Autodesk Fusion For Complete Beginners

1. Introduction: Welcome to the world of Autodesk Fusion where your creativity knows no bounds. Diving into new CAD software can feel overwhelming, but don't worry you are in the right place. Autodesk Fusion boosts over 1,400 commands and several different workspaces, making it a powerful tool that can seem daunting at first. However, with the right approach, you can quickly grasp advanced 3D modeling techniques and start bringing your ideas to life. This course is designed to help you prioritize and master essential skills in Autodesk Fusion. By the end, you will have a solid foundation in solid modeling commands and workflows, ready to tackle many projects. Hi, I'm Martin. Your guide on this journey. With extensive experience in the AEC industries, that's architecture, engineering and construction, I bring real world experience to the table. The AEC sector is the largest in the global economy, and it's constantly evolving, making it an exciting field to be part of. I also teach at top ranked Swedish University in addition to my online courses. I mastered more than five different CAD programs, and Autodesk Fusion is my favorite. Its design and manufacturing tools are perfect for 3D printing and sheet metal design. And I'm excited to show you how to use them. We'll start with the basics. In the first section, you will get an overview of Autodesk Fusion. Understand its core design methodologies, and learn to navigate the user interface. These short lessons will set the stage for the more detailed instruction to come. In the second section, you will dive into essential commands that form the backbone of Autodesk Fusion. Practice makes perfect, and you will quickly see your skills improve. As you work through these exercises, the third section is where tool comes together in a project based format. You'll use a top down design methodology to 3D model and assemble a hexnut and a bolt, Applying what you've learned in a practical contetext. In the third section of this course, there are several projects available. Your assignment is to upload a photo of any project you worked on to the project gallery. So enough talking, let's get started. I can't wait to see what you will create in Autodesk Fusion. See you in the next lesson. 2. Introduction to Section one: Welcome to Section one. Here we'll blend essential theoretical concepts with hands on screen cast tutorials to give you a strong foundation in Autodesk Fusion. Understanding the core ideas behind design methodologies, components, the user interface, and customization options will make navigating Autodesk Fusion a breeze. While this section might not be what you envisioned when you first signed up. It's a crucial step that will pay off immensely as you continue your learning journey. Commit to these lessons now. And future, you will be grateful for the time and frustration saved. Let's dive in and set the stage for your success in Autodesk Fusion. 3. About Autodesk Fusion: In this lesson, we take a fast look at the big picture without looking into the details. Autodesk Fusion is cloud based, and all your design data is securely stored in the cloud, so there is no reason to panic, at least not for your Autodesk Fusion designs, if you accidentally spill coffee on your computer. You access your data when you're connected to the Internet, and it's also possible to use some parts of Autodesk Fusion in offline mode, which you can activate and learn more about from the top right corner. One huge benefit with Autodesk Fusion is the possibility to connect your entire product development process in one single platform. It's a CAD, CAM, CAE, and PCB platform for collaborative design, problem solving, and product development. This allows both individuals and teams to streamline their product development and go faster from idea to manufacturing. There are more details to this, but we're working with big picture in this section of the course, so let's keep moving forward and see you in the next lesson. Thank you. 4. Design Methodologies in Autodesk Fusion: In this lesson, we take a brief look at different design methodologies and components. Both top down, bottom up and hybrid design methodology is possible with Autodesk Fusion. Parts can be designed in context with other components within the same file with a top down methodology as opposed to a bottom up design approach, which typically has a lot of files that you extrav together into an assembly. An ref is an external reference that you bring into your file. Key benefits with top down modeling are the possibility to perform rapid design iterations and the possibility to build new components in context with other parts of your design. You work with internal components when you work with a top down design methodology. Key benefits with bottom up design methodology are the possibility to reuse individual components in different projects and the possibility to manage each component separately, which is helpful when you work on large and complex designs. You work with external components when you work with a bottom up design methodology. You can obviouslywork with hybrid scenarios and combine both a top down and bottom up design methodology. Understanding those different design workflows is essential for your long term efficiency. It's considered best practice to create a new component when you work with Autodesk Fusion. A component is like a basket with information. You collect features, design edits, sketches, geometry, and more that belong to the component within the same component. With this method, you will thank yourself further down the road when you need to adjust or edit your design. You win time. We'll get back to components, assemblies, joints, bodies, et cetera throughout the course. But now let's continue with the goal of building the big picture. Thank you. 5. Autodesk Fusion User Interface: In this lesson, we take a tour of the Autodesk Fusion user interface. And don't mind the 3D printed computer fan grill project you see in the middle. The purpose is just to have something there, so you have something to look at when we take the tour. The tour will be like going around window shopping in a new city without entering any of the stores, museums, restaurants, or if you're old enough, bars. It can be frustrating, but we are just learning to find our way around in this lesson. Let's start with the data panel. There is an application bar in the top of your screen. The first button will show or hide the data panel. It's hidden by default. You can access your projects, teams, designs, design data, and collaborate with others from here. Next, you have the file menu. You create new designs, new drawings, open save and export projects, and more from here. The Save button will allow you to save an untitled design or save a new version of your design. The icon is a floppy disk. Some people in the modern workplace have never seen one - too young. Undo and redo will undo or redo your actions. The X will close your design and the plus sign will create a new design. Yes, you recognize a lot of standardized functionality from other computer programs. Extensions are a set of advanced 3D design and modeling tools. Find out more under each extension. Job status allows you to see things like Fusion update status, and online or offline status. And relevant notifications are shown here if there are any. Help gives you access to areas like documentation, the community and support. And finally, you have your profile where you access your Autodesk account. You can adjust your Autodesk preferences, which, for example, can be useful if you migrate from another program. From another CAD program, that is. Let's look at the toolbar. First, you have the workspace picker and different workspaces. What you see in the toolbar depends on the workspace you currently working. We will spend most our time but not all our time in the design workspace in this course. Each workspace is organized in tabs. The tabs contain groupings of related tools and commands. You recognize this structure from many computer programs, including different CAD software. Some commands will activate contextual tabs. For example, when I activate create sketch, a contextual tab with a tool set of contextual commandos appears to the right on the regular toolbar. The contextual tab goes away when you exit the contextual environment. The browser list objects in your assembly. You find document settings and objects such as joints, components, sketches and bodies, some, but not all of them visible in this design. We'll cover them later. You can control the visibility of your objects from here. Right click on the browser to display additional options. You can left click in the browser or directly on the objects in the canvas when you want to select them. The ViewCube is a great aid when you want to look at your design from different perspectives. Press the home button to return safely to a preset perspective that includes your entire design. Right click on the canvas to access the marking menu, sometimes called the right click Menu. You can expect to find frequently used commandos in the wheel and additional commands in the menu below. You find commands used to orbit, look, look at, pan, zoom, fit on screen, display settings, grid and snap settings, and view ports in the navigation bar. The timeline list commands performed in your design. Remember what we said earlier about components. Each component has its own timeline. Use the buttons to go backwards and forwards in your design history. You can right click operations in the timeline when you want to make changes. Make a change and later actions in the timeline will be affected. Parametric modeling allows you to change the order in which your operations are calculated simply by rearranging the order. This was a quick tour of the Autodesk Fusion user interface. Don't worry if there is a lot of new information, and don't be mad at me for not going more in depth yet. We're building a framework and a big picture here, and we will go more in depth on different sections later in the course. 6. Customize your Autodesk Fusion User Experience: In this lesson, we customize your Autodesk Fusion experience. Some of you will just go with the presets and some of you will change settings. Let me empower you. Maybe you want to customize Fusion based on your personal needs, your company standard, or your industry needs. Customization can be a great way to increase efficiency. It's a two edged sword, so don't overdo it. You can easily add your favorite commandos to the toolbar. Just hover over the commando, click on the three dots and check pin to toolbar. Un-check the box to remove an item from the toolbox. Press keyboard shortcut S to reach design shortcuts. You'll reach sketch shortcuts and get access to sketch tools, not design shortcuts and design tools, if you're in the contextual sketch environment when you press keyboard shortcut S. Search for commandos in the search window. You'll also see some easily accessible commandos above the search bar in the toolbox. I'll show you two workflows that will add a command to the toolbox. One way is to search for the commando and press the Add to shortcuts arrow. Another way is to find your commando from the toolbar and check Pin to shortcuts. To remove the command, search for it, and press the remove button. It's easy for you to change keyboard shortcuts in Autodesk Fusion. This is a great way to improve efficiency. Find your item from the toolbar and select change keyboard shortcut. There are five scenarios you should know about here. First, if you select a free shortcut key, then you can go on and just press OK to assign the shortcut. You can also combine shortcut keys, for example, hold shift and I to assign a shortcut like this one. Secondly, if you select a taken shortcut key, you'll have a conflict. You'll be notified that the shortcut key will be removed from another commando if you choose to continue. Thirdly, some shortcut keys are reserved. There is a link to reserved shortcut keys in the course resources. A reserved shortcut key cannot be changed. Number four, just leave the window blank to remove a shortcut key. And finally, the fifth and final thing, if you want to reassign your shortcut key to default, just press the return to default option. Your saved shortcuts, which you reach with keyboard shortcut S, are also found via the right click menu, also called the marking menu. You also find other options such as repeat Commando, which will show the latest commando you used and other popular commandos. You can also enter the contextual sketch environment and continue with your sketch from here. The right click menu is a great option that will allow you to work fast without moving your mouse around too much. Hold Shift and your middle mouse button to orbit around your design. This is a useful way to inspect your work from different angles. A small green dot appears when orbit. This is your orbit center. Right click the Canvas and select set orbit Center when you need a custom setup. Likewise, right click and select reset orbit Center if you change your mind and you want to reset your settings to default. You can change many settings within your design. For example, you'll find active units under document settings via design shortcuts. You can also adjust your preferences from the application menu in the top right corner. Here, you will find program specific shortcut presets which are valuable if you come from another program such as Inventor or Solid Works. Other common adjustments are orbit settings, default unit settings, or new designs and automatic recovery backup intervals. 7. Introduction to Section two - Essential commands in Autodesk Fusion: Starting with a new software can be daunting, especially with Autodesk Fusions extensive library of over 1,400 commands. However, just like learning a new language or mastering a hobby like bike riding, the key to success lies in building strong fundamentals. In this section, we'll focus on the foundational solid modeling and sketching concepts in Autodesk Fusion that will set you to the path to proficiency. Think of this as your introduction to a powerful toolbox. While it's not necessary to explore every detail or explore every command right away, my primary goal is to help you grasp the big picture and establish a solid understanding. I encourage you to open Autodesk Fusion on your computer and follow along as we go through each topic. Active participation, listening, and practicing is far more effective than passive learning. By the end of this section, you'll have a strong foundation to build upon as you continue your journey with Autodesk Fusion. So let's dive in and discover the first essential command of Autodesk Fusion together. 