CAD Autodesk Inventor Basics: Beginner Crash Course | The Complete CAD Beginner’s Guide

1. 1.1 Introduction: Welcome to the CAD inventor tools and Basics for beginner course. First of all, thank you for purchasing the course, and I hope it proves to be valuable to you in your CAD career. The purpose of this course is to teach new to beginner level users of inventor to better understand and utilize the tools in all areas of inventor providing you with a great learning foundation to build upon and further your CAD knowledge and engineering skills. I'd also like to point out that even though this course is created solely with the Autodesk inventor product in mind, and all the skills you learn during this class are transferable among three D modeling and CAD programs. I'm not just saying this as a way to advertise the class in any way. The reason I say this is because I myself learned these skills on Inventor and found it easy to pick up other software such as solid edge, solid works, blender, too DCAD, and sketch up. Speaking of myself, hi. I'm Jordan. And I've been using CAD programs in a professional environment for a total of seven years now. That is my entire working life, and I'm also autodesk certified. I have a background in many fields, including engineering and architecture. So the rationality behind me telling you this is because it should help you build some kind of faith within the knowledge that I have in the system. So here is the course guideline, and this will explain what skills you'll learn throughout the course. As you'll be able to see, we start off with a brief explanation regarding the equipment you are using and changing the settings accordingly. This helps the software run the best it can on the device that you have. Once we've looked at that, we can look at the inventor's user interface and how to go about operating. And after that, we move on to using the software in the two D space to draft up lines and shapes and then further manipulation of these sketch lines. While still on the topic of two D sketches, we will get into the different constraint tools available and the use of sketched dimensions in clever ways. Then we'll move on to the three D space within the program, finally creating a basic model and adding different features like fillets and hampers. Once you have a model created, you'll now need to know how to turn that into a annotated drawing. For that, you'll want a drawing board of unique to your needs, and then we'll move on to learning about the annotation tools and techniques. Here, I'll show you tips for keeping your drawing clear and readable for engineers, machinists, or whoever else it could be that ends up reading your drawings. Finally, I'll show you more advanced tools used for creating drawings that require more attention to detail. So yeah, that covers everything that you can expect out of this course. And now we can move on to our next lesson where I'll explain the different roles that use and apply the broad range of tools that CAD has to offer. 2. 1.2 What can Autodesk Inventor be used for?: Hello, and welcome back. Many times, I have been asked, What is CAD? And what can you do within the software? Personally, I use the software day to day in my daily job to design things from shop fronts and spiral staircases to laser cut parts and house floor plans. I mean, this right here is something that I made using CAD and is just one of the simpler things to show. What can be done with CAT. In the program, I'll create drawings. I can then pass to our shop floor where the manufacturing process can begin. Here, they'll follow the instructions I've set out for them, so the desired product meets all prerequirements. But this isn't the only application for CAD programs like inventor. Autodesk Inventor is a professional three D CAD or computer aided design software that can be used for a variety of purposes, including product design and development, manufacturing, and then digital prototyping and so much more. Overall, inventor is a versatile software that can be used by engineers, architects and designers across a whole wide range of industries to create accurate, high quality technical drawings and designs. Although inventor is versatile and capable of use in different workspaces, you'll begin to find that its most effective use is in the engineering sector as the program is heavily geared towards many engineering concepts. To begin advancing your CAD career further, complete this course and develop your base skills. You'll be able to build upon these skills as you use the software more and more in your own time. Further courses that delve deeper into subjects can be found from the other creators on this site or other sites. You can also expect me to put out more courses in the future if this one is received well. So keep applying for more courses and learning more and more about the different characteristics within this CAD software and others. Soon, you'll have an extremely employable skill to add to your future CVs. Hopefully, the skills you learn here get you that job that you've been eyeing up recently. That's enough talking for me. Let's get into the actual CAD software. 3. 2.1 What settings and hardware should you use?: Hi, and welcome to our newest lesson on setting up Autodesk inventor. Throughout this lesson, you will learn how to adjust your inventor settings to best suit you and your PC. To begin with, you're going to want to identify what sort of graphics card and CPU inside of your PC or laptop. To do so, simply hold your Windows key and press X at the same time. This will display a menu for Windows related tasks such as the task manager and also the device manager. So within this menu, you want to find the device manager option and click it. Here you'll find a list of devices that make up your computer setup. The list of devices here is actually the physical hardware within your PC. If you built your own PC, you should know something about this. If not, then don't worry. We'll have that sorted. Within this list, you want to find the display adapters dropdown. Click on that drop down