Design a Gift Box in Fusion 360

1. 01 Intro: hi and welcome to design a gift box with Fusion 3 60 This is a project based course where we will design a gift box that can be three D printed, assembled and used to add an extra special personal touch to your next gift giving occasion . If you don't have a three D printer, you will still get a lot out of this course, as we will cover many powerful techniques in modeling with Fusion 3 60 There are also three D printing services that allow you to send your file, and they will print the part and ship it to you. This course assumes some basic knowledge with Fusion 3 60 is meant to reinforce and add to that knowledge by designing a fun and practical model. We will cover creating sketches and mastering sketch constraints and also dive into many three D modelling tools infusion 3 60 To create our model, we will go over things to keep in mind when designing for three D printing, such as model orientation in applying proper offsets to obtain the correct tolerances for parts that are meant to fit together. If you're a complete beginner to fusion. 3 60 you'll want to start with my intro course designing for three D printing with Fusion 3 60 where I cover all the basics while teaching how to design practical models that can be three D printed. My name is Vladimir Mariano, and I'm the founder of Desktop makes dot com, where I developed an teach courses for desktop fabrication tools. I look forward to having you join my course. 2. UI Update: a great thing with fusion 3 60 is that they are constantly looking to improve the software . They really do a good job of listening to user feedback and making changes in upgrades to improve the whole user experience. Now, for the most part of these air little tweaks along the way that they make. But more recently, they did do, Ah, big revamp of the user interface, where I felt it wasn't big enough of a change that I should come in and explain the new layout. Now, if you've been using Fusion 3 60 for a while now let's say you're halfway through the course. You'll most likely figure it out on your own. However, if you are new and you're just starting the course, I'm going to take some time and just explain the changes. And like I said, they're mainly cosmetic changes in just a little bit of reorganization. Okay, one of the changes is that instead of model this new houses designed and if you click on the drop down here, oh, you'll see the other environment now in this course were mainly going to stick to the design environment. So that's all you need to know there. You also notice there's some tabs here. Surface sheet metal in tools. Again. We're mainly going to be in the solid environments here, So if you accidentally click on any of these tabs and you're noticed that your tools don't match, just always go back to salad and make sure this says design and you'll be fine. The next thing you'll notice is that the icons changed a bit, but that's really not a big deal. They just cleaned it up a little bit, and you'll notice that they're still very much the similar shapes. Another change is that this catch menu is now gone. So in the course, I often say, Go to sketch and then choose create sketch When I say that all you're going to do is just go to creates and then go to create sketch, or you can simply click on this icon here. The rest of these menus are the same. We have to create, modify, assemble and so line. The other big change has to do when we go into our sketch mode. So if I go to create and then creates sketch, I choose a plane you'll now see that I've entered the sketching mode. I'm in the two D environment, and once you go through the course, you'll see that we take a normal workflow. Where we go into sketch mode, we create a two D sketch, and then we come out of that sketch and we extrude itude the object into a three D shape. So there's two moans were constantly jumping in and out of, and that's sketch mode and three D mode. The changes here are that the icons are a little bit different, so we see line rectangle. They're gonna look a little bit different in what you'll see in my videos, but they're still lines, rectangles and circles, or they're not gonna be that hard to figure out. But the other big change here has to do with that sketch menu. So before all these menu items here were under the sketch menu, now they've been separated into the create and modify menu. So before where I would have said go to sketch and grab the rectangle tool, you're simply going to go to create and grabbed a rectangle tool, and it's the same for each one of these shapes. Lying rectangle circle arc. Those are now under to create menu. If an item is not under to create menu, it's going to be under the modify menu. For example, Philip Trim extend. An easy way to remember this is create is when you're creating a new item like you're creating a line, A rectangle, a circle, and modify is when you're making modifications to those sketch entities, such as applying a fill it trimming or extending. So again, all these items used to be in one menu called Sketch. Now they've been separated into the create menu and the modify menu. So in the video, you would hear me say, Go to sketch and grab the circle and center diameter circle. You're just gonna change that to create circle centre diameter circle. And likewise, I would say, Go to sketch and grab the trim tool. You're gonna go to modify and grab the trim tool. Okay, now we'll go to finish sketch, and that's going to bring me back into the three D mode, and this is actually a great change that was made because the problem before was that when you went into sketch mode. So, for example, if I go into creates, catch and select my plane. Everything used to look the same. So it was hard for my students to tell which mode they were in sketching or the three D mode. Now you clearly get visual feedback that okay, we're in sketch moment because the icons look much different than they do when you're in the three d mode. So you notice these icons how they look if I goto finish sketch, you know, now they're actually three D icons instead of just those two D icons. And once in three D mode, you're also going to see the same menu items that create menu and the modify menu. Except these have different tools inside them. So you'll see. Now we have instead of circle and line, we have extrude revolved sweep, and if we go toe modify, we have champ for Shell Scale combined. So these are all modifications were gonna be making 23 D models, as opposed to when we were in the two D mode. Those were all menu items that were for two D sketching, such as create a circle or a trim align, and finally, the other big change. You need to know about is that the three D print option is in the Tools menu now, so you'll go to tools and then you'll see the make the three D print option. So when you're sending this to be three D printed, that's where you're gonna find it. That used to be just within the regular menu. Now you're just gonna go into tools, and that's where it will be. Okay, we'll go back to our solid tab here, and I'm in the design environment, and that's basically yet Don't let the whole new look throw you off or scare you away. It's really that simple. Just things got reorganized the bit and the user interface, and the icons got cleaned up a bit. If you're just aware of those changes that I've just described, then you'll have no problem going through the course. 3. 02 Change Settings: before we begin modeling. Let's take a minute to tweak a few settings so that we're both on the same page. The first thing we're going to do is make sure we're working with millimeters as our units . To do that will goto our browser here, click on the little triangle next to document settings and hover over words, his units and then click on the little pencil paper icon. You'll get this dialog box, and you're gonna want to make sure you units high set two millimeters. If it sets or anything else, choose millimeters and click. OK, I'm already set to millimeters, so I'm gonna hit. Cancel. The next thing we're going to do is change our default modeling orientation so that it z up instead of why up. So if I turn out our origin here, you'll see that why is our green axes? And that's pointing up well, that's not the most practical because most slicers or cam applications are default Z up. So if we model something, that's why up when we bring it to a slicer for three D printing, we're always gonna have to rotate it. So to make fusion 3 60 aligned with any sort of three D printing or cam application. We're gonna change it to be easy up. To do that, we're gonna go to right on the right hand corner here where we see our name and there's a little triangle pointing down. Click on that. They're going to get an option for your preferences. Click on your preferences and you're gonna go towards Is the fault modeling orientation? It should just be right under your general settings. Here, you can change to different environments, but just under your general fine words is the fault modeling orientation and change that from why Up to Z up, click, apply and then click. OK, now you're not gonna see anything happen yet. You'll first need to close your current design. Don't save Infusion 3 60 will automatically open a new design, and now when you click on origin, you'll see that year Z is pointing up, and you can also see the same on your view Cube and the final thing I like to do in this oneness preference. It's not mandatory, but I like to have my layout grid checked off instead of on. So I unchecked that and then I like my snap to grid to be unchecked as well 4. 