8. How to create a component in Autodesk Fusion: In this lesson, you will learn about components. The first rule of Autodesk Fusion is to create a new component. Components are critical for your Autodesk Fusion success, and you have many reasons to use them. I like to think about components as containers for information. Within one component, you can save information such as bodies, sketches, construction geometry, decals, and other components. Components are great both for organizing your work and for reusing designs. Components are necessary to use when you create assemblies or work with moving parts. Each component has its own timeline, origin and coordinate system, and unlike bodies, components will show up in parts list when you work with manufacturing. You can copy in paste components and automatically update the copied components when you change the original. We'll go on and create a new component for now, and then we'll get more reasons to see components in action later when we work with the first project. Here are six different ways to create your new component. You can choose new component from the assemble dropdown menu, from the create dropdown menu, by right clicking a body and creating components from bodies, by right clicking the browser, by searching for new component after activating Autodesk Fusion design shortcuts with keyboard shortcut S, or by selecting new component from the operational drop down menu during an active command. A menu appears when you make your selection. Sheet metal components are for sheet metal designs. For other cases, a standard component is fine. An external component, an xRef, is created in a separate file and referenced into your assembly in your current design. This is a classic bottom up design approach and has benefits when you want to reuse components or collaborate with colleagues on complex designs. An internal component is created within your current design and is typically used for the top down design approach where you create your assembly inside your model. From bodies is used when you want to create a design from an existing body. The parent component is the activated component on the hierarchical level above your new component. This is useful when you create components within components. Leave activate checked if you want to activate your component and work within it right away after creating it. This is often the case, but not always. You can create your component with the suggested name and press OK. A good name will make things easier for you if your design file contains a lot of information. Your new component appears on the project browser. The key takeaway from this lesson is to organize your work within components. Let's look at the next essential tool and create a sketch in the next lesson. Thank you. 9. How to create a sketch in Autodesk Fusion: Well done keeping up. In this lesson, you will be introduced to the sketch environment. And don't worry if you don't remember everything after this lesson. We will look more closely at all details later in the course. Your sketch is the geometric profile that shapes your three dimensional geometry. I like to think about sketches as the underlying assets that drive the shapes of your design. A sketch is more than just a shape that creates three dimensional geometry. Sketch workflows provide you with an opportunity to work proactively with your two dimensional and three dimensional designs as well as with your entire assembly. Later in the course, we will see example of how sketch workflows improve both efficiency and quality. You can create your sketches on construction planes, faces or at any point in the three dimensional space, and you can utilize existing design assets such as edges from other geometry when you make sketches. You will recognize tools you have used in other CAD software such as multiple options for creating rectangles, circles, arcs, splines, and more. You have two different sketch profiles in Autodesk Fusion. An open profile does not form a closed boundary. We will explore open profiles later in the course when we extrude thin solid features, when we guide modeling operations such as sweep and when we work with surface modeling. A closed profile forms a closed boundary. This closed boundary is easy to spot in Autodesk Fusion. The area has a shaded blue color. Closed profiles can be used when you want to extrude three dimensional shapes or perform Boolean operations such as cut or join. Sketches can either be unconstrained, partial constrained or fully constrained. I like to think about constraints as rules. More rules equals less freedom, and just as in life, there are times when rules are good and there are times when no rules are good. And the best thing is probably a balance between rules and different degrees of freedom. An unconstrained sketch is generally better early in the design process. During this phase, you want flexibility and freedom. You will recognize unconstrained sketches in your project browser when you spot this symbol next to the sketch, and you can move this geometry around in your design space since the sketch isn't fully locked with dimensions or constraints. A constrained sketch has geometry that's locked in place by dimensions and constraints. A fully constrained sketch is black. Rules, for example, dimensions or constraints can be useful when you know your desired details about your design. You want to avoid surprises and enjoy predictable results when you make changes to your design. You should recognize six types of sketch geometry. Default sketch geometry is blue with shaded blue color for closed profiles. Construction geometry is orange and dashed. I like to think about those as help lines that don't contribute to the sketch profile that drives the three dimensional design. Center line geometry is orange, dashed, it shows symmetry. Projection geometry is purple. Those sketch lines are projected onto the sketch plane from existing two dimensional or three dimensional profiles. Fixed geometry is green and is a sketch locked in place with the fix / un-fix constraint. And finally, constrained geometry is black. This geometry has so many rules, for example, dimensions and constraints, so it can't move. You can make both two dimensional and three dimensional sketches, but you need to activate 3D sketch if you don't want your sketch to be restricted to the selected plane. I personally recommend two dimensional sketches most of the time, such as when you intend to utilize features such as extrude, and three dimensional sketches when you want to create a path with options such as sweep. A contextual tab appears when you create your sketch, and you close this contextual tab when you click Finish Sketch. A Pro Tip here; You can skip the Finish Sketch step and jump right into 3D Modeling commands by pressing 3D modeling commands such as Extrude. We'll start from the basic with the sketch line command in the next lesson. Good job keeping up. 10. How to work with sketch lines in Autodesk Fusion: In this lesson, you will learn that there is more to sketch line than just a line. Create a new sketch from the top left corner and choose any construction plane. You are now inside the contextual sketch environment. You can activate the line command from the toolbar. From the create drop down menu, via the keyboard short cut L and you can see assigned keyboard shortcuts to the right of the commando in the drop down menu or by activating sketch shortcuts with keyboard shortcut S and searching for Line. One box for degrees and one box for length appear. Use the tab key to jump between boxes. You can lock to degrees or the length. In this example, I enter a value of 45 degrees, and my line is now locked to 45 relative degrees in any direction. Enter a distance, let's say 100 millimeters and press Enter. You can change the dimension or the angle by pressing them and entering a new value. Let's create a new line and see how Fusion aids our design. You can snap to the end of the line, to the middle of the line or why not to the sketch grid if you have the snap to grid functionality turned on. Fusion will help you when you want to create relative geometry. Let's look at one example. Activate the line commando. Nothing happens when you hover in this space. Let's stay inside the line commando and hover over the end of the line. A helpful guideline suddenly appears and you can create a line. A small symbol automate appears next to the line. You'll find the same constraint symbol in the toolbar. This is a perpendicular constraint, and you can read more about the commando when you stay with your mouse above the button. This constraint locks the line to a 90 degree angle, and you have to select and delete the constraint if you want to get rid of this rule. It's possible for you to create arcs when you are within the line Commando. Click and hold your left mouse button and create your arc. That's it for this sketchline introduction. Let's move on and continue with the next lesson. 11. How to create circles in Autodesk Fusion: In this lesson, you learn that there's more than one way to create the perfect circuit. Just like with other sketch geometry, you create your circles inside the contextual sketch environment in ascition. The center diameter circle, Kebotcat C is your best choice when you know the size and location for your circuit. The two point circle is useful when you want to create the diameter of the circle by placing two points. The three point circle is useful when you want to create a circle by placing three points on the circumference. Two tangent circle creates a circle tangent to two lines and the free tangent circle creates a circle tangent to three lines. I personally find those commands useful when I want to integrate the circle with other sketch geometry here exemplified with a trim tool. You can change the circle type in the sketch palette, and just like we saw earlier, wood rescusion will help you and provide guiding lines and sometimes even automatic constraints. 12. How to use sketch Dimensions in Autodesk Fusion: In this lesson, you will learn about sketch dimensions in the contextual sketch environment. You can use sketch dimensions to control the size and position of your geometry. The default shortcut for sketch dimensions is D. It's easy to add dimensions for different types of geometry. Just press relevant lines or points in your geometry and add a value. A dimension can both be driving and driven. Driving dimensions are the defect dimension type. Those dimensions drive your design. For example, when I make this line 100 millimeters, the design updates. Your dimension will be driven if the sketch becomes overconstraint. For example, this perpendicular constraint indicates that the angular degree between the lines will be 19 degrees. Therefore, I can't add a dimension here that breaks the rule. Your dimension will be driven, flexible and determined by other dimensions. This dimension is presented in parenthesis and gradeout. You can reference dimensions. This is useful when you work with parametric modeling and can save you a lot of time and increase quality since the probability of mistakes can decrease. I'll use a circle in this example, but other types of geometry are fine as well. Add a dimension to the first circuit, add another dimension to the second circle and click the first dimension. FX indicates that this is a reference dimension. Change the first dimension and the second dimension follows. You can add formulas to dimensions. Imagine that you want this circle to always be 20% larger than the referenced circle. Select your reference times 1.2 or one comma two. Your formula is okay if the text turns black. And that's it for dimensions for now. We'll put it more into practice later in the course. Thank you. 13. How to sketch Rectangles in Autodesk Fusion: In this lesson, you will learn about three types of rectangles in the contextual sketch environment. The two point rectangle is the default option in the toolbar and has the keyboard shortcut R assigned to it. You can work in four different orientations once you anchor the first point, and you can also add dimensions for precision. Pay attention how horizontal slash vertical constraints are added automatically and prevent you from changing the shape of the rectangle unless you remove the constraints. The three point rectangle means more work if you intend to create a rectangle in the same directions that the two point rectangle works, but it provides more flexibility and more opportunities when you want to create a rectangle in other directions. You can also lock the value after you place the first point, which can be helpful depending on your design intention. The center rectangle creates a symmetrical value from one center point and one corner point. I often use the center rectangle when I want to start a sketch from the center point of the region, and I want default construction planes centralized in my design. And that's it for rectangles. See you in the next lesson. Thank you. 14. How to Project a Sketch in Autodesk Fusion: This lesson, you will learn how to project a sketch. Create a sketch and you will find project keyboard shortcut P in the create dropdown menu in the contextual sketch environment. Project will bring geometry from other parts of your project onto your sketch plane. You can reference faces, edges, points, or bodies. Let's make a projection on this construction plane with specified entities as our selection filter. The highlighted line shows geometry that will be projected onto your construction plane. Delete your projected lines and project again, but with bodies as your selection filter. We can't select a sketch this time, but just hoing over any part of the body is enough to project the boundaries from the top surface onto our active construction blade. The specified entity selection filter has a broader application than a body selection filter, since you can pick specific parts. You can project with or without a projection link. You create a relationship between your original sketch and your projection when you project with Elling. Those projections are purple. Change the original sketch and your projection automatically updates. Make sure that your unchecked projection link if you want to project an independent sketch that doesn't update when you make changes to the underlying sketch used for the projection. Linked projections are blue. You'll probably run into a few scenarios when you create a projection link, but realize later that your projection link doesn't support your design intention. You don't want automatic updates on your projected sketch. Your linked projection is purple. Select your sketch, right click and edit and right click again on your selection and select Break Link. As you've seen, project is both a time saver and quality driver. You can reuse and create accurate sketch geometry, and you can also save a lot of time when you make changes to your design. Good job following long you in the next lesson. Thank you. But 15. How to use Sketch Project Intersect in Autodesk Fusion: In this lesson, you will learn how to project a sketch with project intersect. Sketch Project intersect has many similarities with sketch project. The main difference is that we will pick up intersecting geometry. This cylinder clearly intersects the level of this construction plane. Enter your contextual sketch environment and select sketch Project intersect. Projected geometry will be added to our sketch plane if our selection intersects our sketchplane. Your selection filter and projection link work similarly as the sketch project commando you watched in an earlier lesson dedicated to sketch project. Your selection filter must cross your authorized fusion sketch plane to project, and you can select bodies if that's more convenient for you. Good job. Let's keep moving forward and see you in the next lesson. Thank you. 16. How to Extrude in Autodesk Fusion: There is more to extrude than making a freedom model from a sketch. Activate extrude from the toolbar or with keyboard shortcut E. You can select one or multiple profiles, and you can also choose if you want to extrude a solid body or a thin extrude with custom wall thickness and with location set in inside, outside or center. The default setting is to start your extrude commando from the profile plane, but you can also start with an offset distance from the profile or from another object such as a construction plane. This gives you great flexibility when you design. It is easy to extrude in multiple directions, both with custom dimensions and with symmetric settings. Use the measurement settings to select if you want your symmetric extrude distance to be valid for the whole length or for the whole flangth. For example, do you want to distance 200 millimeters on each side or a total of 200 millimeters, which equals 100 millimeters on each side. You can set a positive or negative taper angle depending on your design go. And just like the other demonstrated options, this works well with the thin extrude option as well. Let's create a sketch on a face to demonstrate operation type. First, I'll just go back and edit our extrude feature and turn it into a solid model again. When you drag your sketch upwards, a joint operation is suggested. This new body will be part of your current body. Change to new body or new component if you want to create this as an individual part. Cut is automatically suggested when you go inside your body, and the red area will be removed in this cut operation. You can cut a specific distance to an object or through the entire body, including several bodies or components if you have that in your model. You can also flip directions to the other direction, which