here better depicts the rial shape, and it helps the viewer understand how these components touch. Just below the Tanja edges option is the interference edges. You can select this option if your model has multiple components that intersect. When interference edges is turned on, an edge is displayed that shows where the components meat. Lastly, you'll see the thread edges option now by default. Threads are not shown in drawings, but if you check this option, it will show any of the threads in the selected view up to this point are drawing still isn't most helpful because we have no sense of scale. We'll want to go ahead and add dimensions to the Ortho graphic drawings, and this is the last major piece of the drawing workspace that I'll be covering. In this beginner lesson, I'm going to zoom in on the front view, and we'll take a look at how to dimension it now. The easiest way to add dimensions is by hitting the dimension tool in the toolbar. Or you can also select the keyboard shortcut letter D for dimension. Then you'll see as a move my cursor around. It will preview some dimensions for us now. One way to create a dimension is by clicking on a line. So if I click the outer vertical line, I can create a dimension for that line, and I can move my cursor around, and I'll have to click once again to set the dimension in place. Now, after setting a dimension, you'll still technically be using the Dimension Command unless you hit the escape key. Now, the next way to create a dimension is to select two points. If I click on the lower left point just above the fill it, and then the lower right point, just above the fill it. You'll see that I can create a dimension for the width of this part, which is 2.25 inches. And once again I'll have to click to set the dimension in place. Now, using the Dimension Tool, you can dimension just about everything, however, sometimes you'll find it hard to dimension specific geometry. Because of this, the fusion engineers have went ahead and made mawr specific dimension commands. If I click on the dimension drop down list, you'll see that there dimension commands specifically for linear lines, angles, the radius or diameter of circles and a few others. I'll go ahead and select the diameter dimension tool, and you'll see that this tool will only work if I select the edge of a circle or an ark. And the benefit of this is that I don't have to worry about accidentally clicking on any of these other lines, as I would if I were using the General Dimension Tool. I'll click on the innermost circle and then dragged the dimension out and click to set in place. I'll go ahead and click on the second circle and dragged that dimension out as well. And once again, I'll have to click to set the dimension in place. If you're new to the world of CAD, including two dimensional drawings, then you'll find that what you're doing with your model will help you decide the best way to set up your drawing. If you're working with another company that's going to manufacture the product for you, you'll want to check with them to see what standards they follow. On the other hand, if you're creating a drawing for fun or for your own purposes, you'll still want to follow some best practices for Dimension ing two D drawings a link to an article in the description below that talks about the best practices. More in depth. But here are three of my top rules that you should follow when dimension ing your drawing files. Rule number one is that dimensions should not be duplicated. For example, we labeled the right side as 1.5 inches, so I wouldn't put a label on the left side unless it were something other than 1.5 inches. Rule number two is to use the minimum amount of dimensions required to produce or inspect the part. Having unnecessary dimensions just makes drawings mawr cluttered and harder to understand. Rule number three is to never cross dimension lines. Now this one could make things really confusing. So be extra careful and pay close attention to where you set your dimensions. Now for the sake of time. I'm not going to add any more dimensions to this drawing. But I will point out that I would need a few more dimensions toe fully depict this model. Let's take a look at two more things that you can do with the drawing. Worse space, the second to last feature that I want to show you as what will happen if your original model changes. I'll go back to the three D file, then I'll hit the keyboard shortcut letter Q. For the press pull feature, and I'm just going to extend one of the faces out to the right and I'll go ahead and save this by clicking on the save icon. Now, if I go back to the drawing, you'll see that it gives me a warning message that says changes have been made to the reference design. Soto let these changes happen. All you have to do is click on the Link icon at the top and you'll see that the model and all of these projective use are automatically updated now. The part I changed wasn't mentioned, but say that I changed this area that has the dimension with 1.5 inches. Had that changed, the dimension would automatically be changed as well. As you can imagine. This is pretty powerful, and the fact that they're linked can save you a ton of time from not having to go back and edit drawings. Alternatively, if you wanted to make changes to the file and not have it affect this drawing, you would have to create a copy of the file in your data panel, and then the copied file would be independent and no longer linked to the drawing. Now the last thing will take a look at in this beginner lesson is how toe export the two dimensional drawing. If you want to print the drawing, you can use the keyboard shortcut command plus P on Mac or control plus P on windows, which will allow you to choose the printer and a few other print settings. Otherwise, you can export the drawing to three different formats. If you look at your toolbar, you'll see an output drop down list at the far