arrow. The name of the graphics card is found here, and now you can search up to find out if it's very powerful or not. I recommend using the website, www.userbenchmark.com. Your CPU and graphics card limit how well you can perform tasks and card. So having decent equipment will take you a long way. Compare your graphics card to a GTX 1070 as this is what I am using as you can see here. If yours proves to be better than mine, then that's great. As I can work on big cab projects just fine using the equipment that I'm using. If your graphics card turns out to perform worse than my GTX 1070, then don't worry. As I'm going to show you what seconds to adjust to better suit your equipment and therefore make inventor run well. So to begin comparing your graphics card to mine, you need to first find your graphics card in the device manager window under the display adapters tab. Come to the user Benchmark website, compare in the top right and then GPU, which stands for your graphics card. Your first option is going to be my graphics card, the GTX 1070. Make sure you're not clicking any variations, just the standard version. On the second side, what we're going to be comparing against is going to be the name of your graphics card. So if you happen to have a RTX 40 70 and click that, you'll see that the RTX 40 70 is 139% better than mine. And because it's better than my graphics card, you know that it's going to work very well because I do a lot of card work on this graphics card, and it runs just fine. So after you've done that, and you know if yours is better or worse, you'll have a good idea of what you need to change in order to get the best out of inventor. Now we're back into Invent. And when you find your way back over to the home screen, you will automatically be here when you first launch the application. And if you're not already here, then the home button at the bottom of your screen should be available, and this will take you right here. Search for the applications Options button found at the top of the home screen under the Tools tab. Once clicked, you'll with a menu with many, many tabs along the top. Application options but maybe in a slightly different place for you if you're not using the same version as inventor as me, as you know, I'm currently using venner 2023. Now, I'm not going to go into a massive amount of detail within these menus. As you can see, there is a lot of different settings to mess around with. I do encourage that you take a look at these menus yourself and tinker with the set ins to find what works best for you. But I only recommend doing this once you develop an understanding of how your workflow is within the system. For now, the two most important tabs for beginners here are the hardware tab and the curls tab. First, we'll have a look at the hardware tab. And this relates back to your graphics card, what we're just learning about. Within this tab, you'll find a few tip boxes you can select. The top option is quality, and it's only worth running if you can plan to create a realistic render using the software. But since we're not touching on that today, I recommend using the performance option if your equipment isn't very powerful. I have selected the conservative option, as you can see, as this works well for the PC, the arm running, and handles most tasks fairly well. Now, the reason I'm stressing about this so much is because on bigger jobs, it helps to reduce the amount of time spent staring at loading screens, which could be used more time and effectively. If your computer stops to load something and it takes 2 seconds rather than 5 seconds, then over time, every time you're looking at a loading screen, you're saving 3 seconds. And this tends to build up. Another thing worth mentioning here, before we move on is that you should fully update the drivers for all the parts in your PC, as this also helps to reduce loading times. In order to update your drivers, you'll have to have a look at what your hardware is and find out where you can download the correct drivers for your hardware online. So once again, head back over to your device manager and find out the name of your graphics card so that you can then find out best drivers for it. You should fullly update the drivers for all the parts in your PC, especially the graphics card. Studio drivers work better for CAD than gaming drivers. This isn't a necessity, though, and should only be done if you understand what you're doing. In order for you to date your drivers to studio drivers, you'll have to have a look online, and this will be different depending on what hardware you are using. Now, onto the colors tab. Once it's tab, you'll met with a small screen used to indicate what settings will look like when you're in the modeling environment. A play around with the settings until you arrive at something you like. I recommend using the light setting as this is what I'm using, and it'll make it easier for yourself to follow. If you're a beginner, then I highly recommend doing this, as the different colors may confuse you. Using a darker background, such as dark or deep blue, might be a bit of a better idea for somebody who is spending a lot of time looking at their screen, as darker options tend to reduce the amount of strain that we have on. And this is why we use the dark options on Twitter and our Instagram. Just because it's cool because it's better for our eyes. But have a play around with different color schemes. Find what works for you. Like I said, I'm using the light theme. And you can also move into the drafting side. You design side is your modeling environment and your two D sketch environment. And the drafting, which is the button underneath it, is the environment where you put together your engineering drawings. And yeah, once again, you can change all the colors inside of here. It doesn't change too drastically here, but yeah, something you can customize. That covers everything in regards to setting up your inventor for now. We'll move on to the next lesson. 4. 