03 Mac vs PC: Fusion 3 60 is available for both Mac and PC. I'll be using a PC, but because some of the keyboard shortcuts are a little bit different, I want to address that right now, instead of having to repeat that in every video. Basically, all you need to know is that the control key on the PC will be replaced by the command key on the Mac. So when I say hit Control Z for undue, you'll hit Command Z on the Mac. Likewise, when I say hit control C for copy on a PC, you want to hit command, see for copy on the Mac. 5. 04 Design Box and Split: will begin by creating a sketch and then extruding it to give us the overall shape of the box So we'll start by going to sketch and then down to creates catch. We're gonna draw this on the X Y plane so we'll select it and then back to the sketch menu , where we're going to choose rectangle and then down to center rectangle. We'll start this rectangle right at the origin so we'll click, release and then drag out. And we're going to give this the mention of 50 hit Tap and will do 50. So 50 by 50 millimeters and will hit enter, and now we can click on Stop sketch. Next we'll go to create extrude and will extrude our rectangle. So will select that profile and we'll drag it up. And I'm also going to give this a height of 50 millimeters, so we'll tack that in and hit Enter next. We're gonna fill it the sides here so we'll go to modify down to fill it, and we can select all four sides here. You can even select right through the box. So once we have all four selected, we're going to answer a radius of three millimeters and like OK, and now let's go to back toe a front view. So I'm gonna click on the home icon here next to my view Cube and then click on front and I'm going to draw a line across the front here So we'll first go to sketch creates catch and I'll choose the front face of the box. And next, I'm going to go back to sketch, go down to line, and I'm gonna just going to draw a line from anywhere here so quick once and then go across and then click the check mark. Make sure that it is horizontal. So if you don't have a constraint like here, I'm showing its perpendicular to this line. You can just go toe hole results will constraint here and then click on your line. If it's already constraint, you'll get the error on. That's fine. So now we're gonna dimension this line from the top edge of the rectangle. So had D for Dimension. Click on the line and then click on the top of our box. Come out and then we'll place the dimension right here so we'll click 1/3 time and we're gonna make that to mention 15 millimeters. We'll type that in and hit Enter. Okay, Now I can click on Stop sketch, and I'm gonna use that line to split this box so we have a top in the bottom so it will go to modify bounce a split body and we'll get our dialogue box here, our body to split. We're going to select the box so the whole thing should turn blue and are splitting. Tool will click on that next, and that's going to be our line here. So go ahead and check if it's not already checked the extend splitting tool and you'll see the sort of a red playing here where that's going to split and click. OK, so not. We'll see that if I expand bodies over here under our browser. If I click on that little triangle, I have the box separated into body one and body to so we can go ahead and name those. So they're easy to be able to select later. So I'm gonna click twice on body and will name this one tap and the next one hell click on that as well. We'll go ahead and name that bottom. And while we're at it, why don't we go ahead and name one of our sketches here? So we'll name this second sketch, the one that refers to the line or cutting line, because we're gonna come back and refer to that later. So to make it easy to find, going to click twice on, Sketch to and we'll call that cutting blind and had answer. 6. 05 Shell and Section Analysis: now that we've created are two sections are top in our bottom. We'll go ahead and shell the bottom of our box so we don't need to see this catches right now. So we're gonna untangle the parents folder right here, that little light bulb. And I'm gonna also untitled just the top portion of the box here. So that leaves us with the bottom and to shell it, we're gonna go to modify down to shell, and I'm going to select the top face of the box, and the direction is going to be inside. And I want my box to be really thin. Just 0.5 millimeter. So I'm gonna type that in now. You can make yours thicker. But right now, I would suggest just following along with me. Ah, and then you can come back later and change it if you want to. The reason I'm going with the just 0.5 is when we three d print this. It's going to be just one nozzle thickness. If you're printing with a 0.5 millimeter nozzle, it will make it just one shell or one perimeter all the way around. And that way if you want to put a light in there and it gives it that nice, transparent look So I want the walls to be thin But I want the bottom to be a little bit thicker So to show what I mean I'm gonna go to inspect and let's select section analysis and I'm going to select the front face here of the box and I get this little arrow and I'm just gonna push that back a bit and click, OK, And I'm gonna go to a front view and we can see what the shell commanded as it left just 0.5 millimeter while thickness all the way around. Like I said, I'm gonna bring that floor up. And to do that, I'm just gonna select it e for extrude and we'll grab that arrow, start pushing it up, and I'm gonna extrude that one millimeter. So in distance, I'll select that answer one, and that's going to go up one millimeter So I can see now if I go to inspect, select that top face and then the bottom face, it will show me that distance. So I was at 10.5. I went up in extra one millimeter. So now I'm at 1.5 and I'll click close now. I had the, uh, analysis turned on or that section analysis. So right now, it only shows portion of the box because that's where I have that plane. But if I turn it off here, you'll see. Once we create a section analysis, you'll get a new ah item here under your browser so you can turn that on or off any time you want to see that. But notice that it did the fact the whole bottom of the box, not just that portion. 7. 06 Offset Lid: we're all set with the bottom for now. And I want to work on the top portion of the box. I'm gonna turn on that light bulb and then go ahead and untitled the bottom light bulb. We're gonna orbit to the bottom of the box. So we want to turn to that bottom face. And you can confirm that on your view, cubits says bottom. So go to sketch down to create sketch and will select that face. Now, be careful not to select the planes here. So you want to hover on an area that you can just select the face, click on it and then we'll center it and zoom in. And now we're gonna go to sketch and down to offset. The only sketch I really want to see right now is just my current sketch, which is the sketch three here. So I can untangle that cutting line. It doesn't need to be on now. I'm gonna choose just a perimeter here of that outline of the box so hover over it, you'll see it lights up blue. And if I click on it, I'll see that I get the little widget here that I can drag up or down. So we're going to bring that down and enter a dimension of negative one millimeters. And that should do an offset inside the box there. So we'll click. OK, and then we're going to right click and go to repeat offset. And I'm going to select that same edge, drag it down. And this time I'm gonna do a negative 2.5 millimeter offset and hit Enter. So I have to offsets there one at one millimeter, the other one at 2.5 and I'm gonna click on Stop sketch. Now, if you lose your sketch, just bring it back on by clicking on appropriate lightbulb. Well, orbit to a side view here. I'm gonna grab just that inside profile. So select that you for extrude I'm gonna extrude that down. Negative. 