could be useful in some cases, but not this one. You can also cut with a taper angle. Cut intersect is an interesting commando. It creates a new body from your cut selection and removes the rest of the body. You'll see more from Extrude when you start the first project, but first, see you in the next lesson. Thank you. 17. How to create a Hole in Autodesk Fusion: This lesson will teach you how you can create a hole in a solid body in autodesction. Actuate hole from the great dropdown menu or with keyboard shortcut H. Your first choice is placement. The most common thing is probably to select the face, but you can also select multiple sketch points. Centralize this hole right above the center. You can use the point in the orgo as your reference. Drag the manipulators or enter exact values for your whole site. You recognize the extent options from the extrude lesson. Extend A, for example, is a good choice if you want your whole to extend through the entire thickness, including future changes. You can choose between simple counterbore and counter sync hole types and simple clearance tapped or taper tapped hole tap types. You'll see an illustrative image below each choice, including Fred upset options for the tapped hole tap type. You also have fret type, size, designation direction, and option to select if you want your fread to be modeled or if you settle with a visual representation. Modeled is useful in some cases, for example, if you intend to free print your design. Keep in mind that your file becomes more complex if you check modeled and every extra detail can eventually slow down your file. Hence, if you only want a visual representation in your file, then you don't have to check modeled. If you need to change your whole, just use the timeline and edit your feature. And that's it for now. Good job. See you in the next lesson. Thank you. 18. How to use Fillet in Autodesk Fusion: Fillet is a great command, especially when you take the end user experience for physical products into account. Fillet is your command when you want to round the edges, exterior or interior of a solid body. You find fillet in the toolbar in the modified drop down menu or a Kepo shortcut F. You have three different fillet types at your disposal. Let's start with filet. We will then look at rule fillet and finally full round fillet. You can work with one or multiple selection sets when you work with fillt and you can work with both edges and sides. G one tangent or G two carbaor will give you different field transitions. The explanation for that is not within the scope of this video. Select whether you want a constant or short length radius type. You'll see the short length marked in the small picture assigned to the command. Tangency weight is an easy way to increase or decrease the scale of your fillet. Change corner type from rolling bowl to setback if you want to blend the edges into adjacent faces. You'll see a small demonstration of the feature if you look closely at the picture. You can think of rule filet as a fillet based on rules instead on selections. For example, set your rule to all edges, select your top face, and your fillet command will be applied to all edges according to the rule. Likewise, set between faces features as your rule, select face feature one and face feature two, and your rule is applied between your selected faces and features. The full round filet is useful when you want to add a smooth round finish to your design. And that's a basic introduction to the filet commander. See you in the next lesson and good job. 19. How to use Construction Geometry in Autodesk Fusion: Construction geometry is a great category of commands. Some examples are the possibility to sketch where no plane or face exist and the possibility to combine construction geometry with other commands such as the cutting tool. You have got construction planes, construction access, and construction points at your disposal, and within each category, you find a set of commands. This gives you great flexibility when you sketch. Let's start with a simple offset plane. Select the pace and your extend type to place it. You now have a new plane to work with. Construction plane at an angle works a little differently. Select a linear edge, axis or sketline and then select your angle. It's obvious that you can use construction planes as sketch surfaces, but they are good for other things as well. Here, I use a construction plane as splitting tool and divide my body into two bodies. Sometimes you need a new axis. The Xi axis in the ridian are, for example, great to combine with other commands such as the circular paten tools or when you work with joints. Use construct and axis through two points to set up a custom axis. A reference point can be a helpful aid in your work. With point along paths, you use to slick path and either a proportional or physical distance. Now you know the basics about construction planes. Keep moving forward and see you in the next lesson. Thank you. 20. How to Copy and Paste Components in Autodesk Fusion: You can use different methods when you copy and reuse your components. You can choose to paste components that are linked to the original and hence updates when your original component updates. You can also paste new components when you want to reuse your component, but want to continue working on it as an individual piece of information. Inserting the current designs allows you to reference, also known as raf short for external reference, external water dstusion designs within your current assembly. Right click on the component you want to copy on your browser and then right click on the component you want to nest your copied component within. It's common to nest your component within your top level component, but you can also nest it within lower level components. Position your pasted component. Pay attention to the unique designations at the end of the copied component name. Press Okay to finish. This component is linked to the original. Use this method when you want changes made to the original component to also update the copy. Paste New works similarly, but paste is an unlinked copy of your component. Pay attention to the file name when you paste New. The name differs from the paste component workflow with a linked component. You also have the option to fire up a new design and paste your component theory. This independent component won't update when you update the original, which is useful when you want to reuse digital assets but continue working with them as originals. Use insert in the current design when you want to extra a component from another design. Select your parent component in your design before you right click your shoes and design in the data panel and insert it. Edit in place allows you to edit the external component in your current context. You can also break the link from the original design and continue to work with your component as an independent piece of information. You now know the basics about copying and pasting components. See you soon in the next lesson. Thank you. 21. How to use Joints in Autodesk Fusion: You use joints for different reasons when you make your assembly. Let's take a closer look. You can create joints between components in your assembly, and your joints define the relative position and motion between two components. Joints give you the opportunity to simulate and understand motion in a digital environment. Just like with other commands, you can interact with joints either in the browser, in the canvas or in the timeline. Your selection order matters. Your first component selection moves or rotates along an axis in the direction of the degrees of freedom arrow relative to the second component component two. In other words, select whatever you want to move first, then decide how you want to move it and what the limitations are. The rigid joint type will lock your components together. This joint removes all degrees of freedom. Therefore, the options look a little different compared to joints with motion. A common scenario is a welded or bolted component. You want the components to stick together. The rigid joint has a vibrating simulation that, unlike other simulations, doesn't simulate the movement since the joint is rigid. The revolute joint lets your component rotate around your joint rigid. Use one of the three options under region mode for your first and second component and find your snap points. First selected moves first. Joint motion limits are accessible for several joint types, and we will demonstrate them on another joint type. Just as with probably most computer software, a contextual menu appears when you right click on objects. Here, a small menu appears when you right click the joint, and you can allow the joint animation to run when you look at your assembly from different angles. The slider joint moves your component without rotation along your selected axis. This component is 200 millimeters long, and you will soon see why I show you this measurement. Select slider as your motion type and select the component that you want to move first. This is what the movement looks like without motion limits. Let's set a maximum of 200 millimeters and make sure to activate it with the shake boox. Your movement is now adjusted. Play around with your settings to get a feeling for this tool. Rest is simply where your joint rests. The joint counts the motion limit distance from the joint placement, which in this example is placed at the end of the green bar. The cylindrical joint rotates and moves around an axis. Sometimes it's easier to find the desired joint slap placement if you turn off the visibility of other obets. You can set motion limits for both your rotation and your slide, and you can preview one motion at a time or all motion limits simultaneously. The limit is counted from your snap placement, and even if it says 0 millimeters as minimum, it won't affect the moment until we activate the motion limit. That's it for a basic introduction of the cylindrical joint. The pin slot joint rotates and slides your component on two different axes. Finding your snap point can be tricky. You can make it easier if you lock onto a plane. Over the face, press and hold control on your PC and find your spot. Oh As you see, this joint slides along one axis and rotates around another axis. You recognize the possibility to preview motion for one or both motion limits. The inner distance is 100 millimeters here. Switch to the slide joint motion limits menu. This joint is placed in the middle of the pin slot. Therefore, we set negative and positive 50 millimeters as our distance. If the joint was placed at end, well, then our minimum would be 0 millimeters and our maximum 100 millimeters. Good job following along. Let's proceed with our next joint. The planar joint slides your component along two axis parallel to the plane and rotates your component around a single axis. You can set up all kinds of movements with all those sliding motion options. Finally, we have the ball component. This component rotates around all three axes. You are recognizing the similarities from other joint types, but also the differences for the motion settings. Small flags indicate the different degrees. It's easier to see them when you preview degrees outside of the joint settings environment. And that's it for joints. Now that you have a basic understanding of them, you just need to practice them in different situations. Let's summarize this information intense lesson. You can use the Xi or CTXs for your joints, but also a custom xs which we demonstrated earlier, how you can set up. You can edit your joints by right clicking on them in the browser, in the Canvas or in the timeline. You can animate your joints and see them in action. Some people find joints challenging, and that's perfectly fine. We often good start with Bong picture, and we will leave the joints here for this lesson. Thank you. 22. Joints vs As-Built Joints in Autodesk Fusion: Main difference between joints and as built joints is that components maintain their current position when you assemble them as as built joints. Therefore, you can use this option when you model with a top down design methodology and your components are in place, whereas the joint option is your route when you want to position components in your assemble. Reassemble roll down menu and select as built joint keyboard shortcut Shift plus J. Select your components and press O. No component will move, so both can be grounded. And that's it for as built joints. Check the as and on joints if you want to see the different joint types in action. Thank you. 23. How to Insert an image in Autodesk Fusion: In this lesson, you learn how to insert an image. You can add files like PDFs, TIFFs, or JPGs from your computer. Go to the Insert dropdown menu and select Canvas. Click Insert from your computer and find your image. For this tutorial, I'm using a stock photo of a king. You can access the full project in the courses project section. Insert your image onto a face or a construction plane. Adjust the settings if needed. You might lower the image opacity for easier tracing. You can also change the scale or flip the image. Use the options next to your image to scale, move, or rotate. Once you're satisfied, click Okay. The red rectangle is the border of your picture, and that's how easy it is to insert an image in autodesk fusion. 24. How to Calibrate an image in Autodesk Fusion: In this lesson, you'll learn how to size your image exactly how you want it. Find your image under Canvases in the project browser. Right click and select Calibrate. Next, add two points. A data input box will appear after the second point. Enter the distance between the points. Your image will resize once you press Enter. That's how fast and easy it is to calibrate an image in Autodesk fusion. 25. How to Revolve a Solid Body in Autodesk Fusion: In this lesson, you learn how to revolve a solid body. Use the revolve tool to create a solid from a sketch profile or face. It's perfect when you trace an image like a vase and want to turn it into a three D object. In this example, we'll use it to model a chess king. Find the revolve tool in the create drop down menu under the solid modeling environment. Here, I have one sketch profile and it's already selected. Now, I'll choose the axis for the operation. Once you pick the axis, the model appears instantly. You'll see other options like extent type, angle, direction, and operation type. Click Okay. Then inspect your model to make sure it meets your standards. 26. Surface modeling - An Introduction to Surface modeling: This lesson, you'll explore the differences between surface and solid modeling and why surface modeling is essential. Surface modeling creates thin outer surfaces with no thickness. These surfaces can be used to form watertight volumes and solid bodies. Why not just create a solid body from the start? We'll get back to that, but first, let's examine the tools for surface modeling. You'll recognize familiar tools like Extrude, revolve, and sweep. These work in both environments but behave differently. For instance, in surface modeling, you can work with open profiles while solid modeling requires closed profiles. Surface modeling also introduces unique capabilities. For example, oft lets you connect free D sketch entities, unlike the solid environment, which uses closed to these sketches. Patch creates planR or freed surfaces within a loop. Ruled generates surfaces at a distance and angle from edges. Offset produces a new surface body at a specific distance. You'll also find specialized modification tools like trim, untrim, extend, stitch, stitch and reverse normal tools unavailable in the solid modeling environment. Surface modeling shines when creating shapes that solid modeling struggles with or can't achieve easily. Even more powerful, surface and solid modeling can be combined to craft complex, watertight designs and solid bodies. Now, let's dive in and create some basic surfaces. 