2.2 Inventor File Formats, File Organisation and Changing Units: Hi, again. Today, we are going to learn how to manipulate the measurement units across different files in Autodesk inventor. Here, I mean, older version of CAD at the top, you'll see, I have Autodesk inventor, professional 2020 open. You can set up a default unit across all of your future files here by clicking this code to the right of your four file buttons. Click that. You configure default template file. Here you can choose between imperial measurements, inches or metric measurements. The better one, in my opinion, millimeters. Also, in this screen, your drawing standard is found. These acronyms may not mean an awful lot to you, but don't worry as I've got you covered. Anti here is American standards. BSI is British standards, DIN or Din German standards, and I don't really know about the other ones, but this one here ISO is the international standard. I'm going to stick with BSI because that's what I work too. Now, what these different standards do is they change the default drawing template that shows up when you open a drawing file. I've already got it open. Here it is. And this border here, this is what changes when you change your default file. And I believe this is so that you meet different standards of the different countries or even the international standards. Currently, this doesn't matter all too much to us. As towards the end of this course, I'll be guiding you through creating your own template, so there is no need for a default one, as you'll have your very own custom one. As I said before, all of this only applies to the old version of CAD. And if you happen to be running a newer version, such as Inventor 2023, like myself, then all of the units of measurement are selected on a file by file basis, meaning that you can use one file with imperial units and then immediately switch over to another file using metric units. Your unit of measurement here is selected when you create a file using the new burn. As you can see, under each of these little pictures, the units are stated, such as millimeters and then. This is the metric measurement systems and the imperial ones. Now, I'm going to stick with my metric. Now, if you wanted to change the units of measurement in a file that you've probably already got something going in, you don't want to restart a new one and, you know, redo everything. What you want to do here is much like the older versions of CAD. This works between the newer ones and the older ones is open up your modeling space like I have them already. I opened up a new part and my millimeters version. To change the units, you're going to come to this tools tab at the very top. After you've entered this, you're going to want to find document settings. And here we have a small menu with a few tabs at the top. And in here, we're going to find the Units and then we're going to take a look around at some of these. In the drop down boxes, you'll have your units of choice. So select the ones that you like. I've already got it how I like it. And you'll click Apply. And then you'll close it down. You will be happy to hear that your inventor is now completely set up and ready to go, which means that you can start building your models and creating sketches. Whenever you like now. This brings us to the end of this section, and now we'll be talking more about the inventor's user interface and navigating that. So now your preferred measurements are selected, we can learn about the different file formats and how I would personally organize my files within the Windows file explorer. Here I have a file dedicated to the creation of a Rubis cube. With all of the drawings, all of the PDFs and assemblies, parts. We've even got a presentation in here and a PNG file with a rendered image. As you can see, it's all pretty tidy. I can see everything. I've just explained it to you very quickly. That is because it is nice and organized. Within Autodesk inventor, the users tend to use multiple file types for saving, opening and sharing designs. Each of the different file formats serves a different unique way of transferring designs across other CAD software outside of inventor. This proves to be very important in our current day as not everyone is using inventor. The native files for inventor are part files. That's these ones here. And if file go into the properties of this one you can see that this has an IPT file extension. We also have assembly files, and this has an IAM file extension. And then, lastly, we have drawing files. This has an IDW file extension. Another one worth noticing is the presentation file, and this has a dot IPN file extension. I'm not going to cover that one right now, but just so you know. These three, the part assembly and drawing files are the most common inventor files and should be saved together under one folder, as you can see here. These are all under one folder, which is dedicated to one project, which is my rubs cube here. The reason we keep them all together is to keep all the files linked together. When files are linked together, they automatically update when a change is made in one file that affects another. Such as a drawing of a model that has been changed. When exporting copies of these files to other formats, I recommend starting a new folder inside of these projects for rarely needed files. So here, I'm going to make a file for step files. That is because we can take our part files and export them to step files. That is so that we can send them over an email to someone who might also need these models, and then they can open it on a different software other than inventor. So I would create them and store them in this step file just to keep it tidy and out the way of everything else. For now, I'll delete that because there's no need for me to have it. You may also notice that I have all my files organized by type as this neatly bunches similar files together making for easy navigation. To do this, click on the type category at the top of your file. So I'll press data modified and it'll jumble it all up and organize it by the data was modified. But now I'll go by type and you'll see here that all of the file types are bunched