right. The first option allows you to export and save the drawing as a PdF file, which can be helpful if you need to share the file with someone else. The second option allows you to export as a drawing or D W G file, which could be useful if you need to open it up and another CAD program or another piece of software that accepts D W G files. Lastly, the third option allows you'd export as a CS V or comma separated values file. Now this option really only works. If you've created a parts list in the drawing workspace, and if you have created a parts list, then this export option can help you migrate to another platform, such as an Excel sheet 8. Day #27 - Fusion 360: Patch a Model (Patch Workspace): Hey there it's Kevin Kennedy and welcome to day number 27 of Learned Fusion 3 60 in 30 days . By the end of this tutorial, you'll be able to patch and repair an imported model within the patchwork space. We'll take a look at what the patchwork space is commonly used for. How to extrude a surface model, how to delete faces and how to stitch a surface model. Many of you that are new diffusion 3 60 have probably seen the patchwork space in the drop down list, but you find yourself always reverting to the model workspace or maybe even the cam workspace. So before we dive into patching an imported model, I want to briefly talk about the intention of the patchwork space. The Fusion 3 60 patchwork space has two main purposes. The first purpose is to patch or fix surface models that are not completely solid or watertight models Infusion 3 60 A surface is a geometry within the software that has no mass or thickness but still allows users to form and create the shape or style of a model infusion. The surface or surface bodies are considered a patch hints the patchwork space models that have holes to be patched could be imported from another CAD program. Or they could be models that were created in the sculpt environment that are not fully closed. The second main purpose of the patchwork space is to create surface models from scratch and some scenarios models air best created with the patch environment and then modified further in the parametric, or direct modeling environments. This type of cad workflow is most commonly used in the packaging industry, especially with plastics. You'll see this a lot with complex bottles, vessels or containers that are easily modeled as surface bodies and then stitched together . For example, Take a look at your laundry detergent bottle. If it's one of these standard detergent style bottles. That is very likely that someone first created this design with a surface model approach in the respective CAD software. Now that you know why the patchworks based exist, let's take a look at how to actually use some of its core features For this demo. I'll be using a file located in your Fusion 3 60 data panel. Click on the data panel grid icon in the upper left hand corner, then scroll down until you see this sample section. Double click on the basic training's group and scroll down until you see the number 12 folder Hyphen patch. I'll double click on that folder, and then I will double click to open the Buckle model. Now Fusion 3 60 sample files are read on Lee, so we'll have to create a copy of the file Head up to file, Save as. And then you can change the name or the location of the file if you would like and clicking that blue save button will create a copy of the file. Now that we have a copy of the file, we can start working on it. The first thing I want you to notice is the type of file in the Fusion 3 60 browser Taco opened the Component folder and then the Bodies folder and take note of the icon here. This icon represents a surface body infusion 3 60 If you ever import a model from somewhere online and you're wondering why you can't use the Parametric modelling tools toe, alter it, then double check to make sure the body is a solid body and not one of these surface bodies . In our case, we don't have a solid body yet, so want to fix that? Looking at the model in the home position, I'll zoom in a bit, and I'm just going to use the View Cube to take a look at it from the middle and you'll notice here right in the middle. There's a huge hole in the middle, so this model is clearly not solid or watertight, as we already figured out by looking at the type of body in the Fusion 3 60 browser first will want to make sure that we switch to the patchwork space by selecting Patch and the workspace drop down list, then will want to use a tool that will let us patch this surface hole. And to do this will actually be using the Patch Command, which you'll see is in the toolbar, or I can select it from the create drop down list. The first thing the patch doll Oh box prompts us to do is to select the boundary edges. We'll want to select all four edges that go all the way around the hole, and sometimes you'll find that you have to select them one by one, and sometimes you'll be able to select the entire perimeter with just one click. You'll also notice that the preview fusion is giving us is already showing the surface patch and some scenarios you may want to use The group edges command. In our case, we only have four edges, so it's not too bad, but you may run into a model where you have a large number of edges to modify. Selecting this group edges will allow you to make changes to all of the edges at once. We want this surface to be nice and smooth, so I'll make sure the continuity is set to connected as connected. Creates a surface with G zero edges, which are edges that are connected at an angle. Just below that, we could select a rail or point if we did have one to reference, which would make this patch even more predictable. For now. Just selecting the edge. Patch the shape very well, so I click OK toe exit the patch dialog box. Next, I want to make sure that the holes on the sides are also patched. The patch. These holes will use the extend command from the modified drop