27. Surface modeling - Extrude in the Surface Modeling Environment: In this lesson, you'll discover key details about the extrude command in orthodskFusion surface modeling environment. While extrude is in the same location as in the solid modeling workspace, the symbols in the surface environment are orange. When you extrude a closed profile in the solid modeling workspace, you create a solid object. In contrast, the surface modeling environment generates an infinitely thin surface. Surface modeling also allows you to extrude open profiles such as lines or splines, something not possible in the solid environment. Just like in solid modeling, you can sink multiple extrusions. The contextual menu offers powerful options like taper angle, enabling precise customization for your design. Take a look at the project browser. Notice the new symbols for the extruded bodies. The number in parenthesis tells us how many phases each body has. For example, this one says one, meaning it has a single phase, and this one shows four indicating four phases. These numbers give a quick overview of the body structure at a glance. Stay tuned as we explore more about fusion surface modeling tools in the next lesson. 28. Surface modeling - How to use Revolve in the Surface Modeling Environment: The revolve tool in the surface modeling environment works similarly to the solid modeling environment. However, instead of selecting a close profile, you pick a line and an axis. Like other surface modeling tools, the result is an infinitely thin surface. The contextual toolbar offers familiar options such as angle and extent type. Surface bodies are easily identified by the colors of their sides, as shown here, when this line is revolved 180 degrees. Revolve workflows pair well with tools like trim. Let's dive into those combinations in the next lesson. 29. Surface modeling - How to Trim in the Surface Modeling Environment: Trim tool unlocks powerful options for creating intricate designs. Take this revolved vase as an example. Start by selecting the trim tool, then pick the section you want to remove. The result is a unique opening at the top, something that couldn't be achieved with the revolve command alone. The flexibility doesn't stop there. You can easily adjust the top opening by editing the sketch. Giving you precise control over the design. Now, let's look at an extruded profile alongside a closed profile behind it. Activate the trim tool and choose the trimming edge followed by the part you want to trim. The outcome is a complex shape that would be challenging to create with other tools. You're making great progress. Later in this course, we'll explore even more advanced workflows. For now. Let's continue and dive deeper into surface modeling. 30. Surface modeling - How to create complex geometry with loft in the Surface Modeling Environment: Mustering tools like oft lets you create complex geometry with simple input. For this example, there are two planar sketches and 13 dimensional sketch. These can be connected with Loft using several different workflows. Connecting the sketches is simple, but creating geometry like this in the solid modeling environment can be incredibly time consuming or even impossible in some cases. Another approach is to loft to points, which can be extremely useful depending on the project. Guiding rails offer even more control. In this case, the outer arcs are used as guiding rails. Without them, there's a small gap between the lofted surface and the lines. Adding the rails, adjust the surface, making it seamless. This technique allows you to create stunning custom designs that suit your unique needs. In the next lesson, we'll continue building on this foundation and explore more about surface modeling. 31. Surface modeling - How to Sweep in the Surface Modeling Environment: Sweeps are incredibly powerful for creating complex surfaces quickly. Using the single type sweep, we can wrap a surface around this body in seconds. There are other options, too, like the Path and guide rail sweep or the Path and guide surface sweep. Our guiding profile here has only one phase, but if it had multiple, the guide surface sweep would generate the profile with several phases. Sweeps excel at producing intricate patterns such as custom threads or helic shapes. By simply adding a twist angle, we can instantly form a helix. Let's move on to more surface modeling examples in the next lesson. Great work. 32. Surface modeling - How to Patch in the Surface Modeling Environment: Patch is an excellent tool for creating or fixing geometry. For example, you can create a flat surface by clicking a closed profile. But what if the geometry is more complex like a surface with a hole? This often happens when importing models with missing sections. With patch, you can close the hole effortlessly and the new surface will follow the original shape. There's more to explore. Continuity plays a big role when working with surfaces. G zero, connected continuity. The surfaces meet but aren't smooth. They simply connect. G one, tangent continuity. The surfaces share a common tangent, ensuring a smoother transition. G two, curvature continuity. This adds an extra layer of smoothness by matching curvature, creating seamless transitions. For a visual demonstration, let's modify this cone. Using patch, G zero creates a flat top. G one adds a smooth bump. G two delivers an ultra smooth transition. Next, we'll explore how to turn surfaces into solid bodies. 33. Surface modeling - How to Thicken a Surface in Autodesk Fusion: Turning surfaces into solid bodies is straightforward with the thicken tool, but there are key points to consider. This surface body has six parts as shown in the project browser. You can quickly select them all at once by clicking in the project browser. You can thick on one side or symmetrically. To reverse the direction of one side of the thickness, add a minus sine before the input value. Notice how the 90 degree angle section adjusts when we change the thickness. However, the inner radius on the right, which is 5 millimeters, disappears if the thickness exceeds the curvature radius. When you finish the thicken command, your surface model is automatically hidden and a new solid body appears in the project browser. There are other ways to create solid bodies from surfaces that might work better for certain workflows. See you in the next lesson. 34. Surface modeling - How to Stitch a surface in Autodesk Fusion: In this example, we're working with the cone that has holes at both the top and bottom. To close these openings, we'll use the patch tool. However, as shown in the project browser, the model still consists of several surface bodies. To verify the interior of the cone, we can use section analysis for inspection. Once we've reviewed this, we'll turn off the section analysis and convert the model into a solid body. The stitch tool found in the modified drop down menu or the surface modeling tool bar helps us achieve this. Green edges indicate that the edges are within the selected tolerance. When we stitch together body one and body two, these bodies disappear from the project browser and the number series updates. Repeating the stitch operation on the bottom of the cone and connecting the green edges adds another step to the timeline. At this point, all surface bodies are replaced by a solid body in the project browser. Reactivating the section analysis confirms the transformation into a solid body. In the next lesson, we'll explore boundary fill. See you there. 35. Surface modeling - How to use Boundary Fill in Autodesk Fusion: Imagine you have two sketch lines and the closed spine profile. We'll use boundary fill to create a solid volume from these boundaries. First, extrude the spine. Keep it simple. Exact size doesn't matter for now. Next, make a symmetrical extrusion of the two sketch lines. Over extrude them slightly to keep the workflow smooth and efficient. Now we have three infinitely thin surfaces enclosing an area. Let's fill this area with a solid volume. Open the boundary fill tool, select tools and then select a single cell that represents the enclosed space. A new solid body instantly appears in the browser. To finish, use the shell tool on the solid body. This transforms it into a stylish vase created with minimal input and effort. Boundary fill has many uses. For example, you could calculate the vase's water capacity by using it and much more. There's so much more to discover in fusion. See you in the next lesson. 36. Introduction to Section three - Project Based Tutorials: Welcome to our nuts and bolts project. Now that you have mastered the basics in Section one and two, it's time to put that knowledge into practice. In this hands on project, you'll create a hig knot and a bolt, applying the fundamental skills you have acquired. Ready to bring your learning into life, let's jump right in and start creating. 37. Autodesk Fusion Hexnut Project: Dive into your project with a strong start. First and foremost, I recommend saving your project immediately. This simple habit keeps your work organized and safeguards against any unexpected data loss. Now, let's get into creating your components. For this project, you'll be working with two essential parts, a hexnut and a bolt. Right click in your browser to create them. Since this isn't a sheet metal project, choose the standard type. We'll be using a top down modeling approach, selecting internal is the way to go. Naming your components clearly is crucial. It makes everything easier to manage. Your top level component will act as the parent, which is perfect for our setup. Typically, you'd leave the activate option checked to start working on your new component immediately. However, since you're creating both components right from the start, you can leave activate unchecked for now. This keeps you in the main component, making it easier to manage your initial setup. Once you click Okay, your bolt component will appear in your browser ready for you to start building. This organized approach sets a solid foundation for the rest of your project. Imagine the small anchor symbol as a sign that this component is firmly attached to the parent component, much like a rigid joint. While you won't need to worry about this for our project, I thought it would be useful to mention in case you were curious. Every action you take is recorded in the timeline of the active component. This handy feature allows you to easily navigate through your model's history. Just ensure you're working in the correct component to keep everything organized and aligned with your plan. We'll start building our free D model from a sketch. I'm creating a bolt that will stand upright, so using the horizontal construction plane is ideal. You have several polygon options, but I suggest using the top two since they let you create a polygon from a central point. Using the origin as your center point is particularly helpful because it provides a consistent reference which you'll see in action later in our project. You can size your polygon anyway you like, but it's important to understand what the measurement represents. The distance from the center of the polygon to its side. Notice the blue infill. That means our sketch is closed and a polygon constraint has been automatically applied. Change the length of one side and all sides will adjust accordingly. Now, here's a time saving tip. Instead of exiting the sketch before making your next move, go straight to the next step. For instance, if you press the Ike, you'll exit the sketch environment and jump directly into the extrude command. For this example, I'll set the height to 10 millimeters, but feel free to experiment with different dimensions. We need a closed profile that starts from the profile plane extending 10 millimeters without the taper angle. This setup is perfect for creating a new body within our active component. You built the foundation for your first component. Great job. Before we move forward, it's a good idea to save your work. This way, you can always return to this version if needed. When I hit Save, it still says V one version one. But as soon as we start the next step, which is sketching, the file will update to version two. Let's die back into sketching our bolt component. This time, we'll use the face of the component instead of a construction plane. This approach lets us sketch exactly where we want the next part of our design. For this part of the design, we need to create a circle. It's a good habit to use keyboard shortcuts to speed things up. By pressing the C key, the circle command becomes active, which you'll notice by the blue highlight behind the circle icon in the toolbar. Remember, I asked you to center your polygon above the origin. This is the second time we're using the central point over the origin, ensuring that both our circle and polygon are perfectly positioned relative to each other. I'll give the circle a diameter of 20 millimeters, but feel free to experiment with other dimensions. You can always right click your sketch in the timeline to edit it later. Any changes you make will update all subsequent actions in the timeline. To save some time, press the E key to activate the extrude command. For the extent type, we'll type a distance since we're not extruding through or to another object. We'll start at the profile plane where we made our sketch with the direction being one sided. The taper angle isn't relevant for our design here. Lastly, don't forget the operation drop down menu. Autodesk Fusion suggests a join operation which works for us since we want everything we've modeled so far to be included in the same body. But remember, there will be times when you'll need other options from this menu, so keep an eye on it. Your bolt needs a thread which you'll find in the create drop down menu. The image shows an internal thread, but this tool works just as well for external threads. Our entire bolt will be threaded, but you can easily uncheck the full length option if you want to set a custom start distance and thread length. This thread is just a visual representation. If you want to free the model the fread, which you might need to do if you're planning to free the print it, you can check the modeled box. Keep in mind that modeling the thread makes your design more complex. While this won't be an issue for a small project like ours, it can slow you down on larger projects. Unless you need a fully detailed thread for printing or other purposes, you can leave modeled unchecked. Regarding fread type, size, designation, class and direction, we'll just note that standardized options exist for these settings. However, we won't dive deep into those details for this project. By using the default settings, you'll still get a functional and visually accurate thread for your bolt. This approach keeps things straightforward and efficient, allowing you to focus on the overall design without getting bogged down in complexities that aren't necessary for this tutorial. Every action you take is recorded in the timeline below. This timeline is specific to the bolt component. When you move on to the hex nut component, a fresh timeline starts capturing your actions there as well. Now as you begin sketching, it's important to utilize the bolt component. While we could create a new polygon, that would be a mistake and add unnecessary work since we want the hexnut to match the size of the bolt exactly. Instead, let's make use of your original bolt sketch which is conveniently located within the bolt component. To do this, go to the create Menu and select project. The selection filter allows you to choose whether you want to project from the sketch or the body. By using the projection link, you are ensuring that any changes made to the original sketch or body will automatically update the projection. This is especially useful if you ever decide to adjust the bolt size, as the hig Nut will adjust accordingly. Now, you'll see a polygon sketch on top of the bolt. The purple color and the projection symbol indicate that this is a linked projection. Next, activate the extrude command by pressing E and create the extrusion. I'll measure the bolt to ensure the hignut matches perfectly in size. If you get an incorrect measurement, no worries. Just right click and select repeat measure to correct it. Obviously need a hole in our hignot. Instead of just drawing a circle and cutting it out, we're going to use the whole command, which you'll find in the create dropdown menu. It's a good habit to