together nicely. When exporting your drawings to PDFs, I typically keep them among the rest of the files, as you can see here. This is because they're highly versatile and very commonly used. So I like having them at easy access. By keeping your files organized with a system like this, you save time and also keep track of what's where. Now we know how to keep our files neat, Let's talk about the file types available to us an inventor. This is a native file type for Autodesk inventor parts, which represent individual components of the design. Then we have inventor assembly files. This is a native file for inventor assemblies. This is a native file format for inventor assemblies, which represents collections of parts or subassemblies together. Then we have inventor drawing files, IDW. This is the native file format for Autodesk inventor drawings, which are used to create two D representations of three D designs. And then we have the presentation, which I talked about earlier, the IPN file extension. And this is the native file format for inventive presentations, which are used to create animations and interactive visualizations for designs or such as an assembly that's been put together exploding or separating so that you can see how it's supposed to go together. This might be useful for somebody who's dealing with your designs and needs to know how it all goes outside of the native file formats as shown here, we have other formats such as the IGES file format, and this is a neutral file for exchanging three D designs between different CAD systems. This provides a high level of geometric detail. Next, we have the step file format, and this is another neutral file format for exchanging three D designs. After that, we have the STL file format. This is a widely used file format for three D printing and rapid prototyping, which represents three D designs as triangular facets in order to create your full on model out of just triangles. Allowing it to be exported over to another three D modeling software as triangles where it can interpret them and then make the model again out of that. As you learn more about these exporting systems, you will find that the different exporting file types are better suited for certain applications. And by understanding these file formats, you'll be able to save, open, and share your designs with others using Autodesk inventor and other softwares. 5. 3.1 Workspaces and the Home Screen: Hi, and welcome to this new lesson. In this lesson, I intend on teaching you the inventor user interface and how to navigate between the different workspace environments using the home screen, of which is first displayed upon starting up inventor. Knowing how to use the home screen properly is the first step to become an inventor power user. To begin with, we'll start somewhere that's likely familiar to you and within most programs on today's computer. That'll be the file bun. You'll find that located at the top left hand side of the screen, colored in orange. Under the file bun, you may find common functions such as creating new files, saving them, opening them, exporting them, and printing them. These are all pretty typical functions, and I assume that you already know how to use these. So I'll come out of the file and show you the inventors user interface. You can see, the bulk of the screen is made up of the recent files directory. What this does is display all of your most recently opened cab files all in one area and organized by the location of the file saved. Double clicking on any of these will quickly open the file without requiring you to find it in the Windows File Explorer, and this just makes for easy access and saves you a lot of time. So make your way back to the home screen using the home button in your quick access bar at the bottom. There are two different ways to view your recent files directory, and that is with these icons in the top left. Here we have a list view showing lots of files in a compact manner, whereas this is a grid view, offering you the ability to see a preview of the file before committing to opening it. The main differences between these is that this view here obviously shows the thumbnail and helps for a better understanding of what it is you're trying to open, whereas the list view gives you more details on where it's located and it's date modified. On the left hand side of the screen, we have the open new button, which I've mentioned before. Pressing the open but will open the file directory, granting you the choice to open specific files saved onto your device. Coming out of there and taking a look at the new bun, the Nu but will generate a brand new file in one of your given workspaces. Each different workspace environment is also saved as a different file extension to help distinguish between one another. As you can see, IPT, IAM, IDW, IDWG and IPM. File extensions are just a string of letters after your file name, which help the computer understand what type of file it is that it's opening up. The first of the workspaces is the file part displayed as a cube and allowing you to sketch and create three D models. This is typically where you'd start off your project, creating and refining your design. After that, the next is the assembly file. This is displayed as three blocks stacked on top of each other, where multiple part files can be imported, constrained, and arranged. After that, we have the drawing files displayed as a square filled with more squares or more accurately a drawing of your assembly file here. As you can see, the three squares are on a drawing with different views at the top and side. In these drawing files, you are put inside of a two d paper space. And within this space, you create drawings derived from your three dimensional models found in your pass and assembly files. The last of the environments is the presentation space as shown at the bottom of this list. Within this presentation space, you were allowed to take an assembly and arrange and move the parts in a predetermined way in order to better demonstrate the information that you're trying to pass along. Presentation