down list. We're going to want to extend the circle out into the hole where it's perpendicular to the side. Therefore, the first thing I'll do is set the extend type two perpendicular. Then I'll select the outer edge and all type in negative 5.153 as I'm just making sure it goes past this other hole, and then I'll click OK in the dialog box next a right click and select a repeat extend, and I'll select the inner circle. The extent type should have defaulted to perpendicular, so all you'll need to do is extend this surface out until it's passed. The outer edge that we just created as that will make the next step easier for us. Click OK in the dialog box, and then we'll need to repeat these exact same steps on the opposite side. Ah, look at the model from the other side of the View Cube, then a right click and select repeat extend. I'll click on the outer circle and you'll see that it has the last dimension we used, as well as the perpendicular set for the extend faces. So all we have to do is click OK, then. All right, click and select. Repeat, extend once again and this time clicking on the inner edge. I'll just want to make sure that the surface is extended enough to go past the previous edge. At this point, will want to trim out the excess surface because the surfaces internal will want to look at the model from a section analysis. If you needed to create a new section analysis, you could select it from the Inspect drop down list. Fortunately for us, the Fusion engineers have went ahead and set one up for this sample file. So all we have to do is click to turn on the light bulb next to the analysis folder in the Fusion 3 60 browser. I'll zoom in on the left side so it's easier to see and you'll notice you can see the surface that extends past this edge because we don't need the surface, I'll select it and then hit the delete key on the keyboard. You'll also want to do this to the other side, but before that will also want to delete the other edge that sticks out. After deleting this face oil pan back over to the right and I'll delete the other two edges that we don't need. I'll go ahead and hide the analysis folder because we're done using the section analysis for now. And if we look at the bottom of the buckle, you'll notice that part of Buckle is messed up. We want this to be one solid piece, so let's zoom in and take a look at it. Looking at each piece, they look like they're close surfaces. So what will want to do in order to make them one piece is delete the interfaces, and then we will stitch all of the faces back together while holding down the shift key. I'll select the right face, the bottom face and then the left face, and I'll hit the delete key on a keyboard to delete all three faces. Now to rejoin, the faces will use the extrude command from the create drop down menu. I'll select the left edge and then to get the extrude man to come all the way to the other edge. I want to select a corner point so I'll select this lower corner point and it looks correct . So I'll click OK in the dialog box. If we now look at the Fusion 3 60 browser, you'll see that we have three different surface bodies. We have to for the extremes that we created and one for the original surface body, as we talked about in the beginning of this tutorial or goals to turn this service body into one solid body. So at this point, what will want to do is stitch all of these surface bodies together. To do this, I'll select the Stitch Command in the toolbar or from the modified drop down list. Then I'll first select the two surfaces that we created with the extrude command. And last, I'll select the original surface model. You'll notice the second thing in the dialogue box is the tolerance will want to make sure that this is set 2.1 millimeters, so the tolerance is fairly small, making sure we don't have any unusual gaps. We'll also want to make sure that the operation is set to new body, and then we'll click OK to see if this works. Looking over at the Fusion 3 60 browser again, you'll see that it did in fact work, and we now have one solid body that we can manipulate with either the Parametric modelling or the direct modeling modes. You'll also notice in the browser that the body left the original component. So to fix this simply dragged the body back down to the component folder. Last but not least, our section analysis was deleted when the solid body was created because the original surface model no longer exist. If I turn these section analysis back on by selecting it from the Inspect drop down menu, you'll see that we do, in fact have a solid and watertight model. 9. Day #28 - Fusion 360: Render a Utility Knife (part 1 of 2): Hey there it's Kevin Kennedy and welcome to day number 28 of Learned Fusion 3 60 30 days. By the end of this tutorial, you'll be able to set up a product to render Infusion three sixties render workspace. We'll take a look at how to apply appearances and physical materials, how to apply decals and how to create custom appearances. For this demo, I'll be using a file located in your Fusion 3 60 data panel. Click on the data panel Grid Icon in the upper left hand corner, then scroll down until you see the sample section. Double click on the basic Training's group and scroll down until you see number seven hyphen rendering. I'll double click on that folder, and then I will double click to open the first model, which does not have any color applied to it. Now Fusion 3 60 sample files are read only, so we'll have to create a copy of the file head up to file save as, and then you can change the name or the location of the file, and clicking that blue save button will create a copy of the file. Now we'll want to switch to the render workspace by selecting render from the workspace drop down list. You'll notice right away that there are less features in this workspace, as the intention of this environment is to give you on Lee the capabilities to create realistic product