13.5 millimeters. Yes, let's try typing that again. Negative 13.5 and then had answer. And now that should give me a dimension of 1.5 millimeters between that bottom face and this face here. So let's go ahead and measure that will hit. Inspect. Yeah, I think that Isobel selected two faces and we can see the distance between them is 1.5, which is what we want. So we'll click close. Okay, Let's bring that sketch back into view. Soak against Catch three. Now, I want to select that in a profile there from that second offset, we did select it, so we only get that outline e for extrude. It will take that arrow, drag it up, and I'm gonna make that five millimeters and hit. Enter. Okay, Now we can entitle the sketch and we should see we have our inside extrusion here and then our lip that comes up five millimeters. So if I turn on that bottom portion back on in its orbit So we're looking at this the right way, actually, just hit home here in a little few cube, and you should now see you have that bottom portion on that portion here that's going to slight into each other. So let's see how that looks with our analysis turned on. So we'll click on that light bulb and we'll go to that front view and you can see now the reason I chose those offsets gives me a 0.5 millimeter gap in between the sides of the wall is there, and we can also confirm that by going to inspect, will select Love wall there, zoom in and grab that inside wall and we can see that that distance is 0.5. So that's gonna give us Ah, nice fit there so we can slide the top on and off without being too tight or too loose, Not with your printer. If you are going to print this out, you may want to test that a little bit. There's a chance it could be a little too loose, but this is where you're gonna have to experiments. But this is a good starting place for that lead right now to give it. It's just a 0.5 millimeter tolerance there. We cannot turn analysis, back off and go back to a home view. 8. 07 Side Ribbon: Let's now model the side ribbons of our gift box. So we'll goto a front view here in our view Cube and will create a sketch right on that front surface. So click of that and we're gonna grab the rectangle tool So we'll go to sketch rectangle and we'll do a two point rectangle here. I'm just going to start creating that rectangle on the side here. So we'll click once to grab one corner release and clicked for the other corner. And then we'll hit Deford Dimension, grab that top surface there or that top line, and we're gonna give that a dimension of 10 millimeters. So we'll enter 10 there. And now we're gonna go to our sketch palette here, and we're gonna grab our Colin ear constraint. Then grab that top line and select the top line of the box here. So first select top line of our rectangle, and then we're going to select the top line of our backs, and that will make it well, Colin ear. So now they're all both on the same line there. We'll do the same thing with the bottom. So we'll grab that from our rectangle and then select the bottom edge of the box, and now we can see our top in our bottom match to the size of the box. So next will get this rectangle to be in the center of this box here. So what we'll do is we'll grab the midpoint constraint, select just that top line and then also select its hop edge of our box there that will bring it right to the middle. Now we can click on Stop Sketch, and if we lose our sketch, we'll just turn it on here and we'll hit E for extrude Select Both of these profiles will rotate to a side view here and just grab that arrow will drag it out in an answer and dimension of two millimeters and click. OK, OK, notice that it joined everything together. So if we go to body will see that we only lost our top in our bottom and we only have one body there. Well, that's because when we joined it, we didn't check new body and we clicked it as join. So what that did is anything that this extrusion touched was then joined together. So let's fix that. It's actually pretty easy to fix. And this is a common mistake that actually do all the time. So we'll go to our timeline and we'll grab that extrusion here. That last extrusion we did double click on and it's gonna open up our edit feature dialog box. So this is our extrusion dialog box. So what I meant to do is change this from join to new body so we can go back, change that and then click. OK, And now we notice we have it as a separate body. So we have our top, our bottom, and then that separate ribbon. If you haven't saved your design yet, now is a good time to do so. So just click on the safe icon here on your browser. You can choose your location. I'm gonna leave mine where it is, and I'm just gonna title this gift box recorded. So go ahead and click. Say 9. 08 Ribbon Tabs: next will design some tabs on our ribbon here, which will make it a lot easier for us when we go to assemble all our parts. To do so, we'll first go under our browser here. And let's untie Go the top and bottom light bulb, and we'll also in Tyrol, every single light bulb. Then there are sketches folder, leaving just the parent lightbulb on. Then we'll orbits. Who? The back of our ribbon? Here we just click back on our view, que Just make sure you're looking at the back and then click on sketch creates catch and in select that surface and will begin by creating a line. So we'll go to sketch line and we'll just draw a line sort of anywhere here across the ribbon at the check. Mark will have D for the mention and will dimension the line from the top edge will set that at 15 millimeters and hit. Enter. If you recall, that was the same distance that we have from the top of our gift box to the bottom section of the gift box. So we're just going to put that there as reference again. Next, we'll hit T for trim and will trim this outside edges. Are these two outside edges here? Living is just that middle and hit escape so that your pointer goes back just to ah white pointer there and then we'll select that line. And in hit Exxon are keyboard to turn it to a construction line. And as you can see, it's gonna tackle this little icon here on our construction section of the sketch palette to show is that worried construction mode. Now, there was an update recently. So if I go to draw anything, for example, if I are for rectangle that becomes in as a construction line, so I'm gonna hit controls, you wouldn't do that. So basically, what you do is you toggle x on and off to give you that construction lying or not. So just go ahead and untie. Go eso that it's off. And now we'll draw a rectangle right, so we'll go to sketch rectangle will grab the two point rectangle, and we'll just draw a rectangle somewhere here on the side and will make this ah, height of 10 millimeters had tab and then we'll give it a with of two millimeters and hit. Enter and we'll do the same approach. Will will grab the midpoint constraints, click the top edge of that rectangle and also the top edge of our ribbon and that'll align it right to that midpoint. So I'm gonna hit escape now and just drag this the mentioned down a little bit and take this dimension and just drag it How it I'll take this one and drag it out as well. Okay, now that we have that rectangle there, we're gonna grab another rectangle that we're gonna put over here. So go to sketch rectangle again and then until point rectangle and we'll do the same thing this time will make this rectangle two millimeters in height and and hit tab, and it's gonna be five millimeters wide. Answer. Grab our midpoint. Constraint. Grab the top edge of that rectangle in a line. It's who are line here and that goes right in the middle. All right, now we'll pan down and we're gonna do one more rectangle, so we'll go to sketch rectangle to appoint rectangle. This time we're going to start this one on the edge here. So the bottom left edge click once and then just get it to snap to that right line there. And that should be exactly 10 millimeters. Why? So all we do? What we need to do here is answered a height, which is gonna be two millimeters and his answer. So let's amount and see what we have. So we've got these three rectangles that we created this to buy 10 2 by five and in another two by 10 at the bottom here. So now we can click on Stop sketch. If you lose your sketch, just make sure to tackle it back on here, and we're gonna now ex Trudy's. So we'll go to create extrude or just hit E on your keyboard and will select just these top two profiles here and I'm gonna extrude does out one millimeter and click OK, and then bring back our sketch and we'll click e for extrude again and in select the bottom one and this one, we're gonna extruded out to millimeters. So we'll enter to on like, Okay, 10. 