files are displayed as this cylinder going into a hole here. You'll find that in each of these sections, you'll have access to multiple measurement types and international standards, especially among the drawings because of the different borders, as I might have said in a previous lesson. So when you come to making your own part, you're going to want to select your desired file and then open it to generate the new file. Always ensure that you're creating one with the measurements that you would like. After creating a file, the way back to the home screen is the same as normal using the home button at the very bottom. Now we're back at the home screen. You can see that along the bar at the very top, you have the applications option which gives you access to the big menu filled with many tabs and all the settings you could ever want to change right there. Feel free to change any of these options to better suit your situation. Closing out of that, and if you look further down the bar, you also have the choice to create macros. If you feel that may be useful to you or if you're doing a repetitive job that requires the same action over and over again, here you'll be able to create a macro. In order to help you get that done faster. Previously, we touched on what settings to change to suit your hardware that is within the hardware tab. I encourage you to explore the settings. I'm also going to encourage you to do the same here as you might stumble upon something very useful to you. The home screen is designed to provide a user friendly and efficient interface for accessing and managing projects and inventor, so make sure to use it to its flest capability. 6. 3.2 Camera Movement and the Model Browser: Hi. Welcome back. In this lesson, we're going to go over the user interface that you'll be using inside of the part files. Most of what I'll teach you here, it's also transferable over to assembly files also. So now we can access all the different files which are covered in the last lesson. We now need to figure out how to use them properly, and it's here that will cover the key elements in these environments while also enlightening you to the different ways you can navigate these workspaces effectively begin with, I'm going to open up a part file by selecting a recent file or by selecting the new button and then pressing the unit of choice among these cubes. If you have a completely blank file like me, we're going to create a cube here so we can use it as a frame of reference. To do that, we're going to press Start sketch at the very top. Then we're going to select a plane of our choice. Personally, I'm going to use this X and Y plane. Now that we're inside of a sketch, we can find the rectangle tool at the very top left, once again, and for now, we're not going to get precise with it. We're just going to place down a rectangle. To place down your rectangle, you want to click one time to place your first corner and then click another time to place down your second. After doing that, you can press escape to put your tool away. You'll notice that the coordinates near your cursor will disappear after doing so. This is a good way of knowing that your tool is gone and you are no longer drawing anything. So once you have your rectangle in place, you can finish the sketch by pressing this big green rectangle at the end of your tool bar. And now we're going to click on the extrude button in the top left. This is the first in the create tab and your most simple three D creation tool. And it should auto select your rectangle as it's the only thing there. Now, we're just going to press Okay to confirm. And now we have our cue. The reason we did this is for our frame of reference so that we can move around and understand our camera movement controls a little bit better. So now we have our model. Let's talk about the different features inside the part file. The first basic camera movement tool is panning, and this can be achieved by pressing in your scroll wheel. Here you'll see that I've got a little hand arrows around it showing that I am panning right now. And then we just move our mouse around while holding down the scroll wheel. This might be a little bit hard to do with certain mice, but definitely the easiest way to go about panning. The other way that we can go about panning around is in this side bar on the far right. Here, you'll see that it's got the pan option. You click on that. And now you don't have to use the middle scroll wheel. You can just use your left click and move around. Once again, you press escape and you can get rid of it. To zoom the camera, we can use the scroll wheel and move in and out. Alternatively, we can use the side bar once again. We can click this. And then we'll highlight the area that the screen will fill. You'll notice that it is a rectangular shape that you're highlighting because this will be the full size of your screen. The next camera movement option we have available to us is the orbit tool. You can orbit your model using the view cube in the top right. Here you can click on a predetermined view. And you can track it around for more complex angles. Alternatively, I would use the F four key and left click to orbit, as this is the quickest way of doing it, and it's what's become most fluent for me. Another more obscure way of orbiting is using the shift key and middle click. Once again, it's the same outcome, just a little bit more of an awkward way of getting into it. I recommend that you decide which way you plan to orbit your model now, whether that be dragging this around using F four or shift and middle click. As the more that you learn to use this function, the better you'll become with it and you will also become fluent. Personally, I recommend using the F four technique, but some keyboards might not have your F four. Key, so use the viewfinder in the top right. So now we know how to move the model around and see all the features. Now, what I'll teach you is how to access these features and make changes to them. To do so, we can use the model browser or model tree, as I sometimes end up calling it. The model