use keyboard shortcuts whenever you can. I'll go ahead and activate design shortcuts by pressing S and searching for hole. Now, while the quickest way would be to press H for the whole command, searching is a great backup if you ever forget the shortcut or haven't learned it yet. We need to position this hole correctly and once again, we'll align it with the central point at the origin. It can be tricky to spot the origin behind all the other components, but here's a tip. Press and hold the left mouse button to reveal a menu, then select O to move your whole to the origin. For quality assurance, it's always a good idea to check your work from different angles. While the whole command might look perfect from the top view, a different perspective could reveal some issues like accidentally cutting into parts of the design that you want to keep intact. We certainly don't want to cut through our red parts. To fix this, you can adjust the whole settings. Changing the extent type to all isn't helpful here because it would drill through the entire boat component. Instead, I'll set the depth to match the thickness of the hex nut. In some cases, you might prefer to link the depth to another object, so it updates automatically, but that's more advanced than we need for this basic tutorial. As for the whole type, let's go with the threaded hole matching the settings of your external bolt thread. Everything's looking good so far, so let's continue refining the design. In the modified dropdown menu, you'll find a wide range of commands to tweak and refine your design. As you might expect, the great dropdown is where you build your components and the modified menu is where you fine tune them. One useful tool here is the chamfer tool, which lets you remove material from your edges. To get started, select the edges you want to hamfor. If the distance value window gets in your way, no problem. Just press and hold your mouse button until a small hand appears, allowing you to pan around your workspace and get a better view. As you select more edges, keep an eye on the bottom right corner of the canvas. You'll see the number of selected edges update in real time, so you can be sure you're working on the right parts. Once you've made your selections, go ahead and add a distance, but don't stop there. There's more to the Shafer tool than just setting a distance. For example, you can experiment with the blend corner type, which I think will give our hexnut a nice smooth finish. If you prefer a different look like a sharper edge, try the Shafer or mitre corner types. The key takeaway isn't to memorize every corner type, but to stay curious and explore the different options available in various command environments. Once you're happy with the settings, press Okay. Personally, I think the hegnut is looking even better than the bolt, so let's apply the same chamfer to your bolt and keep that sleek finish consistent. Before you dive into any work, make sure to activate the component you intend to work with. This is crucial, especially if you're planning to tackle more complex projects down the line. We're going to keep reinforcing the use of shortcuts. Instead of going through the modified drop down menu this time, I simply right click and choose repeat chamfer. This saves time and keeps the workflow smooth. Now, go ahead and select all your edges. There should be 18 in total, which you'll see confirmed in the chamfer menu. We're going to stick with the same settings, a 1 millimeter chamfer with an equal distance type and a blend corner type to give it that smooth, polished look. You can bring your components to life by working with either materials or appearances. Think of appearances as purely cosmetic. They're all about the look. Materials, on the other hand, not only change the look but also add physical attributes like weight and strength. In simpler terms, appearances handle the color while materials bring in both the color and the engineering properties. Now, in this project, we're not diving into the engineering side of things, but let's apply E material just to get familiar with the process. Mateials are organized in folders, and all you have to do is drag and drop them onto your component. You'll notice that many commands and workflows in fusion are designed to be intuitive. Even if you haven't used them before, you can often guess your way through. Let's switch over to the Hixnat component and repeat the process with the physical materials command. I'm going to choose lik red metal, but you're welcome to explore the fusion material library and pick whatever color and material you like best. It's time to bring your components together. To do that, head over to the joint command or simply press the keyboard shortcut J. Whenever command has a shortcut, you'll see it listed right there in the drop down menu. Before selecting your components, make sure to choose the correct joint type. For this project, we want our hexnut to both slide and rotate around the vertical axis, making the cylindrical joint the perfect choice. When you start selecting components, remember that the first one you pick will move first, we'll select the hexnut component first. You can see, I made a mistake trying to place the joint exactly centered above the hole. Here's a pro tip to make it easier. Hover your mouse over the face while holding down control if you're on a PC. This trick helps you snap right to the center with ease. You can use the same method when snapping to the boat. Now, your hex nut will reposition itself according to your joint and you'll see the joint appear in the model. Next, let's talk about motion limits. You have two options here, rotate and slide. We'll start with the slide. You can set limits for how far the hex nut can move. For instance, I'm setting the maximum slide distance to 50 millimeters and you'll immediately see a demonstration of that limit. The rest position is where the joint will naturally settle. Since I set the slide limit to 50 millimeters, it rests there, but if I had set it to 25 millimeters, the joint would rest at 25 millimeters. X Nut moves deep into the model. Let's set the minimum slide limit to 0 millimeters. This is where we initially set the joint snap, meaning any positive value moves above that spot and any negative value below it. You can preview how both rotating and sliding limits will look by selecting those options. It would be more realistic and frankly more impressive if the joint rotated back once it reached the top. Let's make that happen. Find your joint in the browser and model, right click it and choose edit joint. In the joint motion limits options, go to the rotate section. Once you activate the limits and set some degrees, you'll see an illustration of your settings right around the joint in the model. For this basic tutorial, I'll set the minimum rotation to zero degrees and the maximum to 180 degrees. Make sure to check all limits before previewing. Now, the hex nut rotates 180 degrees, pauses, and then returns 180 degrees backward. It's pretty mesmerizing to watch, but let's keep moving forward with our project. When it comes to renderings, you've got options. You can do them locally or in the cloud. And some are free while others might cost you. For this tutorial, we'll keep it simple and create an Canvas rendering. First, switch your workspace to render in the top left corner. You'll be rendering exactly what you see on the screen, so it's a good idea to hide any elements like joints that you don't want to include in the final image. You can easily do this in the project browser by toggling visibility. To get started, right click and open the scene settings. You'll notice that many of the settings and shortcuts feel familiar if you've used other computer programs before, like right click contextual menus and various keyboard shortcuts. Rendering in orthodskFusion is straightforward. One of the basic settings you'll need to decide on is whether to use a solid color background or an environment. Simply drag and drop your preferred environment into the scene and don't forget to change the background setting from solid color to environment to match. Adjusting the brightness, positioning, and other settings like shadows and reflections is intuitive and easy to grasp. If your chosen environment has lamps, you can easily position them in relation to your object using the rotation command under the position settings. There are, of course, more advanced settings you can explore later, but for now, we're focusing on building a broad skill set. We'll get into the more specialized features of autodesk fusion once you've got the basics down. You can start your render directly in your fusion canvas using the in Canvas render feature. It's straightforward. Just press the in Canvas render play button to begin. As the rendering process unfolds, you'll see the elapse time and iteration number appear in the bottom right corner while your image gradually takes shape on the canvas. If you want to increase the number of rendering iterations for a sharper result, just drag the little icon that looks like a cater to the right. When you're happy with how everything looks, simply press the capture Image button to save your rendering. Once you're happy with the settings, validate the first menu by clicking Okay. If you'd like to rename your image, now's the time to change the image name and select your preferred file type. I'm going to save this project to my local computer. But remember, you also have the option to save your image directly to a project in the Cloud. Image turned out fantastic, especially considering this was a free rendering done with standard settings and completed in just a few minutes. There you have it. You successfully completed your HxnutPject using a top down design approach. You probably recognized many of the commands from earlier, but we also introduced some new ones along the way. I believe the three key takeaways from this project are. First, stay organized. Think of it as an investment. Taking a little extra time at the beginning to set up your components properly, name them clearly and switch between them as needed will save you time and open up more possibilities as your designs become more complex. Second, make the most of symmetry and preset design resources. In this project, we frequently return to the origin which allowed us to work quickly and maintain high quality throughout. And third, make smart choices. Instead of manually sketching out a polygon with lines and angles, we use the polygon command to speed up the process. If you ever find yourself needing a particular command, chances are that others have needed it, too, so it's likely available within the software. Next time you're unsure if a command exists, take a moment to search for it. You can activate design shortcuts with the Ske and see what's available. 38. Autodesk Fusion Roundbox Project: Massive learnings ahead, let's make a rapid prototype of a round box. Quick tip, save your project right away and copy paste the project name in your internal component. Stunning designs begin with the sketch command. To create a standing round boox, it makes perfect sense to select one of the vertical construction planes. Efficiency is key here. Start with the simple two point rectangle and seamlessly navigate between data input boxes using the tab key to keep your workflow smooth and swift. To create segments for your Round box three D model, use the line commands. Don't worry too much about where you place the first line. Just focus on shaping the different parts of your sketch. When adding constraints, use dimensions to control the size. The last dimension is based on the others and appears in parenthesis. As you edit, your sketch will adjust automatically reflecting the changes in your dimensions. Save time by moving straight from the sketch environment to your solid modeling command, in this case, revolve. When extruding profiles around the central axis, be sure to select the correct operation type to keep your second body separate from the first. Right click to repeat the revolve command and change the operation from joint to new body. This approach lets you focus on each part separately, which will be incredibly valuable and essential as you progress in the project. Luck doesn't determine the success of this project. You're in control. Use the section analysis to guide your next step. If you see the wrong side, just flip the direction and continue. Keep the section analysis on as you add an external thread to your round box. To make navigation easier, turn off the visibility of one of the bodies. Select the outside of the visible body to add your thread. The default setting only shows a visual representation, not an actual three D model, which saves memory usage on your computer. To create a real free D thread, select modeled. For this rapid prototype, choose a thread that looks realistic. Remember your choice as you'll use the same settings for the second body. Repeat the steps for Fred, modeled and designation before turning the visibility of the first body back on. Let's move on to creating the body of the round box. You can use the rectangle tool, but feel free to explore other options as well. Just like with the first two bodies, the goal is to create a sketch that will revolve around the central axis. A mix of the rectangle tool offset and the line command works perfectly for this. When you use the revolve command, the presets are mostly spot on, but make sure to set the operation type to join so that this new body merges with the first one since they were part of the same object. Et's make a few quick tweaks to your lid. First, trim a bit of the bottom to ensure it fits snugly with the round box. Then add a bit of height to the lid and close it up. Draw this sketch right on top of the lid. A simple circle will do the job. Make sure it covers the entire lid, even the parts hidden by your section analysis. Things look great for you, but the corners could use some softening. The standard fillet settings work well for smoothing the corners. Just be careful not to select your thread by mistake, so skip the selection filters when choosing multiple edges. A 1 millimeter fillet looks just right for this prototype. Turn off the section analysis and sketches, then move and rotate your lid. Place it on the ground. But instead of guessing the right position, use the align tool to save time. If you have trouble selecting surfaces, switch the object setting from components to bodies. A great appearance will impress your colleagues or friends. You can choose any material you like. I'll go with ABS, a popular three D printing material known for its strength and durability. If you want, right click to edit your color choice. Then head to the Render Workspace to create an image of your design. Right click on the Fusion Canvas to open the scene settings. Feel free to customize it as you like, but I recommend using an environment as your background. You can simply drag and drop one from the Environment Library. Before closing the scene settings, make sure to adjust the position and other details. If you want to see how the lighting looks, use the ViewCube for a better perspective. For this tutorial, I suggest trying the Cloud renderer. Just set your width and height, then hit render. Your rendering will appear in the rendering gallery. Just click it, choose your file type, and download it. I hope you enjoyed this project as much as I did. See you in the next lesson. 