09 Circular Pattern Ribbons: Now that we have one ribbon created, we're going to do a circular patterns who make four of them. So let's bring our top and are bottom bodies into view, and we can untangle the last sketch that we did. So none of the sketch light bulbs are on will navigate to that front view here so we can see that ribbon. And now we're gonna go to create AIDS down to pattern and will select circular pattern for a pattern type. We're going to choose bodies and will select our ribbon that we created for our axes will click on it and then we can select that blue axis here rz, you should be able to select right through the box. If not, you can toggle bodies and then select it and then bring bodies back. So under axes or next to it should say, once elected, we're gonna do ah, full here under type and for quantity. We're just gonna increase that one more to give it for. And if I orbit to a top view here and swing it around, you can see that we have these little previews here showing each of the iteration of that ribbon. That's gonna a pair You can obviously you can suppress these by uncheck ing these check marks. But we're gonna keep all four and we'll click. OK, now we can see that we have four ribbons created. Each of them now appear in our browser so we can see that we can title them on or off. 11. 10 Make Cuts: we're going to use the ribbons now to make cuts inside of the top and bottom portion of the box. Let's start with the bottom so we will remove the top and we're gonna go to modify thousands who combine and we'll get this dialog box. So what we're gonna perform here is a boolean operation. So we're gonna use one body to cut away from the other. Our target body is going to be our box, the bottom part of it. So we'll select it and our operation is going to be a cut. Now we're gonna want to keep the tools after we made the cut. So make sure to select keep tools. And now we can select our tool body. So make sure tool bodies here is checked. And then we're gonna select each four of these ribbons. So 1234 and then click. OK, so now if I remove each of these ribbons, you'll see that I have those cuts there where I created those tabs. I will now do the same thing with the top portion of the box. So let's bring in. Each of those bodies will remove bottom and just show the top and again we'll go to modify down to combine Our target body is the top portion of the box. Our tool bodies is going to be each one of these ribbons, so you should see it. Make sure it says four and the rest of it stays. The same operation is cut and we're gonna keep the tool bodies so we'll click. OK, let's removed the ribbons now and we'll see that we have those cuts there. So let's bring our top in our bottom portion of the box and we'll see that we have our cuts in place. 12. 11 Design Top Ribbon: will not work on the top part of our ribbon. Let's first go to Ah, home view by clicking on the little home icon and we'll turn on every single body so it will toggle these light bulbs on, and we'll next click on the top view here. So we're looking at the top of our model and will create a sketch. So sketch creates sketch and will sketch it right on that top surface. So again, here, be careful. Make sure you don't select the plane. You actually select the top surface. We'll censor that and we're gonna grab our rectangle so we'll go to sketch rectangle and we'll do a two point rectangle here and we're gonna start it. Make sure you zoom in, but we'll start it right here and this left corner as we reference that aside, Ribbon click once and in our second click will be on the opposite side of that bottom ribbon. So that gives us our rectangle there and we're gonna just not click on stop sketch E for extrude. We're gonna grab these three profiles here. Let's Boer bit so that we're looking at this orientation and we're gonna extrude that up to millimeters. Change our operation from joint to new body and click. Ok, now let's go back to ah, top view here, and we're gonna select or right click and then go down to move slash copy on the corner. Here, we're gonna change, move, object to bodies. And then we're gonna place the little widget here right on the center. And then we're gonna click on, create eight copy, and then next we're gonna rotate this 90 degrees. Now you have to do this in the right order. You actually have to click on, create copy and then rotate it. Otherwise, you'll have to start over because it won't let you create a copy afterwards. So once you do that, click OK, and you should have this. So now we have these two bodies that we created that cross the top portion of the box 13. 12 Split Ribbon: next will combine all our ribbon bodies into one body and then we're gonna split that one body into two sections atop in a bottom portion. To do so, we will first remove or entitle the top and bottom bodies, and that should leave us with ease. Just six different bodies here, the two top and in the four sides we'll go to modify down to combine. We'll select this top body as our target body in for tool bodies will just select every other remaining body. So as long as they're all touching the top body or that target body, this will work. Now we want to combine. So we're going to change the cut operation to a joint and we don't want to keep tools because that will just keep duplicates of the same body. So we're going to remove that. So as an overview, we should have one target body selected and in five selected as our tool bodies join in uncheck keep tools, we're going to click, OK, and now we can see that we have just one body here. Let's go toe a home position and go toe a front view and we're gonna grab that cutting lying that we made earlier. So let's just bring that as our only sketch here will go to modify down to split body. Our body to split is going to be our newly created body and are splitting. Tool will select the N choose R line. So if you orbit to a top view, you should see this sort of red pinkish circle and we can then click. OK, And now I noticed that our body split. Here we have that top portion and then each of these sides. So the reason for doing this split is because we want to print this top portion separate and that's gonna print in this orientation and then the side parts can all print laying down. 14. 13 Sketch Bow and Mirror: we're not ready to design a ribbon that will go on top of our gift box, so we'll begin with a sketch. So let's go to sketch creates catch. We're gonna choose that mid plane here that z explain to get a better view of intimate. Sure, we actually select it. Let's remove bodies for now. Now weaken. Clearly select it. And then we can bring bodies back and will pan and zoom so that we feel our entire screen and we're going to begin with a line. So I'm gonna go to sketch line and I'm going to start that line right at that midpoint of my model. So make sure you get that triangular midpoint constraint there. Left click Once. Let's go up and answer a dimension of 3.5 millimeters and hit Enter and answer again. Right next. We're gonna grab are supplying tool. So let's go to sketch down to spine and we're gonna begin our spine points right at the edge of the line. We just made left click ones release, and then we're gonna enter a few more points here just to get a nice curve ribbon look and we'll end it right on this horizontal line referencing the top of our box and then click the check mark. Okay, Now I'm gonna grab my line school, and I'm gonna connect that last point on my supplying to the origin of that initial line I made. And that'll give us this profile. Now I'm gonna click escape to go to just a clean white pointer tool, and I can adjust these plane curves, and I can also adjust these handles. Now, one thing I want to do is I'm gonna just this handle here on my last supplying point. And so let's zoom in. And what I want to do is I want to get that handle close to being horizontal, that I'm going to select it and then select my horizontal constraint. So to get a better view of that, let's untitled the box and you should see you have that horizontal constraint there. Let's do the same with this spying point handle. So this is already close to being horizontal, so I'm just going to select it and then click on my horizontal constraint. All right, so now let's hit escape, and we can then continue to tweak and adjust these spying points so that we get a nice curve going That looks like a bow. Now, yours doesn't have to be exactly like mine. But just, you know, try to get it somewhere close and you can tweak these handles. You can move them around just to get a nice curved shape. And then once you're happy with it, we can click, stop, sketch, let's bring our bodies back and we're gonna hit the for extrude And let's select our profile. We're gonna extrude this my first, setting the direction to some metric and we're gonna give it a distance of five millimeters and that will extrude in both directions. We're gonna change operation from drilling to new body and click. OK, let's right click on our new body that we just made and we're gonna go to isolate that will leave us with just that one ribbon. I'm gonna go toe a front view and I'm gonna create a sketch right on this face. I'm going to draw a line so we'll go to sketch line and that line is just gonna be a vertical line going across the model. And then I'm gonna hit Defra, Dimension and Dimension that line from this edge Set that distance at six millimeters and hit. Enter can I'm gonna stop the sketch and then I'm gonna go to modify down to split body, select my ribbon as my body and my splitting tool is gonna be this line