browser is used to manage and organize the different features of a part. These features are made up of sketches, and then a tool is applied to create a derived three D body. This extrusion one here is a feature, and here's the sketch, and then the extruded tool was applied to it to create our three D body. To select a feature, simply left click on it. This will highlight the corresponding component in three D model and highlight the text of blue. As you can see here. The model browser displays the features of the current part in a tree like structure. You can expand and collapse the different levels of the tree by clicking on the plus or minus symbols next to the components. After expanding the tab for our first extrusion, our original sketch can be altered by double clicking it. Further options can be chosen by right clicking it. Of those further options, the most useful I believe at the following. Right clicking on the sketch and then making it visible means that you can then re use this sketch for other tools, such as maybe a second extrusion. This saves you from recreating the same sketch again, also saving you from wasting time. Right clicking on any feature and selecting suppress feature will temporarily undo this feature and any that fall below it in the tree structure. As you can see, this can be reverted by right clicking again and pressing the unsuppressed features button. Just like that. Any feature in the browser can be double clicked to edit its values in the pop up menu. So I'm going to take this cube, make it ten mil, take it from ten mil thick to 30 mill thick. And that update is just there. If we move out of the part file that we currently have back into the home and then create a new assembly file, here, you'll see that everything looks very similar. Because of this, the majority of the tools function in the same way. The presentation aspect of Invena also takes place in the same environment. The last of our workplaces available to you is the drawing space or paper space. Here you're restricted to only zooming and panning around, as you're only in a two dimensional environment. And I'll just quickly show you that. So that should cover all the movement and user interface within all the different part files. 7. 4.1 Creating a Sketch and Basic Sketch Geometry: Hi. Welcome back. In this inventor lesson, we're going to cover the two D sketch tools and how to use them efficiently. During this lesson, I'll go over every important tool here, which happens to be most of them. To get started doing anything inventor, you'll need to create a sketch. To start at two D sketch. You're going to need to find the start two D sketch button in the top left. This should be the first button in the toolbar. Once pressed, you'll be greeted with a funny looking shape, which won't mean much to someone who doesn't understand. But to explain, each of these three planes are known to indicate the X, Y, and Z axis. As you can see, it's written on the planes when you hover this is similar to a graph of your X and Y axis, but with your added third dimension known as the Z. Select any one of these axes to begin drawing your sketch. I typically select the X and Y plane, but this may change depending on what you're creating and the orientation of your model. After selecting one of the three, now you're sketching on your chosen plane in a two D surface. Select the line tool from the top using the hot key on your keyboard. Hot Keys help to increase your efficiency when working in all programs from word to cad, so try your best to learn and use them. Start by selecting your datum point, which is the small yellow.in the center. Upon placing the first point of the line, you can then click again elsewhere, and a line will be created in the shortest distance between the two set points. You can see. Now, you might see these two input fields hovering around your line when you're creating it. And you might also find that when I try to select it, it just runs away from me. I can't click it. These two input fields are used to set the length and the angle of your line that you're creating. The way to access these input fields is by pressing the tab button, and this allows you to cycle between them. Now, simply choose your relevant box and then input your number. Press Tagain to change over to the angle, and I'll set it to 120 degrees. And now I've got two locked input fields, as you can see, with the locks inside of the fields. After entering your details, press Enter and the line will be created. Typically, when you've input at an angle such as this, dotted line will be created, and this is known as a construction line. This shows the angle of which the line you have drawn is relative to. So this is 30 degrees away from here, as shown but the dimension. Moving along the tool path, the next tool is the circle tool, and this one is self explanatory and uses the same technique as the line tool. So to begin with, you're going to click on your circle tool at the very top. Alternatively, you can right click an empty space and click the center point circle for quicker access. Selecting the tool, you can click where the center of your circle will be. I'm going to choose this part here, and this will define where the center of your circle is going to be. After that, we can then define the diameter of our circle with typing in your input. I'm going to make it 20 millimeters and then press Enter. Here you'll see that the 20 millimeter circle has been created. You still have the circle tool out at the moment, so the way to get rid of that is by pressing escape. It's worth knowing that the diameter of your circle is the overall length from top to bottom or left to right. And this is set at 20 mil, like I did before. The radius of the circle is halfway through, and that's ten mil. That's from the center to the edge. And this is also shown with this line earlier, which is a coincidence. A perfect circle will maintain a consistent radius throughout all of it. So this one here will have a radius of ten. 8. 