renderings, you'll see that this sample file already has some colors and physical material appearances applied to it. Let's take a look at how to alter or change the appearances. To get the appearance dialog box, you can click the appearance icon in the toolbar, select it from the set up drop down list, or you can always use the keyboard shortcut Letter A for appearance. Once the appearance dialog box opens up, you'll notice that it has three different sections. The first section is the apply to section, where you can choose whether to apply in appearance to an entire body or component, Or you can also choose the faces option, which will allow you to apply in appearance to specific faces that you select. The second section is titled in this design. Now this section displays all the different materials that are currently applied to your design. The third section is the appearance library, where you can choose from a number of different materials and appearances that have already been created. You'll see that this library is organized by different categories, and we can also search the library with this search box. I'm gonna go ahead and click on the plastics folder and the opaque folder. I'll scroll down until I see the glossy yellow. Now to apply this yellow plastic color to the body of the utility knife. All we have to do is simply drag the material onto the component and again. Doing so will color the entire component embody because we have that option selected in the apply to section, we'll want to add an appearance to the right side of utility knife as well. Another way that we can add color is by dragging and dropping the color directly to the component in the Fusion 3 60 browser. To be successful, inefficient in the render workspace, you'll have to use both of these methods now. Which method you use really depends on the complexity of your model and how the components are pieced together in the assembly. Let's go ahead and add the appearance of rubber to this back grip to find rubber quickly, I'll simply type out rubber in the search box. One thing to point out is that your rubber appearance may not be accessible quite yet. You'll notice that many materials have to be downloaded. You want to make sure that the show downloadable materials box is checked and then to download materials, you'll just need to click on the download icon on the far right side of each material, and you'll see in a matter of seconds the material is downloaded. I'll drag and drop the soft rubber onto the back grip. Now, looking at the Fusion 3 60 browser, you'll notice that there is a second grip, which is the grip at the top of the knife. For this piece, I'll use a more textured type of plastic. I'll type polka in the search box and then click on the download icon to download the appearance. Once the polka material is downloaded, I'll simply drag that over to the model, and if I zoom in a bit, you'll see that it has a nice textured polka dot pattern toe. Add some grip to the top of a knife, taking a look at the model you can see how quickly the model can start to come to life. As we apply these realistic appearances, let's go ahead and add a few more appearances to finish off the model. We'll want to add a stainless steel appearance to the blade of the knife. I'll search steel in the search box, and I'll just dragged the stainless steel hyphen satin appearance over to the blade component looking in the Fusion 3 60 browser. It looks like we have one last component, which is the Blade cradle at the bottom of the list. We want this piece to stand out so the user of the knife understands how to open and close the blade. So I'll get rid of this recent search and go back to the plastics folder to take a look at the available options. Now I like this map blue color, so I'll go ahead and drag that over to the blade cradle component. Now that we have an appearance applied to each component, let's take a look at how to edit the details of an appearance. If I decided I wanted the color of the body to be red instead of yellow, then I could simply drag the red glossy color to the yellow color above, and you'll notice that it replaces it. And because the same yellow appearance was used on both sides of the utility knife, you'll see that the red color was automatically applied to both components. All hit command plus Z on My Mac twice to revert back. I'll show you another way that we can do this. I'll use the keyboard shortcut letter a toe. Open the appearance dialog box once again. If you double click on a material, you'll notice that you can use the color picker to change the color. You can also change the roughness and reflect INTs, and if you click the advanced options, you'll be presented with a number of options to completely customize the appearance. These options can get pretty complex, so we'll have to save them for another video. I'll hit, cancel and then double click to reopen the yellow color, you'll notice at the top you can select the color libraries button, which will let you choose from all of the available Pantone colors. Now a few other quick tips with the appearances. If you right click on an appearance, you'll see that You can add appearances to your favorites, which will put them in the favorites tab of the library under the right Click menu. You'll also see that you can click on select objects applied to, which will highlight all the components. Bodies or face is that the appearance is applied to also on the list is unassigned and delete, which will remove and delete all occurrences of that appearance. And last but not least, you'll see that you can do Click eight in appearance Now. Duplicating an appearance allows you to create a new appearance by customizing it without messing up any pre existing appearances. If I right click to edit the duplicated appearance, you'll see that you can rename the appearance at the top as well as all the other features that we previously discussed. Now for