39. Autodesk Fusion Dice Project: I hope you feel lucky today. Let us make a dice together. Let's get started by staying organized and saving your project right away. You can copy the project name and use it for your internal component. If you're using a top down design approach and don't plan to reuse this dice in other projects, an internal component is the way to go. In this Autodesk fusion project for students, your sketch will serve as the foundation for creating your die. You can begin by selecting any construction plane, though I recommend using the horizontal plane for this die, as it aligns well with the laws of physics. For this project, I suggest using the center rectangle tool, which will help ensure that your dice is centralized at the origin. Next, choose the dimensions for your die and make a note of them, as you'll need to use the same value for the extrusion distance to maintain consistency. While we won't be using user parameters in this tutorial, consider exploring that option as a bonus to enhance your design process. To speed up the process of selecting all edges rather than selecting them one by one, which can be time consuming and prone to mistakes, here's a helpful tip. Create a selection filter specifically for body edges. This will allow you to select all the edges at once, saving you time and ensuring none are missed. For softer corners on your dice, you can apply a filllet. Feel free to experiment with the dimensions to achieve the look you prefer. You don't need to follow my exact measurements. One interesting filllet option is the corner type. Personally, I like using the setback corner type for my dice, but feel free to choose what works best for your design. Infusion, keep an eye on the timeline located in the bottom left corner. Every action you take such as sketching, extruding, and adding fillets is recorded there. If you need to make changes, simply right click on any step and select Edit to modify your previous work. At this point, you can customize the appearance of your dice. This way, you'll only need to go back and edit the dots later. While ABS is a strong and durable material for freed printing, feel free to choose any color or material that suits your dice project. For creating the dots on your die, I recommend starting with a single sketch and reusing it across all six sites. This approach reduces the chance of errors and speeds up the overall process. Finding the center of your sketch plane is straightforward. You can size the dots however you prefer, ensure there's enough room for all of them. Instead of manually placing each dot one by one, which can be time consuming, use a rectangular pattern. This will allow for precise controlled positioning and offer options for symmetrical placement of the dots in all directions. You may notice that your die requires 1-6 dots per side, so why sketch nine? Think of this as a template. You'll never use all nine dots on any single side, but this setup will streamline the placement of the correct number of dots as you move forward. Copy your fusion sketch to the other sides of your die. There are different settings and workflows to consider, but let's start with a straightforward approach. First, select your circles, enable to create copy option, and move your sketch by -50 millimeters, which corresponds to the depth of the dice. We use a negative value because the movement is in the opposite direction of the arrow. The second copying workflow will help enhance your skills. Start by selecting your sketch. Keep in mind that even though you may check the create copy checkbox, switching to the point to point copy command can uncheck it automatically. The point to point method allows you to move elements with precision. Now, consider how to rotate your sketch. Switching back to the free move option will enable this, but a new challenge may arise. If you rotate using the current pivot point, your sketch won't align centrally on the side of your dice. To fix this, you can set a new pivot point. Think of it as choosing a new spot to hold your sketch. Be sure to confirm this new location. Otherwise, no change will be noticeable. Once the new pivot is set, you can easily rotate and position your sketch in the desired location. Observe carefully as you move your sketch to the opposite side of your dice. Notice that your pivot is based on the first selection you made. While this works well for this particular move, this insight will be valuable for future copying workflows. We're working point to point again, but this time, begin with the central circle and make sure your pivot is correctly positioned from the start. Hold down control as you select each circle one by one. Don't forget to check the create copy option when activating point to point mode. Now, finish the final side. With more circles on the screen, it might be trickier to select the right ones. So take extra care not to pick from the wrong source. Start by creating a single hole to test the settings for depth, fillet radius, and overall appearance. Make adjustments to these parameters until you're satisfied before applying them to all the holes. Choose your extrude depth and fillet radius based on your preferences. For the color, I'm keeping it simple with a black and white dice design. This time, instead of applying color to the entire die like before, switch your settings to faces and color specific parts of the die. Are you ready to move forward and create the rest of the dots? Simply select them one by one. If you're not satisfied with the outcome, you can always use the timeline to go back and make adjustments. Personally, I recommend working on one side at a time. Remember, you'll need to extrude a negative value when extruding in the opposite direction of the arrow. There's a small arrow here with an extra dot, but that gives me a chance to show how to edit using the timeline later. And that's it. All the dots are created and every extrude action is now recorded in the timeline. This model is getting intense infusion toggle the sketch visibility in the project browser to get a clearer view before selecting the edges you want to fill. Notice that the arrow points in the direction of your selection. I'm setting my fillet to 1 millimeter, but feel free to try something different with your design infusion. This side looks off, find the corresponding action in the timeline, then select edit feature. Once inside, you can deselect the circle from your fillet action. We're seeing an error message because a later fillet action became impossible when the reference geometry or extruded hole was deleted. It's no big deal. You can go back, edit the feature and confirm the updated reference geometry without the hole. Fusion will adjust accordingly. Don't forget to save your project regularly. Fusion allows you to open different versions, so it's smart to save not just at regular intervals, but also when you hit key milestones. This way, you can always impress your spouse with your progress. Before adding appearance to your extruded dots, make sure to switch from bodies and components to faces. You can apply the appearance to each dot individually. It may seem a bit manual, but it's surprisingly fast. The view cube is an excellent tool. It allows you to paint your model from different angles with a more organized approach. You no longer need to view all the edges, so feel free to switch to a shaded view. It's a good practice to regularly check your work from different angles as part of your quality assurance routine. There's an error on the dice. Can you find it? It's on the side with six dots. Fortunately, it's a simple fix. Head back to your design workspace and open the appearance menu. Apply colors to any missing faces, double check the other sites for consistency, and then return to the rendering environment. Right click on the Canvas to access the scene settings. You can keep it simple, rotate the scene to create a nice shadow, then submit a free cloud rendering. My rendering appeared in the gallery within just a few minutes. You can easily toggle between your renderings there, and there are some additional settings worth noting. Using the turntable feature costs flex tokens, but it's a great option if you need one. Post processing allows for quick and easy edits to your rendering before downloading, and you can save your image with multiple options, including a transparent background. The file name will automatically include a date and timestamp, and here's what my final image looks like. I really hope you enjoyed this Autodesk fusion project. Along the way, you explored various workflows, including sketching techniques, the Fillet tool, and the timeline. I look forward to seeing you in future projects. Thank you. 40. Autodesk Fusion Chess King Project: This exciting project, you'll bring a chess king to life by combining an image and a sketch. Along the way, you'll master a variety of sketching techniques, learn how to set up construction planes with precision, experiment with different fillet commands for smooth edges, and carve out intricate details using the Extrude tool. By the end, you'll have a strong grasp of essential modeling techniques and a stunning chess piece to show for it. As always, let's start by setting ourselves up for success. Go ahead and save your project first. In this tutorial, I'll be creating a new internal component specifically for this chess piece, so everything stays organized and easy to manage throughout the project. I'll start by importing my licensed stock photo using the insert Canvas option. You can follow along by choosing a photo to trace and inserting it from your computer. Select a construction plane where you want your chess piece to stand upright. If you need better visibility while sketching, feel free to adjust the canvas opacity. The other default settings are fine for this project. While your image may not be the right size yet, we won't worry about scaling it now since we don't have the exact dimensions. Go ahead and click Okay to proceed. You'll notice a red boundary around the image, but don't worry about that. It's just the outline of your canvas. Right click on the Canvas to open the calibration settings. Once inside, select two reference points on your canvas and define the distance between them. In this tutorial, we're working at a one to one scale, and I'm setting my chess piece to be 100 millimeters tall. However, feel free to choose any dimension that suits your project. If you need to reposition your inserted image, go to the edit Canvas option. To help find a logical placement, you can enable the origin in the project browser. While perfectly centering your image over the origin isn't crucial for this project, it's a helpful practice to keep your work organized and predictable. Doing so will make it easier to insert components into other projects and have them appear in a logical position. Are plenty of sketch tools available, including splines, arcs and lines. We'll experiment with a few techniques and address potential challenges along the way. For instance, we can place a circle here, and it would be helpful to have the same radius on both sides for symmetry. In several areas of the design, using the same radius will enhance the look, and we also have an opportunity to place a circle on top of the model. Let's begin by using the center diameter circle tool, which makes it simple to position a circle directly on the sketch. Some of you may prefer the two point circle, which lets you define the circle by selecting two points. Next, we'll revolve the sketch around the vertical line. If the line ends up too long, you can easily drag and resize it. A horizontal slash vertical constraint will keep the line perfectly vertical. Fusion often applies this constraint automatically when you draw the line. Additionally, you don't need to sketch everything from one side to the other. You can easily connect lines afterward, which can be helpful if you have repetitive commands to execute. Extend is a great tool when you need to extend one line to meet another. Let's start working on the sketch using the line tool. If you press and hold the left mouse button while drawing a line, you can also create an arc which makes tracing images quick and enjoyable. While fusion has more advanced methods for refining curvature, this technique works well enough for our current project. Now, let's move forward to the next interesting point in our image tracing. An effective approach for achieving equal radii on both sides is to begin with the two point rectangle. We can then use a mirror line to duplicate one half of the sketch, and the filllet tool will help us create rounded corners with equal radii. Fusion automatically applies the same radius to your next selection. It's common to sketch extra geometry and trim away the parts that aren't needed. Let's continue using the line and arc method and jump ahead to another key moment in our tracing. Here's another chance to use the two point rectangle alongside the fillletommand. Remember, pressing the Fkey will close the contextual sketch environment and open the solid modeling Fillet tool. In the sketch environment, the filllet tool is recognized by a thin line. Don't forget to add filllets to connecting lines for a smoother appearance. Let's jump forward again to the next notable section. The possible radius you can achieve depends on the connecting line, and adding a small line in the right direction can make it easier to create a longer radius. Let's make another jump and see where we are. The three point arc is another excellent tool for image tracing. The curvature constraints that appear automatically ensure that lines are connected to a single point without overlapping. For the bottom, don't forget to add a line to close your sketch. If the sketch doesn't turn blue, that indicates it's still open. We need to fix this before moving on to revolve our sketch. We'll also need to smooth out some edges with the filet tool, and if we're lucky, we'll locate the open part of our sketch. If the open part remains hidden, we'll try a few different techniques to pinpoint where the sketch is open. The bottom part of the sketch turns blue, signaling that the unconnected segments are located at the top. The white dots highlight the lines that aren't yet constrained to the surrounding geometry. While the sketch can still close around these white dots, if we zoom in, we'll spot the issue. There's an overlap right here. This is where the mistake occurred. The blue fill confirms the sketch is now closed, meaning there's no need to search for additional unconnected lines. When we activate the revolve command, the sketch profile is automatically selected, and the result appears as soon as we choose our axis. While the default settings like angle, direction, and operation type work for this project, it's a good practice to familiarize yourself with these options for future designs. I'm happy with how the lower parts of the geometry turned out, but take a look at the top of our king. Do you see what needs to be fixed? Right now, the crown doesn't quite resemble a crown, so we're not there with our chess king just yet. To fix this, you'll need to create a new sketch plane. From there, sketch a profile that will help you trim away the excess geometry and shape the crown properly. Make sure to toggle the visibility of your initial sketch. We'll use it as a reference for symmetry. Now, you're sketching on the new construction plane. Don't worry if the positioning isn't perfect on the first try. You can always use the Autodesk fusion timeline to edit your sketch, and everything will automatically update. Any part of the original sketch can serve as the mirror line since they all share the same axis. Next, use the shortcut E to jump directly to the extrude command. For the extent type, choose all instead of distance. This ensures that future updates to the size of our king will be included. Our chess piece is starting to look like a king, but we still need to refine the edges for a polished finish. Use the filllet command to smooth the edges. Another way to do this would have been to keep the corners sharp in the sketch and add the fillets after the solid body was made. This would give you more control over the final shape. Use the copy move command to set up both kings. Toggle off the visibility of anything you don't want in the rendering. Press A to open the appearance menu. Wood gives a nice look. But if you're three D printing, choose a color that matches the filament you have. Our chess pieces look good. Right click and open scene settings. I want shadows, so I'll reposition the rendering environment for those rim highlights. They're placed differently than in other environments. If you want, try Cloud rendering. I'm sticking with an in Canvas render. You can switch from excellent to final if you want more detail. While the rendering runs, let's go over three key takeaways. First, you traced an image using arcs, lines, rectangles and circles to create the sketch. There are many ways to do this. Some focus more on sketch precision, others on adjustments in solid modeling. Different workflows, same problem solved. Second, you used construction planes and the extrude cut command to remove parts of the king's crown. It was faster than making a perfect crown from scratch and integrating it into the revolved profile. Lastly, we made an internal component, but I think an external one could be interesting. We could standardize the king's base and then create custom crowns for different models. Just a thought. Hope you enjoyed the project. Happy three D modeling. 