and then click OK, and next I'm gonna go to modify shell and I'm just gonna show this portion of the body. So to do that, we'll go ahead and set the direction as inside and the thickness we're going to do two millimeters and notice that it leaves that back end intact. So if you want to select that one as well, rotate to the back, hold control and select that back face and now the shell should go all the way through and we can click. Ok, all right, now that we did that will combine these two bodies together. So let's go to modify Combined will select our first body here and in our second operation is joined and we're gonna click. OK, let's now mirror this body to the other side so we'll go to create down to mirror pattern type is going to be bodies will select our body then will select mirror plane. The Mayor plane is going to be this face here and then we can click. OK, so that gives us our two bows that are now married to each other. But these air still two separate bodies. So let's combine them into one will go to modify combined select one body as our target body and in our tool body is going to be the other one. Operation has joined and we'll click. OK, now we're gonna do a similar thing, but we're gonna take a different approach. We're gonna right click and go to move, move Object is going to be set two bodies and we're gonna position our widget here right on the center. Let's go to what's happened view. We'll click on create copy here in our dialogue box and we'll turn this dial 90 degrees as you can see here and we'll click. OK, and now we have a separate body here, perpendicular to our first 15. 14 Bow Cuts: let's rename these bodies so that they're easier to identify in our browser will goto a front view and the one that's going across in our X direction here. You can see our X axis here as we go to a front view. Ah, in my case, it's my body 14. I can tell by clicking on it in my browser and it lights up. So I'm going to click on that and I'm just going to call that Bo X and then I'm gonna do the same thing for body 16 and I'm gonna turn that one on double click and I'll call that one. Bo, Why? Okay, we'll go back to our home view and I'll turn both bodies back on. Click on the blank space to the select everything. Next. We're gonna take Boat X, and we're gonna move it up one millimeter in order to perform a cut away from Bo. Why? So let's actually go back to a front view, and we'll right click where it says Bo X on our browser and will select the move slash copy option, and we're gonna take that arrow, start dragging it up and you'll see the Z distance here will start changing. We only want one millimeter, so I'm gonna type in one and click. OK? All right, let's go back to a home view. And next, we're gonna perform a cut. We're gonna cut the top boat from the bottom boat, leaving us with a notch in the middle here. So let's go to modify down to combine. And our target body is going to be the bottom bow or boat. Why? And our tool body is going to be Bo X here on top. The operation is going to be a cut, and we're gonna wanna check, keep tools, click. OK, And now, if we remove Bo X, we can see that we have that notch in there. All right, let's find our top ribbon, which in my case, is both eight. And let's rename that one as well. Someone to click twice on body eight here, and we're gonna call this top ribbon. Okay, Now we can untangle it, and we're gonna also untied rowboat. Why? And I'm gonna draw and extrude a rectangle here on the bottom of Bo X That's going to cut through Bo. Why the top ribbon in the top portion of the box. So let's look at a bottom view here, and we're gonna go to sketch, creates, catch and choose the bottom face of art. Bo x. I'm going to start with a rectangle. So all had our for rectangle, And I'm just gonna draw it up here and give this a dimension of 10 millimeters in height by five millimeters in with. And we're gonna put that in place by grabbing our midpoint constraint and constraining between the top line of I rectangle and the top edge here of our boat. That'll place it right on the sensor there. So we'll click, stop, sketch! And then we're gonna hit e for extrude. Take that rectangular profile extruded out, and we're gonna give this a distance of four 0.5 millimeters. 16. 15 Cuts Continued: now we'll use both X to make a few cuts through the bodies I mentioned first will bring in about why and if we orbit here right now, Remove O X. We can see that we're just going to create a rectangle cut right through there. So I will go to modify. Combined Her target body is ball. Why? Tool body is Bo X. It's gonna be a cut. Keep tools and we'll click. Ok, remove bowl X to confirm that we have a cut in there so we'll take away. But why bring back both X and then we're gonna bring our top ribbon. We're going to do the same thing here, so notice there's nothing there. Now we're gonna go to modify Combined target body is top ribbon tool body is both X operation. This cut. We're going to keep tools and real quick, okay? And we'll remove Bo X to verify that we have our cut there. Okay, let's remove top ribbon and bring in just the top and we'll bring in our Bo X as well. And that will be our final cut here. So modify Combined target body is top two of bodies is both ex cut. Keep tools like Okay, let's remove both X to make sure that all the way through. Okay. And that's all the cuts we need to make their let's bring back all our bodies and goto a home view. Let's rearrange our bodies here in our browser so that they are organized in the more intuitive way. We'll start with what's on top, which is going to be our Boat X, and then we'll go with ball. Why, you can see I'm just clicking, left clicking, dragging these up after our Bo. Why is our top ribbon and then is our top? We'll go ahead and put the bottom there, and then these four bodies are just our side ribbons and we'll just leave them as they are . 17. 16 User Parameter: before we can three d print this and assemble it. We have to talk a little bit about tolerance. So what I mean is that, for example, we have our Bo X here that's gonna slide into bowl. Why? The problem is our rectangular extrusion is the exact same size as the opening here. And if I three d print both parts, the one is just not going to fit inside the other. So with three D printing, whenever you have two parts coming in together, let's say Part X going into part. Why it's just not going to work. You have to make part. Why a little bit bigger so that they can actually fit. And that's what we're going to do now. This gun range between printers for my case, What I find is, you know, 0.1 millimeter is kind of pushing the limit. I may get a fit, or it's gonna be really tight. Snap fit 0.2 millimeter is more likely to actually get a good sort of snap fit, and then 0.30 point for your getting a looser fit. So depending on what the intention is of your model, you're gonna wanna play around with those figures to range between a very tight fit and a loose fit to do this will go into our modifying menu and we're going to declare a user parameter. So let's go all the way down to change parameters and we're going to click the plus sign here on user parameter that's gonna allow us to add one. So for the name I'm gonna call this tolerance will just type that in unit is gonna be millimeter. And the expression is going to be negative. Zero point to the actual tolerance will end up being zero point for because, as you'll see when we apply this to an extruded rectangle, for example, it actually gets applied to both sides. And the reason we're going with a user parameter here is because it's gonna make it a lot easier later, when we realize that we should have made that tolerance a little bit bigger or a little bit smaller, we only have to come back and change it in one place instead of having to add it every single feature where we chose that specific tolerance and I'm going to click OK, Indian. Okay. Again So now I'm going to remove all the remaining bodies here or entitle them except body . Why we'll start with that one. I'm going to select the press pull command, and that's under the modify menu. It's going to be this option right here. You can also get it by pressing que on your keyboard and I'm going to select each of these faces here. So 123 and four here of these side faces And for my distance here, I'm just gonna start typing tolerance. If I type t Oh, well, you'll see it pops up, we're gonna hit enter and you can see if you saw it right there. You saw that that opening expanded a little bit. I'm gonna hit enter again. So now we can go and confirm. So I remember that this distance was 10 millimeters. I can see it's now 10.4 because it expanded on both sides Negative 0.2 millimeters and this side as well. This used to be five. It's now 5.4 because it expanded on both sides. So that's looking good. And we cannot remove. Why are Bo y? And that's grabbed the top ribbon and we'll do the same thing here. We're gonna go and