the remainder of this video, I want to show you two more essential things in the render workspace. First, I want to point out the important difference between physical materials and appearance materials. The appearance materials are the colors and textures that we have been applying to the model, therefore, appearance and representation purposes on Lee, and they do not affect the physical properties of the model. You'll see that physical materials under the set up drop down list work in a similar fashion as appearance materials. But these physical materials do effect the physical properties of a model, which is important. Should you need to run a simulation or another type of analysis and the simulation workspace. You'll see that the body of our utility knife set to mild steel, and we want this to be plastic, so all right, click and select unassigned and delete, which will remove that steal material. Next, I'll click on the plastics folder in Select a Bs Plastic, and I'll drag that over to the body of the knife and click close on the dialog box. You'll notice right after I click close. It shows the appearance that we previously added as changing the physical material does not remove any appearances that have already been added to the model. The last thing that I want to show you guys in this part one of a two part video is how to add a decals to your model for this demo. I'm going to use the Autodesk logo, and I'll link to that file in the video description. To add a deke out, you can select decals in the toolbar or from the set up drop down list. Then you'll have to first select the face of where you want the decals ago. In this case, I'll select the left side of the utility knife. Next, we'll have to select the image from the downloads folder, and you'll see that places the file on the face that we previously selected. One thing you'll find helpful when working with decals is looking directly at the face of the model that the D cow was applied to. So in this case, I'll use the View Cube to take a look at it. From the right side, I can now use the rotation slider and the planer position icon to move the decal into place . When I'm happy with the look, I'll click OK in the dialog box to confirm the decal changes. So finishing off the decals wraps up part number one of the render workspace In day number 29 or part two, we'll take a look at how to set up the environment, how to set up lighting and a few other details to make the render look realistic, as well as how to actually process the render 10. Day #29 - Fusion 360: Render a Utility Knife (part 2 of 2): Hey there it's Kevin Kennedy and welcome to day number 29 of Learned Fusion 3 60 30 days. This is a two part video where you'll be able to set up a product to render infusion three sixties render workspace. Be sure to watch day number 28 1st If you have not already watched it, we'll take a look at how to set up and change lighting and how to process your rendering locally or using the Fusion 3 60 cloud in Part one. We went ahead and applied appearances and physical properties. Let's go ahead and finish this render off by setting up the environment. If you had closed the file after day Number 28 you go to reopen the file, you'll notice that it defaults to the model workspace before we start to change. Any of the lighting will want to make sure that we set the position of the model. So if you're in the render workspace, go ahead and switch to the model workspace by selecting it in the workspace. Drop down list. Now, if you're trying to create a realistic product rendering, I always recommend taking a look at how products are being advertised. This will save you some valuable time as someone's already done some of the research and work for us. If you do a quick Google search, you'll notice that most utility knifes playoff the fact that they have a sharp blade. So want toe angle the knife to be in a similar position where the knife essentially looks like it's in use before we can use the move command, you'll notice that we have some grounded objects in this model. We'll want to delete those first. I'll simply click on both grounded icons or the red thumbtack, and I'll hit the delete key on my keyboard. Next, I'll hit the keyboard shortcut Letter M for move, slash copy and in the dialogue box will want to make sure the move object is set to components. Then we'll want to select all of the components in the Fusion 3 60 browser. I'll hold down the shift key and click on the right component, and then I'll select the bottom of the list. So select all six components. Next, I'll use the View cube toe. Look at the model from the right side, and I'll simply take the rotation slider and drag it to the left. And I'm just going to go about 25 or 30 degrees, giving us a similar position as if the knife were in use and I'll click OK to save the changes at this point will want to set up the rest of the scene. Settings will first have to switch back to the render works based by selecting render in the workspace drop down list. Now I'll click on the lamp icon or the scene settings icon in the toolbar In the Scene Settings Dialog box, you'll see that we have a ton of options to alter the environment of the rendering. I'll click on the Environment Library tab and you'll notice that there are a number of lighting options that we can apply again. You'll typically want to think of the environment that your product would be in. If your product is going to be outside, then you may want to use a warmer light or some of these other downloadable options. In our case, we want our product to appear like it was shot in a studio with a solid background so we can try out some of these other options To apply options. Simply Dragon dropped them onto the canvas. I'll drag soft lights over and you'll see how the scene automatically changes. You can also drag the scene directly to the current environment above. I'll select the photo booth option and dragged that above, and you'll see that as soon as I released with my mouse. The lighting updates automatically. Now our utility knife is getting more realistic. But it's also hard to see exactly how this render will come out because of this vision. 