41. Autodesk Fusion Phone Stand Project: Come to this project where you'll master the art of designing and rendering a practical phone stand with fusion. This project will take you through essential steps like setting up projects, precise sketching, surface and solid modeling, applying filllets for enhanced user experience and optimizing for free D printing. We'll dive into rendering techniques to bring your design to life. Start your project by saving it immediately and creating a new component. I'll opt for an internal component here, as I'm not planning to collaborate or reuse this design in other projects. Access the design shortcuts menu to create your new internal component, ensure the activated option is checked and then confirm by clicking Okay. Begin your sketch on any construction plane. I recommend using a vertical one for easier navigation with the ViewCube. Start from the central point of the origin and draft a rough sketch that will serve as the foundation for your design. All right, let's refine our sketch dimensions. You can either measure your own phone or find the dimensions online if you're aiming for a model that fits your specific device. Note, black lines in your sketch indicate constraints which make your sketches more predictable and easier to manage. I noticed I've entered the wrong dimension for the foot here, so I'll exit this and correct the measurement. Escape the current dimension command and re enter the correct dimension. Once you've set the lengths, take a moment to check the angles as well. There's currently a small gap under the foot, but don't sweat it for now. We'll address details like that in upcoming modeling steps. Once you've completed your sketch, finalize your sketch by clicking on the finished sketch button and rotate your model to view it from different angles. This helps in catching any unnoticed errors or misalignments. Remember, the more accurate your sketch at this stage, the easier the following modeling steps will be. Now we'll move to our next command, which is in the surface modeling tab. While you can find it through the design shortcuts, let's navigate there directly so you know where to find it. Go to the surface tab on your toolbar. The extrude command here differs from the one in the solid modeling tab. This one allows you to extrude thin lines. Change the direction to symmetric. This ensures your model remains centralized above the origin. Input 20 millimeters for the half length measurement, since this will extrude 20 millimeters on each side, totaling 40 millimeters. Ensure everything looks correct, then click Okay to confirm. This approach will give you a balanced and precise model of your phones back support. Let's head back to the solid modeling environment. To add thickness to our design, locate the thicken command in the create drop down menu. Select the faces you want to thicken. You can do this either directly on the canvas or by navigating through the model in the browser for the thickness. Set a symmetric thickness of 1.5 millimeters on both sides. This gives us a total thickness of 3 millimeters. This thickness is beneficial because it's sufficient for addition to the free D printing bed. It results in a sleeker, more elegant model that prints faster compared to thicker designs. Remember, the choice of thickness can be a matter of personal preference or specific project requirements. Once you're satisfied with your settings, click Okay to apply. Tip, if you're not yet comfortable with terms like symmetric thickness, it's a good practice to measure and verify the distances to ensure your model meets your expectations. Activate filllet via the toolbar, design shortcuts or with the keyboard shortcut F. The full round fillet is a great choice for areas like this. Getting rid of those sharp edges will improve the user experience. I'll keep the sharp edges at the sides because it will make it easier to print this model with larger areas facing the three D printing bed. But I recommend that you switch to the regular fillt option and remove the remaining sharp edges excluding the sides. Make a quick quality check from the side angle before moving on. Appearance can be found in the modified drop down menu. I'll three D print this in a red mate color and use the same color for my rendering. A quick three D printing tip before we proceed to the rendering environment. Print your phone stand lying on its side like this. It will make things easier. With that said, let's move on and render your phone stand. Set up your rendering through the scene settings accessible via the right click menu. I personally prefer using an environment as a background for the excellent lighting it provides. Adjust the lighting to achieve perfect shadows. Then move to the render settings where you can customize the width and height among other options. Let's now jump to the completion of the render, which you can monitor in the bottom left corner of a fusion. Our rendering is complete, so let's review it. You can download it in your preferred file format with or without a transparent background to any location on your computer. Congratulations on completing this project. You've now mastered designing, modeling, and rendering a phone stand using fusion. From setting up projects to precision sketching, surface and solid modeling, filleting for ergonomics, and optimizing for three D printing, you've gained a comprehensive skill set. Plus, you've learned to render your designs professionally, showcasing your ability to visualize and present your work. Keep creating, keep innovating and see you in the next project. 42. Crafting a modern Hanging Vase in Fusion for 3D Printing: Let's design a sleek, modern hanging vast that's ready for free D printing. Every great project begins with good habits, and your free de vase design is no different. First, let's save your project with a meaningful name and upload it to the Cloud. A well organized workflow starts here, making your project accessible anywhere and easier to manage as it grows. Next, we'll create a standard internal component. Components are the backbone of many workflows in fusion, ensuring better organization and flexibility as your skills advance. By starting with this step now, you'll set yourself up for smoother, more professional designs in the future. The default construction plane is ready, but let's expand the workspace by adding two offset planes to create three levels for your vase design. For my vase, I'll place the first offset plane 100 millimeters above the base. Then I'll add another offset plane reaching a total height of 150 millimeters. You can either reference the base directly or add 50 millimeters from the construction plane at the top. The reference point you choose shapes the structure of your design. Let's explore why it matters. Your construction planes are set. The bottom to middle plane is 100 millimeters and the top plane is 150 millimeters from the bottom with a 50 millimeter step above the middle. This setup creates the framework for your valves. Here's the power of fusion. Ofset planes are flexible. You can adjust them in the timeline. For example, changing the first plane 100-125 millimeters moves the top plane to 175 millimeters while keeping the 50 millimeter step if the top plane were tied to the bottom, it would stay at 150 millimeters breaking the balance. Let's start your vase design with the first sketch on the original construction plane. This marks the sharp point at the bottom of the vs. Select the point tool from the create menu and place it at the origin. Simple and centered. Next, move to your first offset plane, the middle one. Right click to quickly enter the sketch environment, draw a six sided polygon starting at the origin. Instead of using a 100 millimeter radius, reduce it to 50 millimeters to avoid steep angles that could cause three D printing issues. A good rule is to keep angles under 45 degrees depending on your printer and material. When finishing the sketch, use the S key for the sketch shortcut menu. It's quicker than clicking the button. For the third sketch, go to the highest construction plane and create another six sided polygon above the origin. Making it about 60% the size of the middle one, this is your chance to experiment and refine the size and proportions of your vase. Let's organize your model and get it ready for the next steps. Keeping your sketches labeled and tidy is key to an efficient workflow. A well organized design helps not only you but anyone working with you later on. Start by renaming your sketches. Click on each one in the browser and give it a clear, meaningful name. Use a system that works for you, whether it's descriptive or project specific. Now, let's shape your model using the L of tool. Loft is versatile, and there are multiple ways to use it to achieve your design. Let's experiment a bit to find the best method. First, I'll select all profiles in order, but that doesn't give the shape I want. Instead of forcing it, I'll hit Escape to exit. Sometimes it's better to pause and rethink than settle for a poor result. Let's try again this time selecting one profile at a time. That works much better and the base looks great. I'll hit Okay to confirm. To continue, I'll right click and choose repeat loft. Notice how fusion suggests a join operation type. This is perfect for creating a single unified solid body for our design. Your vase is coming together. Before we finish, be sure to give your model a proper name. Naming your components is a great habit to stay organized, especially for more complex projects. Saving your project regularly is like creating a safety net for your creativity. Every design journey has its ups and downs, so take a moment to save your progress. You can even name your versions and set milestones, making it easy to revisit earlier ideas or recover from mistakes. Now, let's dive deeper literally. The Section analysis tool is perfect for looking inside your model. See the hatch pattern. That means it's a solid model. To turn this into a functional vase, we need to hollow out the inside. Enter the shell tool, your new best friend for hollowing designs. Start by selecting the top face of your vase and setting an inside thickness. For this design, I'm going with 3 millimeters. This strikes the right balance between using less material, reducing three D printing time, and ensuring a sturdy result. Plus, it gives you a stable surface for printing. And just like that, your vase is taking shape. It now has room for soil and a beautiful flower, but those sharp edges, they need a little work. Let's make edge selection quick and painless. Picking edges one by one can be tedious, especially with many edges. Here's a game changer, the selection filter. Switch it to body edges, and you've selected all 48 edges instantly. This simple trick saves time and keeps you focused on designing, not clicking. With your edges selected, it's time to refine them using the Shafer tool. This feature flattens your edges, giving your design a sharp, modern look. Keep an eye on the chamfer distance. Fusion will alert you if it's too large for your model's geometry, giving you a helpful nudge to maintain balance. Now, let's get creative with corner types. The meter option adds a sharp, angular finish while the blend type softens things for a smoother look. For this vase, I'm choosing the chamfer corner type to match the clean geometric style. But don't just follow my choice. Experiment with the options and select what fits your design best. You've done a great job bringing your ways to life so far. Now, there's one final step to make it truly functional, adding a way to hang it. Let's create free holes to hang our vas while exploring free workflows. These holes aren't just practical. They'll also show off Fusion's parametric design power. The first approach might seem obvious. Sketch three circles manually and turn them into holes. Simple but tedious and prone to errors. The second is faster, sketch one circle and duplicate it with a pattern. However, this can complicate the model unnecessarily. The recommended method is better. We'll sketch one hole, extrude it, and then use the circular pattern feature for precision and simplicity. Starting with the sketch, I'll place a center diameter circle on the Chamford part of the vase sized at 1.65 millimeters. It's perfect for fretting fishing line, giving the vase a floating effect. Next, we extrude the hole. The vases geometry makes this tricky. I usually rely on the extrude two object feature, but I made a small mistake by clicking the wrong wall. If I'd click the right one, it would have worked perfectly. No problem, though. Fusion offers alternatives. Instead, I'll over extrude the whole ensuring it passes cleanly through the wall. Here's where Fusion's parametric features shine. If the holes position is off, you don't need to start over. Adjust a sketch in the timeline, and fusion updates everything automatically. It's not about getting it perfect the first time, it's about staying flexible. Think of your extrude cut as a living part of your timeline. When earlier features change, it adapts automatically. Here's how it works. Find the sketch in your timeline, right click and choose Edit Sketch feature. With the sketch active, press for move and copy. Use the YXS arrow to shift the position while keeping everything else intact. Once you're satisfied, hit Okay to return to the design workspace. The circular pattern tool is ideal for creating evenly spaced features like the holes in our vase. Start by going to the create menu and selecting circular pattern. Since we're working with the hole, set the object type to feature in the drop down, this is essential to make the tool work as intended. Now, select the hole as your object and choose your axis. If your sketch is centered at the origin, you can simply use one of the predefined axes for perfect alignment. For this vase, we need three holes, enter three in the quantity field. Once everything is set, press okay and you'll see three evenly spaced holes placed around your vase. Go to the Modify menu and select appearance or just press A for quick access. Fusion lets you apply appearances to entire bodies, components, or even individual faces for detailed customization. Browse the appearance library to find the perfect material or color. Drag it onto your vase to apply it. If you see a small arrow icon, you'll need to download the appearance first. Just a quick click. For my vase, I'm using a matte white plastic finish for a sleek, modern look. Keep in mind, the colors in fusion are for presentation or renders. They don't affect the actual free D print color. Here's a pro tip. Right click your applied appearance and choose Edit. You can adjust the color, roughness or reflectance, or even input exact RGB values for precise customization. Before we dive into rendering, save your fusion project and add A Version description to stay organized. Switch to the Render Workspace and open scene settings by right clicking in the workspace. I'll set the background to an environment setting. Cool lights work beautifully here. Adjusting light angles and brightness adds depth, turning a flat image into realistic visual. Your render captures the current view. So take a moment to adjust the perspective using Zoom, orbit, and the view cube. For this tutorial, I'll create a Cloud render which delivers high quality results, great for presentations. If you're short on time, in Canvas rendering is a faster option. Both let you customize settings like aspect ratio to fit your needs. Rendering times worry, but this one took less than 2 minutes. And there it is a professional render