grab our modify press pull. Be careful that you don't have anything pre selected. As you see here. I accidentally selected this edge here, and this condemn s you up. So just click on the blank space to make sure you have nothing selected. If you have something selected already, you need to click on that. I just click on the X here on the box, and it will get rid of everything. And because of that, thinks I wanted to do a fill. It s so I'm gonna hit queue again and it'll go toe a press pool. That's because press pull is contact sensitive. So kind of a little side note here, if I choose an edge, is gonna go to the fill it tool. And if I cross or hit the X here here Q select the face. It will actually go to offset faces. Eso just a little side note there. So let's do that again. Queue for press pull. I'm going to select this face this face and basically use four faces. I'm gonna enter my distance as tolerance, start typing it in and enter twice, and I can confirm that thes distances have increased. So that's 5.4. Well, zoom out a little bit. I'll remove the top ribbon. Now we can go into our top. Let's go to our home view. Let's repeat the same procedure will click on a blank space to make sure we have nothing selected. I'm gonna hit queue for press pull. Zoom in and I'm going to select these four spaces here or four faces here. And her tolerance, as my user parameter had answered twice and verify that my the mentions haven't did changed . Came going to zoom out, go back to home position and the next video we'll do these four slots. 18. 17 Circular Pattern: to tackle the side slots. What we'll do is we'll offset one of them, and then we'll perform a circular pattern on the remaining ones. So again we'll start by just clicking on a blank space here to de select everything. And we're gonna queue on our keyboard for our press pull Zuman and select each of these faces here. So for in Total again will answer tolerance as our distance hit. Enter twice and we'll see that expand again. We can confirm this edge here went from 2 to 2.4. Okay, so now let's grab our circular pattern tools. So we'll go to create down to pattern circular pattern and we'll pattern faces here, so I'll zoom in and going to select 123 and four. Zoom out, select our access here to see her axes will pan down a little bit and we're gonna grab our Z axis here, and then let's go toe, it's hap of you. Then we're gonna change this quantity from 3 to 4 so that we should see a check mark on each of these. Actually, go toe more side view here, click OK, and these should now all be expanded again. We can verify and check that. That's 2.4. This is 2.4 and one more here. So we are good now with the circular pattern. Normally, I like to do features if I can, because it's just easier. You have one selection. What I mean is, if I go to create a pattern circular pattern, you have the option of changing this from faces by these features. Components. If I can, I choose features like I said, because you is just one click here on their timeline. However, sometimes that doesn't work, and I have to resort to faces. And that was the case here. But if you try one and it doesn't work, just try another method. So you know you can. You have the option of choosing faces by these features or components, so don't give up on it too easily. If one part doesn't work, just pick another one that you can from your options here 19. 18 Circular Pattern Contd: we'll continue with the remaining body so I will untangle top and bring in bottom. And this is gonna be the same procedure again. So I'll go quickly through this queue for press pull. I'm going to zoom in, select my body's here or my faces, type in my easier parameter of tolerance and answer and verify that indeed that offset. So I'm looking at 5.4 there, and now I can apply my circular pattern So we'll go to create pattern, circular pattern. Select my pattern type as faces and I'm going to zoom in and select these faces here, Go to axes here and find my Z axis, which is my blue line here changed the quantity from 3 to 4. Zoom out. So we see them all and then click OK, and then we can verify that they indeed that officer So that's those four faces And in what's left is these bottom faces here. So again, que will select each of these and did the same thing where I must have had an edge selected . So it thinks I wanted to a fill it. So I'm going to de select everything. Thank you again Select each of these faces and I'm going to offset of tolerance. Answer. Answer again. That's zoom out a bit. Create pattern, circular pattern. Select our faces one more time and our axes. Let's zoom out and find it. Usually we can select right through. You'll see it light up there. It is going to go to four as quantity. Click OK, and we verify that they indeed offset. Okay, so that's all our offsets. And now I can bring all our bodies back. And this should be good for three D printing. Now, if we look here, we can verify, you know, we've got that little gap in between, so that's good as verification next before we print. Let's apply. Some of parents is to this just to make it look pretty, and then we'll print and assemble our gift backs. 20. 19 Apply Materials: to apply appearances. All we have to do is hit the a key on our keyboard and we'll get this little box that pops up. Sometimes it does come minimize like this and it could be even hiding up here and hard to find eso Just bring it down and hit the little plus sign if it's not expanded already and then you'll get this expanded dialog box. As you can see here we have these folders which lists the whole bunch of materials that we can try out. So I encourage you just play with those. We're gonna print this in plastic, so let's apply some plastic materials to it. I'll go to the plastic folder and just expand that. I'm gonna go with OPEC here and you can see that if you scroll down, you have some colors already here. They're arranged here between glassy and Matt so we can just pick any one of these. I'll start with Matt Blue here and I'm gonna make the bottom and the top that Matt blue color. Now that's not quite the blue. I want Soto amend it. All I have to do is come up here. You see that once I use a material that actually gets ploy slept here where it says in this design. So if I double click on that blue color, I get this whole color palette here that I can now go ahead and move the sliders to more precisely pick the color that I want. So I'm gonna choose more of sort of like a sky blue here, and you can just move this little cross here into place to get the color you want. And so we'll go with that and I'm gonna pick another color. I want more of like an orange for the bow. So the closest thing to it right now is this red. So I'm just going to drag it over now. One thing I will point out is over here, you see, you have the option to apply to bodies and components or just faces. So the difference with that is, if I select faces, I can then apply the color just to a specific face you see here. It'll cover just the face and not the entire body. So good to know you have that option as well. Gonna change that back to body. And I'm gonna ply this color. It says you want to remove the appearances, apply to faces. Yes, I do. So I'm gonna go to remove, and I can finish applying this to the rest of my body's, and I'll rotate and grab these on the other side as well in the same thing here. I can always change that color by double clicking on the color here in this section, and I'll move the slider here and go with a more orange color and click that. So that's how you go applying appearances. Now there is a lot more you can do with this, especially if you take advantage of the different materials and go into the rendering environment. 21. 