3 60 has the in canvas render option. If you click the in canvas render icon in the toolbar, you'll see that the model starts to render in real time, and it starts off pretty fuzzy as it starts to use your computer CPU to render the image. As you see here, we have a more realistic preview of how the final rendering will actually process. Now we can change the lights and settings to better suit our needs. I want the highlights to be a little bit more sharp, so I'll drag the sharp highlights environment over to the campus. After I released the New Environment, you'll notice that the in canvas rendering starts to process again. This will take quite a bit from your computers processing power. So if you're going to make multiple changes, I'd recommend pausing the in campus render by clicking on it in the toolbar or by clicking the pause icon in the lower right hand corner. I'm also going to reposition the utility knife so the top shows more. I'll simply drag the view cube around until about 2/3 of the top is showing. I'll resume the in canvas render and then click on this settings tab to see what other options will want to change. You'll notice the ground section allows us to toggle on and off any ground shadows. Now. I don't want any ground shadows for this specific perspective, so make sure that it's turned off in the environment section. You'll notice that we can change the brightness of the scene along with the background color. I want to change the background to a light gray so I'll select the color box, move the color picker and hit, apply and okay, and you'll notice that the background color updates accordingly. The rest of the settings allow you to alter the camera in the focal length, along with saving your settings as defaults, which can be quite helpful if you need to make a number of different renderings. Now, these settings arm or advance so we won't be going over them in this video. If you would like to see more videos on rendering, including some of these advanced features, then let me know by commenting below. For now, I'll go ahead and hit the close button to close the scene Settings Dialog box. At this point, if we're ready to render the model, we can click the render icon in the toolbar. The first thing that you'll notice in the Render Dialog box is that it has predetermined settings, depending on what you need the image for for this tutorial. Ah, select Web. And it's also important to note that the last option is custom, which gives you the most amount of customization. Now, back in the Web section, you'll notice that as a few different aspect ratios, I'll select the 3rd 1 which has the highest resolution. The next section is the render with section, where you can choose between cloud or local rendering. Local rendering means it will render the image solely using your computer CPU. Therefore, the amount of time that you're rendering will take really depends on the power of your computer. It's also important to note that should you choose to render locally, you may not be able to perform too many other functions on your computer. But again, it really all depends on the specs of your computer's hardware. The other option we have is cloud rendering, which will use Vision 3 60 servers to process your render. This means they won't rely on your local machine at all once you submit the render, and you can continue to work on another angle or another project. Now. One thing that causes a lot of confusion with cloud rendering is that it requires credits. You'll see that it says this render requires one cloud credit now, depending on what Fusion 3 60 license, you're using such Aziz the education license. You'll be given credits for free, but you're also limited toe How many credits you can actually use now. The number of credits really depends on the license, and this does change from time to time, so I'll try to put a link in the video description below to the Autodesk website, where you can learn more about these credits in summary. The higher the resolution of your rendering, the more credits you'll need to process the rendering. The other option you're able to change is the render quality. Now standard will render your model at it lower quality, which is great if you're just trying to test the outcome of the render or for various reasons where the quality of your image does not need to be the highest contrary, the final selection will output a very high quality. Render the's renders will take longer to process, so you'll only want to use these renders when you need a final or finish quality render. I'm going to go ahead and set the options to cloud, render and final click that blue render button. This will save the file and submit the render to the cloud you'll notice. It also adds the image to the rendering gallery below. If you click on that image in the gallery, you'll notice it opens up the image and shows you the approximate amount of time left. The amount of time for cloud rendering varies based on how many files are being rendered at any given time and also on the size and quality of the rendering that you have just submitted. You can also cancel the render. Should you decide that you no longer needed. At this point, you can also submit other renders the cloud. For example, I may want to use the View Cube to change the perspective of this model. I could hit render again and submit this one to the cloud as well, and I could continue to do so for as many renderings as they need. Now, for the sake of this tutorial, I'm going to speed up the time that it takes for this image to render. When the image is done, you'll see that it displays a preview in the rendering gallery. Now, when you click on it, you'll see that you can