ready to showcase. You can even download it in different file formats and choose options like a transparent background. Fusion makes it easy to create visuals that stand out. Great work getting this far. Now, let's prepare your design for export and bring it into the real world. Go back to the design workspace and open the file drop down menu. Select Export, but first, save your project if you haven't already, it's always good practice. In the export dialogue, set the file type to STL, the standard for free D printing. Choose where to save the file, then click Export. Remember, exporting uses the Cloud, so ensure you're online. That's it. You now have an STL file ready for slicing in your free D printing software. When setting up your free D print, flip the vase upside down in the slicer for the best results. I hope you've enjoyed this tutorial. You've nailed the basics, and we'll pick up the pace in future projects. See you in the next one. 43. Industrial Design Pen Holder Project: You can use Fusions solid modeling commands to design a sleek pen holder that adds style to any desk. In this tutorial, we'll explore sketching, extrude, fill it, chamfer, and other essential tools. Start strong, save your project and set up a dedicated component to keep your workflow organized. One option could be to start with a simple box, but I recommend using a center rectangle. This keeps your design centered on the origin, which will come in handy later in the workflow. For realistic dimensions, take inspiration from the measurements of best selling pen holders online. If needed, you can always return to the timeline to adjust the sketch or tweak the extrude height later, offering flexibility as your design evolves. You can use Fillet in both the sketching and solid modeling environments. Each option has its pros and cons, but a good rule of thumb is to keep sketches simple and safe operations like fillets for the solid modeling environment. This approach makes it easier to adjust and refine your design later. I'm setting the thickness to 5 millimeters to achieve a robust and durable feel for the pen holder. This strikes a balance between quality, free D printing time, cost, material usage, and environmental considerations. Chamfers are a great way to enhance both the aesthetics and durability of a product. With a thickness of 5 millimeters, the chamfR distance is naturally kept. A smaller chamfer on the outside paired with similar top and bottom chamfers creates a clean look. Adding a slightly larger chamfer on the inside adds depth and refinement to the design. Being centralized above the origin makes it easy to locate the design center line. We'll use this line to create the pattern around the pen holder, starting just below the chamfered edge. While you can use user parameters to ensure the line updates with the chamfer, that workflow is beyond the scope of this lesson. Fusion offers many tools to add or remove geometry. The pipe tool, like others, provides settings to customize your design. As mentioned earlier, modifying a solid model in the solid modeling environment is often easier than making changes in the sketching environment. Using the pattern on path tool with a few adjustments is ideal for distributing the pattern. First, change the object type to features before making your selection. The pen holder began as a rectangle with 475 millimeter edges, totaling 300 millimeters. With the fillet supplied, the perimeter is now shorter. Let's estimate 280 millimeters, not quite right. 285 millimeters feels a bit long, but 283 millimeters seems just right. Next, switch the orientation to pot direction for better corner results and set the quantity to 45. Now that you're familiar with the workflow, take your time to refine the distribution and quantity for the best result. There are many ways to apply an appearance to this design. If you want the pattern feature to have a unique color, I recommend coloring it before creating the pattern. This way, you only need to color one phase. You can also explore the color libraries to find the perfect shade. Since it's a snowy day, as I'm recording this, let's go with snow white for a clean and crisp blue. Save your project before diving into the rendering settings. Use a descriptive milestone name to keep track of your progress. Once saved, head to the workspace picker in the top left corner to switch to the rendering workspace. Right click the fusion Canvas in the rendering environment to access scene settings. I'll set the background to environment and choose sharp highlights for a clean look. The suggested settings usually work well, but feel free to fine tune them, including adjusting the camera angle to your preference. When ready, start the Cloud renderer with your desired width and height. You'll see an estimated Q time, and the rendering will appear in the bottom left corner of the workspace. The estimated queue time for this rendering was under 20 minutes, but it completed in about seven. Once finished, download your rendering in your preferred file format with or without a transparent background, depending on your post processing plans. If the file name is too long, shorten it to ensure it saves properly, and that's a rep for the Industrial Design pen holder project. Here's the rendering we just created, along with another I made, featuring additional items in the scene. I hope you found this tutorial helpful and look forward to seeing you in the next project. Thank you. 44. Create an eye-catching 3D-printed vase in Fusion!: Build this three D printed vase and solve a major challenge that came up during this design. You'll see every keyboard shortcut in the bottom left corner. This tutorial moves faster than earlier ones because by now you've made progress. Finish your component, click Okay, and save your project with a clear name. Start with a two point rectangle. I'm using 100 by 100 millimeters, but feel free to experiment with your own dimensions. The width isn't critical as long as it's wider than your vase, but the height sets the vos final height. Place the bottom left corner at the origin for a well centered design. Stay in the contextual sketch environment for our next step. Try to minimize the number of fit points blind control points. Three control points are sufficient to shape this vase. The exact positioning of the control points isn't important at this stage, since we'll refine the design. I set the top of my vase to 25 millimeters and the bottom to 30 millimeters, giving the top a 50 millimeter diameter. You should try your own dimensions to see how they affect the design. Remember, you can always adjust it later using the fusion timeline. Press and hold a control point to move it. Control points snap to the grid by default, but you can disable this for more flexibility. Click to activate green handles for finer adjustments in multiple directions. We're using the solid modeling revolve command recognizable by its blue color to shape the vase. The surface modeling option is orange. The default revolve settings are perfect, so we just select the profile and the axis. A quick check from the home view in the ViewCube confirms everything is on track. Turn on the sketch visibility, and let's work on the twisted shapes around the walls. Instead of offsetting the spine and revolving a new profile, we'll create a profile directly from the sketch to keep the number of sketch items minimal. Start by extruding a line outward. Our goal is a profile that extends 90 degrees from the vas. Since we can't extrude it directly at a 90 degree angle, we first create an extrusion and then thicken it. The symmetric two millimeter extrude turned out too large, but I kept it as part of the project. Troubleshooting design issues is key to the iterative process. We'll identify the problem and adjust it later in the project as we refine the design. Once we have a surface, we can thicken it to define the patterns thickness around the vase. You saw the curved pattern around the valves in the image at the beginning of this project. The part we just created serves as a cutting tool for that pattern. Soon, we'll create another profile and use this tool to cut out the curve design. Use the shell command to hollow out the solid body into a valves. The ideal thickness depends on your priorities, balancing material usage, print time, and quality. Each factor impacts cost and has environmental considerations. Set up two construction planes, one above and one below the walls. These planes give you the space to oversketch the curved pattern, ensuring a cleaner finish when we cut it out. You can easily access the latest tool you used via the right click menu, which speeds up your workflow. There's no precise distance between the planes and the vas, so place them wherever it's most convenient for navigating your model. Let's start with the sketch on the construction above the vas. I'll begin at the origin and over sketch this. The exact length of this line doesn't matter since we'll cut out the parts we need and erase the rest. The angle we set here, combined with the sketch line we'll make under the vase, will determine the overall angle of the curved pattern wrapping around the valves. Practice makes perfect. Let's finish this sketch and repeat the workflow with a new sketch line under the vase. Again, we'll start at the origin and make this line 100 millimeters long. Just like before, we'll cut out the section that wraps around the vase and keep it discarding the rest. A quick quality check with the ViewCube shows that both lines look great. It's easy to forget when having this much fun, but remember to save your project regularly. We're using the surface modeling loft command recognizable by its orange color since we're lofting two sketch lines. The solid modeling loft requires closed profiles. This large thin profile is exactly what we need at this stage of the design process. Thicken the surface. This thickness will determine the patterns thickness wrapping around the vase. I'll keep the extrusion direction symmetrical and extrude a total of 2 millimeters, providing enough material to work with while maintaining an elegant design. We can see the curved shape where the lofted surface meets the vase. Let's turn off the visibility of the sketches and the vase to get a better view. We'll use the revolve command around the central axis and set the operation type to intersect. This keeps everything that the revolve operation intersects and removes the rest. Next, turn off the visibility of the tool used for the revolve intersect operation and turn on the vase visibility. Everything looks good so far, but there's a small issue we need to address. You would have encountered this problem if you follow the exact dimensions and made the revolve intersect operation with the vase body visible. Let's refine the face's edges. The thickness limits how large a chamfur we can apply. Zooming in, we see an issue with the profile. It cuts into the vase. We mentioned this at 2:40. It's an easy fix, but we'll leave it for now and focus on the chamfur tool. There's more to learn here. Applying a chamfer almost seems to fix the issue, but it doesn't. You'll see why later. Use the right click menu to access the chamfer command and apply it to the bottom of the curved section. Again, the maximum chamfer distance depends on thickness. It's smart to apply these filets and chamfers now before creating a pattern around the vase. This keeps the workflow clean and prevents unnecessary complications. Now, the full round fillet option is parametric, meaning it updates with design changes. It also gives the vase a smooth, rounded look. Adding custom appearances in fusion is easy. If you need inspiration, you can find matching color codes online. Start with a base material. Since this vase is for free D printing, I'll use a matte plastic finish, common for filament. Apply a color to the vase body, then right click to Edit. I'm using the Advanced option to enter a ig color code, also known as an HTML color code. You'll find this under Edit color along with plenty of other customization options. Right click and duplicate your custom appearance setup. Like the full round fillet, applying this before creating a pattern saves time. Renaming your custom color helps keep things organized. We'll enter the hig color code in the same place, but if you have RGB values, you can use those elsewhere. This custom color is for the pattern around the vase, and since it's an individual body, we leave the settings to bodies and components. When creating a third appearance for the vase, keep in mind it's for the Camford section. Since it's not a separate body, change the setting to faces. Zooming in makes it easier to select the right surface before applying the appearance. When you name appearances, it helps keep your fusion project organized. You can quickly identify materials, match colors across designs, or even note the filament you plan to use for your three D printed vase. Great job sticking with it. A well structured fusion project makes everything smoother, and this three D printed vase is really coming together. It's smart to save your project before advanced patterns or timeline edits that require heavy computations. Circular patterns are easy to use, especially with a central axis. The hidden blue axis automatically appears when selecting axis in the contextual menu. The preview updates instantly as we adjust the quantity. I'm going with 24 for a balanced look. Once we click Okay, a bunch of new bodies appear in the project browser, a great reminder of the value of planning ahead and performing some actions on the part we used in the pattern. I'm saving again because I plan to edit the computations through the timeline. The pattern looks great, but we can add more twists. Those two lines are used in the loft feature later in the timeline, and the loft is cut with the revolve intersect command. The intersected profile is then used in the circular pattern. This means changing those two lines lets us test new looks with minimal data input. Let's address the issue. We mentioned 2 minutes and 40 seconds into the lesson. Zooming in, we still see some red under the light blue surface. This happens because the shape unintentionally cuts into the vase when revolved. One fix is to make the extruded surface very thin but still long enough to be thickened and extruded. Another solution which shifts to a solid modeling workflow is to offset the original spine and use the new closed sketch profile in the revolve command. After adjusting the extruded surface, everything looks great. We can see the new fin profile in the thickened feature if we check it in the timeline. Well done completing the project, you worked in both the solid and surface modeling environments, mastering revolve, loft, shell, and advanced patterns while refining sketches and solving real design challenges. Now it's your turn. Upload a rendering of your vase to the course project gallery and show off your unique take on this design. Thank you and see you soon in another project. 45. Course completion: Congratulations on completing the course. Fantastic job. You have successfully navigated through the fundamentals of solid modeling in Risk fusion. Your journey into freedom modeling is just beginning and there is so much more to explore and create. Let's co create the future of this course. This course is a collaborative effort and your feedback is essential for shaping its future. Here are three important things I'd love you to do. First, stay updated. Keep an eye on the course description for upcoming updates. As new content is added, you'll continue to expand your skills and knowledge. Two, share your experience, leave a review. Your insights will help future students understand what they can expect and how this course can benefit them. Three, provide feedback. Share your suggestions for future course updates. What topics do you want to dive deeper into? What new features are you eager to learn about? Thank you for taking this journey with me. Your dedication and hard work have paid off, and I'm excited to see the amazing projects you will create with Autodesk Fusion. Remember, this is just the beginning. Keep practicing. Stay curious and never stop learning. Thank you.