20 Fix Tolerance: after three, printing all the parts and giving it my first attempt. An assembly. I had a problem trying to get the top ribbon to fit over the top cover, and I quickly realized what my problem Waas. If I goto a front of you, you'll see that I forgot to give a tolerance value between that ribbon and that top cover. There is absolutely no space in there, so it would have been impossible to get the two to actually fit together. So let's address that, and what I'll do is first untied Gle each of the light bulbs here except the top end the top ribbon and let's go to, Ah, bottom view here, and we'll even an entire Gle that happened cover. So we're just looking at the ribbon here. So if I do an inspection here, I can see that the distance between that face in the opposite face is at 50 millimeters, which is the same distance as the top cover. So we need to expand that by our tolerance value, and the way I'm going to approach this is I'll take thes faces and offset them, and by our tolerance, so we'll hit queue for press pull and I'm going to select each one of these four faces here and we'll type our tolerance value here. How to start typing. Tol had enter, and now they get offset inwards. And I can see that that this distance here is not 1.8 instead of two. However, that's a problem because I still want that two millimeter thickness. So to address that, I'll offset it the opposite direction. So I had que again in select each of these four faces on the back And let's see what happens if I just type my offset here. So tol ah, and then I'll type tolerance And I don't know if you caught that, but it actually moved inwards. Ah, the opposite direction of what I wanted, which makes complete sense because if you recall, are offset was a negative 0.2. But the problem is that brought it, and even Maurin did the opposite of what I want. So let's address that by going to our timeline here, and I'll click on that last feature that I did that offset. I'll double click on that, tried it again. Double click to bring that at it feature, so that lets me edit that feature there. And what I'm going to do is just bring my cursor to the front of where the distances where it says tolerance and elegant. I'm gonna type in negative there. And so if that tolerance value is negative 0.2 I'm basically typing a negative negative 0.2 , which is a double negative. So it makes it an actual positive. Hopefully, that makes sense. So we'll click. OK, and I'll see that that has moved back. And I can confirm that that it's back to two millimeters here, so that addresses that problem. But we have one more issue toe address where, since this face moved in this distance, here is 1.2 instead of one. So I'm gonna fix that by pressing que to get our press pull and will select each one of these faces now, and we'll go ahead and make that that's grabbed that last one here and let's apply our tolerance there as well. Teoh, enter and enter, and that should go back to a one millimetre thickness. Okay, so that's one. And this should be too. So we're all set. Let's go toe a home view and turn on all our bodies back on. And now we should be able to go to a front of you and zoom in, and we should see that little gap in there, which is exactly what I want. So hopefully that address that problem. Well, actually, I'm pretty confident that will print this again and have an easier time assembling all the parts. 22. 21 Amend Timeline: while assembling, I found out that the fit between the side ribbon and the top cut out of our bottom box was still a little too tight, even though I gave it that standard tolerance of negative 0.2 millimeters on each side. So what we're going to do is we'll go back and change that offset, and this is going to allow me to show you the power of having your timeline here with fusion 3 60 So let's go to, Ah, home view. And I'm going to click on the bottom part here under our timeline, right click and go down to isolate. Now, the nice thing about having a timeline here is that we can go back to any of these features , amend them in. It'll reflect nicely in our model, but how do you find out exactly which feature it ISS? So one way is just to kind of keep going back and double clicking on each one, or if you notice if you have her over, um, different sections will start highlighting, but that's still ah, long way to do it on. Easier method is if you go where that particular feature is, you're trying to change, for example, the offset here. I just click on this line here. If I get thes three diagonal lines across that feature, and if I click on that feature, it'll allow me to simply go in and change the parameters. So I'm going to cancel for now because I want to point something out now. Notice I clicked here, which is our front view. If I click on that one, it will show me. Let's make sure we get the right. I click on the edge here. It'll show me that particular feature. Now, if I were to click on a different feature, for example, the side one here, you know I can click on any of these edges or faces. It's going to show me that pattern option because the way I modeled this is that I offset it this face and then I patterned it around. So the rest of these, if you'll notice here, that gives me the pattern and this one as well. Well, give me that circular pattern. But if I select the feature here, it's to the face. This time it's going to show me that offset, So just be careful you. You actually have to go back to that original feature that you changed and not the pattern . So what we're going to do is here. Let's select it again. Will select any one of these edges in a double click on that offset before we do that, let's just confirm, actually, what's the size here? Um, it is 5.4 millimeters. Okay, so now I'm going to double click on that offset faces. Now, instead of giving it a tolerance, which was negative. 0.2. Let's double that and go a negative zero 0.4. Ah, That way it'll change just this specific instance and we're not changing the actual user parameter of our tolerance. So if I change that click, OK, noticed that now this particular offset went to 5.8. So we went from 5.4 to 5 point a. But that also gets applied. The circular pattern that comes after that feature. So we should see that each of these other parts of our models will be a 5.8. So you can see here in here as well. So that's the beautiful thing about Parametric design. And with fusion 3 60 having the ability to amend the timeline because notice that we change that one thing. But anything after the time Lang gets affected on. And you don't have to worry about sort of going back and redesigning half of your design because things don't follow through. So it's a very convenient feature to have, and especially with three D printing, you're gonna find that you'll be coming back constantly tweaking and changing things and having this process available. It just makes it so much more efficient. 23. 22 Change User Parameter: Finally, let's go over how to change our user parameter. So if we found out that our tolerance was just off entirely, and in each instance we apply it, it just did not work. Well, that's the case. We would want to come in and change it globally instead of amending each individual feature . So the reason we created our user parameter it was to have this ability. So to change it, all we have to do is go up to modify and then go down to change parameters. We see we have are easier parameter here, and I can go under expression and just double click, and I have the option and change it from negative 0.2. And let's just put something ridiculously big just to see the difference. So I'll just do with negative one millimeter and just take a little Keep your eye right here Once I click. OK, notice how that got a lot bigger. If I double click here, it's 12 millimeters instead of what it was before, which was 10.4. So we clearly see how that works, and that would change anywhere that we applied that user parameter of tolerance. notice here since we changed it from referencing our tolerance to giving it a specific value of negative 0.4 millimeters, it did not affect it. Okay, now we can go back and just change it back. So I'm gonna go to modify parameters DoubleClick, and let's bring that back to negative 0.2 and click. OK, all right. So now I'll bring all our bodies on, and we will collect home and click save. And by the way, this is a good habit to get into to turn on all your bodies before you click, save and close the program. Because next time when you launch Fusion 3 60 it'll open up with only the specific body that you have turned. That which sometimes can be confusing, especially if your new are you sharing your model with someone and they open it up. They only see specific part and not the entire thing. 24. 23 Export as STL Files: to send our model to a three D printer, we first have to export each body as its own separate STL file. To do that will go under our browser here and click on the little arrow next to bodies to expand it. And we can simply right click on each body and then go down to save as STL. So if I click on save as STL, I'll get this little dialog box here, make sure to uncheck send to three D print utility. If you have that checked, it will automatically bring it into one of your slicers, which you can choose from this drop down option here. But we're gonna uncheck it and then just click. OK, that gives you the option to select a folder and save your body as an STL file. So, as you can see here, I created a folder called STL. And then another folder in there called My gift box recorded and through all my STL files, they're the nice thing with fusion. 3 60 is that it automatically will keep the same name as your body. So I noticed that I sent this as top have the option to rename it, but it'll automatically come in with that name, so I don't have to change it. If I don't want to simply click safe. Since I already have this safety, I'll just hit. Cancel. Once you save each individual body to your STL file folder, you can now, then open up a slicer application and bring it in. So let's do that next. 25. 