download the image to your local machine. Hopefully, this two part video on rendering gave you guys a solid understanding of the foundational skills to producing renderings. Infusion 360 11. Day #30 - Fusion 360: Animate a Tank Assembly file: Hey there it's Kevin Kennedy and welcome to day number 30 of Learned Fusion 3 60 30 days. By the end of this tutorial, you'll be able to animate an assembly file infusion three sixties animation workspace. We'll take a look at the animation in her face, how to create camera views, how to manually explode components, how to show or hide components and how to annotate components. For this demo, I'll be using a tank assembly file, which you can download in the video description or by going to the link on your screen. You can also follow along with any other assembly file, as long as they're set up as components. Now the link will take you to the Fusion 3 60 hub, or you'll have to click the blue download button. Then you'll want to select the Fusion 3 60 archive file. This will prompt you to enter your email, and it will email you a link to download the file. Once you have the file in your Downloads folder, you'll want to upload the file to your data panel. Click the data panel icon in the upper left hand corner, make sure you're in a Project folder, and then you'll see the blue upload icon. After selecting upload, you'll be prompted to select the file from your computer and hit upload. Once the file is uploaded, you can double click on the file toe. Open it up. Now that I have the file open, I want to switch to the animation workspace. To switch workspaces, simply click the workspace, drop down list and select animation. Now, before I get started with some of the animation basics, I want to point out the general purpose of the animation workspace. There really are two main purposes of the animation workspace, which is to animate how a design should be operated. Or the second purpose is to animate how a design should be assembled. The reason I wanted to point this out is to note that the animation workspace is not a full fledged animation software. If you're looking to create photo realistic or very complex animations, infusion 3 60 may not be the software for you. Another quick thing to note is that your file must have components set up for the animation workspace toe work. The animation commands will not work with bodies with that, said Let's get started with the animation workspace. First off, you'll notice the animation workspace has a timeline section at the bottom. This is where all the actions will be recorded, and we'll get to that in just a bit. Just to the left of the timeline is the scratch zone. If you move the timeline, play head to the scratch known. None of the actions will be recorded, so you'll want to move the play head here any time you want to take a look at your model. But you don't want the change of perspective to be included in the final animation in the lower left hand corner. You'll see that, says Storyboard one. You can think of each storyboard as its own unique design or animation. You can create more storyboards by clicking the plus sign, and you'll notice in the dialog box that they can be clean as in created from scratch. Or they can also be sequential or starting from the end of the previous storyboard. You can also rename each storyboard by double clicking on it or by right clicking all right , click and select rename, and then I'll type out explode Demo. Lastly, I'll just point out the display settings have been moved to the top of the animation workspace because the timeline takes up too much of the bottom. The first thing you can do in the animation workspace is a record changes of the camera view you'll notice in the toolbar. We have the view option with a red dot, which means that by default, the camera view is recording. So to create our first action on the timeline. All we have to do is move the play head further out in the timeline, so I'll move it out to about two seconds, and then we can change the camera view. You'll notice that automatically created the camera action. And if I hit the space bar or the play button below, you'll see our model animates following the change in camera view. If I dragged the play head out to four seconds this time, I'll use the free orbit tool to move the model around once again, creating an action in the timeline below. If I hit the play button again, you'll notice that the free orbit was also successfully recorded. You'll also notice that you can change the length of each action in the timeline by simply dragging the ends in either direction. Or, of course, you can also move the action around the timeline by sliding it. You can also double click on each action. If you'd like to type out a specific start and end time because the record view is active by default, there may be a time where you don't want to record the view. If you'd like to turn it off, simply hit the keyboard shortcut command. Plus are a Mac or Control plus R on Windows. Or you can always turn it off by selecting view in the toolbar. And because it's super easy to forget whether this is turned off or not, you'll notice that the fusion engineers have went ahead and put this big red text at the top, noting that the view is not recording for now. Let's delete these sample actions by right clicking and selecting delete. I'm going to put the model back in the home position by selecting the home icon next to the View Cube. Now we'll take a look. How to meet will explode the model, which will give the viewer a better idea of how it was assembled. First, I'll select deterrent component in the Fusion 3 60 browser. Then I'll select the keyboard shortcut, letter e, or you can select Emmanuel Explode from the transform drop down list. You'll see. This prompts us to select an arrow or the direction we want the component to explode. I want the turret to move straight up, so I'll select the Y axis, Aargh and all