4.2 Group Selecting: Now, if you haven't already picked up how to delete lines, then your screen is probably looking a little similar to mine, as you can see, of all the lines and circles everywhere. So now I'll show you how to delete before your page becomes totally full of random geometry, and that's what we'll do before moving on to the rest of our tools. Hovering over a line will change the color of it. Mine changes to green, but this can be changed in seconds. Once it's turned green, it's indicated that it can be selected with a click. After clicking, it will change to another color when your mouse moves away. Mine turns to blue. This display is the line is selected and you can now delete it with the press of the delete key. Make sure you're pressing the delete button found above the arrow keys and not the backspace button. This is a fairly common rookie mistake, so don't feel bad if you catch yourself doing it. These things become a habit with time using the software. As we will say, practice makes perfect. Now, this works well if you only want to delete one line at a time, but you might have many things that you need delete. The quickest and easiest way to delete multiple lines is to zoom out and hold down the left click and holler everything you need to get rid of and then press delete. When highlighting, the keene among you will have noticed that the selection box changes color depending on which direction that you drag it. When you highlight from the left to the right, the box is colored red. To highlight lines like this, you'll need to fully engulf what you're selecting within the box. And here's an example. As you can see, the top line is fully engulfed within the box, whereas the line to the right isn't entirely inside of it. And here you can see that it is only the top line that has been selected. When dragging from right to left, the box appears green and doesn't rely on your selecting the entire line as anything inside of the box will be highlighted, whether it's fully within the bounds or just a small part. Now you know how to select and delete elements. Well, carry on looking at your available tools. 9. 4.3 More Sketch Creation Tools and Command Variations: Hey, and welcome to our next lesson. Today, we're going to carry on covering the two D sketch creation tools at your disposal. Since we've already covered the line and circle tool, our next tool is the RC. To begin using the TD creation tools, once again, you need to be within a sketch. To do so, go to the top left and click the Start two D sketch button. And then we're going to click on your preferred axis. I'm going to click the X and Y. After that, we're going to click the Arc tool in the top left and specify your first point. This is where your starting point will be. Your next point is where the end of your arc will be. This can be clicked in place or decided using the coordinate system accessed by clicking tab. So after I've placed my first point, I can move my mouse around and then choose where to place my second point, or I can decide that it's going to be 20 millimeters away at 20 degrees, and now it's locked in place, and I move my mouse and nothing happens. I can then click my left mouse button or enter to confirm. After specifying the start and end of your arc, your radius value is then required, and that's what you see here. Type in your number. Press Enter or move your mouse around and click. Personally, I'm always going to type in a specific number here as it allows for a higher level of accuracy. So I'll do 20 again. And as you can see, because I typed in my values, a lot of different construction lines and dimensions appear helping display just the values that I put in. Sometimes the arc tool can be confusing. So look at it as creating part of a circle. The first two clicks decide the start and the end, and the third decides the radius. Radius is the circle center to its edge. What's created is a section of a larger circle, as you can see. Now, that covers the ctol. So I'm going to delete the geometry have, and now we're going to move on to the rectangle tool. And this is found just to the right of the ctol or by right clicking and finding it in your quick access menu. The standard two point rectangle creates the shape from corner to corner using similar methods to what we have previously mentioned and provides a fast way to create oblong shapes without drawing all four lines yourself. If you take another look at the rectangle tool in the top left, you'll see a drop down w, much like many other tools in the tool bar, such as the line tool, which when opened displays multiple ways to create splint type lines. This drop down arrow gives you access to different ways to create rectangles and similar shapes such as slots. The most useful tool here that I have found is the two point center rectangle, as it flows better in my design process. This is because when using this tool, the center is defined first, and after that, the dimensions for the length and the width are applied. This method helps to keep the sketch centered around the yellow dot, which is our datum point. And I'll just show what I mean by that. So here's our datum point. And now using the two point center rectangle, I can place the center on our datum and ensure that whatever size rectangle we make it will always be centered around our datum, and this is very useful down the line, a very good habit to get into. This is because it helps keep everything tidy in the future and ultimately reduces workload. Another very useful tool in the rectangle drop down is the slot variation. I recommend using the slot overall tool, this one here, as it's the least confusing to beginners and requires the least math to accurately dimension. To use this tool properly, define the length of the slot with the first and second point. Then change the width of your third click or third input. As always, you can press tab to access the input fields to create more specific geometry, just like I've just shown you. This information regarding slots will prove useful to anyone designing shafts, as they commonly use slots in their design. 10. 