24 Simplify 3D: you can choose any particular slicer software that you have that you're comfortable with. But I'll show how to use a couple of them. As you notice. Here I have a few installed, including simplified three D maker about that Stop and Kira. So let's try our simplifying three D software here, so I will launch that. And once it opens up, you can see I already have a model in there. But what I'm gonna do is just remove everything by clicking on remove. Now, I'm gonna go to my process here. I'm gonna double click on that. Basically, on any slicer software, your mainly going to be selecting the same settings. So if you know how to the wooden one, you can do it at any other. You just have to find where that specific tool or option is located. So to simplify this, I'm gonna hide advanced, and that gives me so sort of the basic settings here. So you'll notice I have the option of selecting my printer. I've got a few options here. I'll go with the reality CR 10 and I'm gonna be printing with P L. A. I can choose my quality, which I'll keep at medium in and I can set my infill. I'll set the infill to 20% and then I can just basically click OK, because I don't want a raft and out of one of generate supports to go a little bit over the advance options and we'll go to show advance, and that reveals a little bit more information. For example, I get to see Ah, my nozzle diameter, which is a 0.4 millimeter nozzle. I can go into the layer tab here, and you can see that the medium setting that I chose set a layer height of 0.2 millimeters . Now, I'm just gonna briefly go through this. I may need to, of course, later where I'll talk a little bit about what each feature is and what each sat in changes and how it impacts your three D prints. But right now, it's just gonna be a quick sort of overview of the settings, and I'm gonna be using so layer height. That's basically your resolution so we can see that medium set it to zero point two millimeters, and usually you want to stick between 0.1 and 0.3. If you want to go between ah, high quality or a low quality, fast sort of draft print, you can see that I have many options years, such as additions info. I can change the temperature or add the temperature depending on the layer here. So, for example, here, layer one, it gives me the option of starting at 2 15 I can change this, for example. Make that layer to go down to 205 But like I said, I'm not gonna go too much into this. I'm just gonna click, OK, and now I can bring in our model so we'll go to import. You'll never get to your folder where you can bring in each body individually or if you want, you can select all of them and click open, and it'll bring them all in. Now you'll see a problem here because it brought each model in as the way it was facing Infusion 3 60 And this is not the ideal printing orientation for a lot of these. So, for example, this box here that's fine. It's that came out right. That's exactly how I want to print it. But this one for example, I'm gonna wanna rotate it. Now if I double click on it, I get the option here to rotate, so I can. In this case, I can rotate it about the axe access, so I want it. Rotate that 180 degrees, so I'll type that in it and enter. It actually looks like it disappeared, but it went to the bottom. So what I can do is go to add it and go down to center and arrange models, and it will bring it right to the surface with the simplify three D. There's another easier way to flip your items. If you go to edit and go down to place surface on that, you can just select on the surface that you want. For example, this top ribbon here. If I click on this top surface, it automatically mixed that surface. Be aligned to the bet, so we would want to orientate these the way that we would want them to be printed. If we try to print this bow in this configuration, it would just not work or we would be using a lot of support materials, which would be very inefficient. So I go to added place surface on bet. In this case, I'm going to select the side surface and that will rotate it. And then this piece right here, the side ribbons. So we'll do the same thing with that at it. Place surface on bed and I'll select this surface. It'll lay down, but you can see it's under this box right here. So again I'll go to add it and center and arrange models, and it'll fix it now. I only brought in one of these because I could just duplicate thes. So with simplifying three D, you can actually just do control, See to copy and in control of V to Paste. And I'll do four of those. And then that way I have the exact number I need again. I'll go to edit and center and arrange models, and now they're all in their proper orientation, and there will be able to print without any supports. Now, I don't want to actually print every one of these, so I'm gonna print different colors for different bodies. The ones that I do want to print. I say I'll start with the top and the bottom box so I'll remove everything else. So let's just select everything I want to remove all, hold, shift and select each of these other bodies. I'm gonna print those later in their own separate color, so I'll just select them all in and hit remove. And now I can go to add it and sensor and arrange models. And now I can print just these two. A lot of times I just want to print one model. So let's say I'll remove this one. And now I will just print this bottom box. So let's censor that one again sensor in the range model. And when I'm ready to print, I can just go to prepare to print and would simplify three d. I gets actually see a nice simulation of it, which is a nice touch that lets you see an address, any errors before you actually print it, which could be a really big timesaver you can see. It tells me here in the total bill time for that model. Under the current resolution and speed, and after inserting an SD card into our computer, we would simply click on safe tool paths to disk and select our SD card in this case and save the file as a G coat. Okay, let's look at doing the same thing with a different slicer. 26. 25 Makerbot Desktop Slicer: Now let's do the same thing, using the maker about the stop slicer. So I will open up maker. But here and I just want to briefly go through justice to really show you that it is the same settings will be changing. It's just a matter of where you're located. So with Maker, but will go to add file and navigate to your folder. And this time I'll just bring in one of the models to demonstrate. So I'll bring in Bo Acts and click open, and I can see here that it's the same situation where they brought it in in the same orientation as it is infusion 3 60 So to rotate, that will go to little rotate icon. Hear a click on that little point Terry there, and then I have the option of rotating it about any axis here. My X y Z. I'll rotate it about the X axis, and we can see it turned it in the right direction. If I look at it straight on, I can see that it's not actually lying flat on the bed. It's above the but but there's an option here to light a flat, and that will bring it down. So I click on the X here and we'll click on the home button here and and I'll click on the little eyeball here, which then allow me to remove and rotate the scene. So you see you have the ashen to move the object to rotate into scale. You can play around with those next will go to settings and make her bad. Does introduce a very sort of quick settings options that really minimize all the different features. But you do have the option. If you want more options, you can go under custom and bring up that similar options that we had when we expanded the advanced tabs with Simplify three D. But we're gonna go with the quick options and you'll see the same thing quality. We have the difference between low standard or high where low. Um will set it to, um, 0.3 layer high in medium or standard in this case will set it to 0.2. Number of shells will have. Thus at the two info 10% we can bring that up to 20% were changed. Whatever. And Phil, we want, we have the option of using supports or not using supports. I'm gonna leave that unchecked as well as I'm not going to be using a raft. We can change the temperature here, but if we like everything as we can just click, OK, And then we would export Prince file and save that as a G code. 27. 26 Assembly: after three D printing all our parts as then time to assemble, which is straightforward. Each part just kind of snaps into their proper location. You will want to use a little bit of see a glue or Krazy glue to attach the pieces and have a more secure connection. And here is the finished model. I guarantee your gift box will be a big hit the next time you want to give someone a present. 28. 27 Outro: congratulations on completing this course. Being able to design in three D print your own ideas is such a great scale to have. It's very liberating to just have an idea and in beholding it in your hands within just a few hours, I encourage you to continue to develop that skill, and you can do that by checking out the rest of my courses.