just the explosion scale arrow. So the turret is set up in the air and I'll hit the green check mark. Now, if I hit the play button, you'll see that the animation successfully moves the turret. Let's go ahead and repeat these steps for the shell of the tank. I'll select the shell component and hit the keyboard shortcut. Letter e. I'll hit the up arrow, and then I'll drag the play head slider over to about five seconds. Also, adjust the explosion scale so the shell moves up along the Y axis, but not quite as faras the turret. And then I'll click that green check mark. If I hit Space Bar to play the animation, you'll see that the turret now moves first, followed by the shell of the tank. If we want the view to change as well, then we could create a view action in the timeline. I'll drag the play head to about three seconds, and then I'll change the view using the view. Cute. Now, if I hit the back to storyboard beginning button and then hit play, you'll see that our model explodes as the view changes. The next animation feature I Want to show you is the show slash hide command. First, let's set up another camera view. I'll drag the slider to about six seconds, and then I'll select the top corner of the View Cube. If I wanted the remainder of the animation to focus on the wheel assemblies that I may want to hide the turret and shell components to get them out of the way. Holding down the shift key, I'll select the shell component and then the turd component, and I can select them either in the canvas window or in the Fusion 3 60 browser. Then I simply have to select the show slash hide option in the toolbar. You'll see this added the show slash hide action in the timeline. So let's hit the back to beginning button. I'll also want to make sure that the components are turned on at the beginning, and then I'll hit the play button. Like any actions, I can move the ends around to shorten or lengthen them. I'll go ahead and dragged the turret, hide action to the left so the turret highs before the shell component. Next, I'll drag the slider out to eight seconds, and then I'll zoom in using my mouse will. This will create a camera action, and if I drag the slider to the beginning of the action and hit by space bar, you'll see it zooms in Nice and study for us as the animation place. Now, one thing you'll notice with this file is that the tires air actually subassemblies, as noted here in the Fusion 3 60 browser with the sub Assembly icon. If I talk will open the first hire sub assembly, you'll see it has the components nested within it, hence why it's a sub assembly. The last thing I want to do in this animation is manually explode the subassemblies. I'll move the play head to 11 seconds, then I'll hold down the shift key and select all the tires at the top. I'll hit the keyboard shortcut letter e for manual explode, and then I'll choose the arrow on the X access. Once again, we'll have to set the explosion scale, and I'll move it until the tires air about their own length away from the axles. Now, to save the changes, I'll select that green check mark. I'll now repeat the previous step on the lower tires. I'll hold down the shift key and select all of them and then hit the keyboard shortcut Letter E. I'll drag the explosion slider, and so the tires air moved away from the centre axles. And then I'll select that green check mark. I'll also dragged the play head over another second or so, and I'll hit this top left view to record that in the timeline below before we hit play. To take a look at these changes, I want to drag the explode actions for the tires to the left, so the animate a bit longer to do them all at once. I'll simply hold down the shift key and then select all of them. Then I'll drag the left side over to about eight seconds or So now we'll hit that back to beginning button and then the play button to take a look at the animation. The last thing I want to show you before covering how toe export the animation is how to leave an annotation or three D call out Annotations are a great way to leave notes on the animation, which can remind you or a colleague to fix part of the model before the animation is completed. For example, if I wanted to leave an annotation to change the tire rim to aluminum, I could simply click the annotation command in the toolbar and select the tire rim. After typing out the note, I'll suck the green check mark. Now, if I replay the animation, you'll see that the call out appears. And it's important to note that this call out will appear in an exported animation unless you hide or delete it now, to hide it, simply toggle. Open the call outs folder in the Fusion 3 60 browser, then select that lightbulb icon to toggle it on or off. If you'd like to delete it, simply right, click on it in the browser or in the canvas window and select delete. Now to export the animation, I'll select the keyboard shortcut, letter P or select publish in the toolbar. Then you'll notice that we have to select the video scope Now. If we had created multiple storyboards, then we could have this set to export all the storyboards within one single file but for our case will select current storyboard below that, you'll see that you can select a resolution from a preset list or you can define a specific resolution. All select the highest resolution on the list and then click OK, and I'll check the box to save this file to my Downloads folder. This will take a few minutes, depending on the length and complexity of your animation. Once you're done, you'll see that you can open the MP for a file. And, of course, you can use that file as you please. Hopefully, this animation demo gives you guys, Ah, high level overview of using the animation workspace. As you can imagine, this workspace can be pretty powerful if you're trying to demo or explain a product that has many components that make up the assembly. Whether you're trying to animate how a product is used or how it's assembled