4.4 Fillets, Chamfers and the inserting Text boxes: Hello, and welcome to the next portion of our course where we'll go over Philips hampors and in certain text boxes. So the next tool on our list requires you to already have two straight lines sketched already. So if you're following along at home, draw two lines perpendicular to one another. That's two lines at a 90 degree right angle. Once you've done this, select the Fillet tool next to the rectangle tool. The fillt tool turns this hard 90 degree turn into a rounded edge controlled with a radius. To achieve this, type in the radius desired into this spot that appears and then click the two lines that you want round corner to be between. This works for lines at any angle. Not only 90 degrees. This also works for conjoining two lines that aren't currently joined together. As you can see. Upon creating the fillet, you may have noticed that you see a dimension appear within your sketch displaying the radius of your fillet. Double clicking this allows you to open a menu and edit the value making for quick and easy changes. Doing it this way helps save time rather than having to redraw the whole thing again. Something else worth noting is when your fillet is made, a small dot will appear in the middle, as you can see here, marking the center point of your radius. Which is demonstrated through this circle, as the radius is only a portion of that circle. Within the drop down menu for the Philip tool back at the top on the tool bar, the only other tool that we have available to us is the Shafer tool. A Shamfa is essentially taking a cut out of a corner typically done to remove sharp edges in production. Shafer's work similar to Philips, meaning they also require two existing lines. Once again, they don't interconnect and aren't required to be at a 90 degree angle. Upon selecting the ShamfTol, a menu similar to the Philip tool will be shown. Here you can select one of the three different ways to use the tool indicated in these rectangles here. The value specified is the distance from the corner where the Shamf begins. As you can see here, this is a two mill gap between the edge of where it was and now where it is. Upon hamper creation, two dimensions appear. The dimension with FX next to it is driven by the other dimension. This means that if you'd like to change this feature, double click the non FX dimension to change both the distances at once. The second Shanfer option in our pop up menu, is the unequal distance ShanferUsed the same way as the previous. You'll notice the second input box to add your second input. So rather than having an equal distance this time, we can de to go for a non equal distance. And there's my four and my five that I've input at the top. The third champ option requires an angle input and a distance input. When you create this type of chamfer, you might find that the angle is being applied from the wrong line or in the wrong direction. This can be fixed by selecting your chosen lines in the opposite order. That covers everything to do with the ShaforTol, so we'll move along to our text input tool. The text tool functions like a textbox in any other software. Select the tool and simply click and drag to create the bounds of your textbox. After this, your text formatting menu will appear, allowing you to make whatever changes you would like. I typically leave it how it is and only ever change the font size. When you're changing the font size, make sure to highlight the text that you plan to change. To exit the menu, press Okay, or hold control, and then press Enter for the keyboard shortcut. The other text option found in the drop down menu for the text tool is called Geometry text, which uses sketch shape geometry to guide your written text to get an understanding for how this works, clear your workspace and place a circle of any size. Use the geometry text tool and select the circle. Type your text. And change the font size to easier, see it. After exiting out the menu, you should have an arch and text like this. I haven't found too many uses for this type of text. I usually use your standard text box, but nonetheless, it's always good to know. So that covers almost everything inside this create tab. In the next lesson, we'll talk about projecting geometry and how useful it really is. 11. 4.5 Nodes and Projecting Geometry explained: Hello. In this lesson, I'll explain nodes, points, and project and geometry. I'll quickly touch on the point tool, which is found underneath the text button, which we covered in the last lesson. This tool allows you to add snapping points along lines or nodes. A node is a point on a line. There is one at the start, the middle and the end of every line. These are the default nodes, and if you would like to place one yourself, this is when you would use the point tool. So select it and then click anywhere on your line. And now you'll see that we have a little center mark that's been put in place. The position of the point can then be defined by pressing D or selecting the dimension tool and then creating a dimension to constrain the point in relation to the sketch geometry. This can be changed simply by entering into the dimension. Putting your numbers in. And then pressing enter. Points become very useful when in the three D model section at the top. But for now, we're not going to cover that, and I'll tell you more about it once we get onto it. Moving back into the sketch zone or the sketch tab. We'll move on to our final tool in the create category. We're going to take a look at the projected geometry, a very useful method used for adding preexisting model edges to a sketch. For me to show you how this works, we're going to need a three D feature. And since we haven't begun learning the three D yet, I'll keep it very basic. Using the tools that I've taught you about, create a rectangle. Press the finished sketch at the far right. The finish sketch button has a big green arrow on it and can be found at the very far right of the toolbar. After finishing the sketch, the camera will pan out and change angle. Now, you've done this, change to the three D model tab at the top and use the first tool, the extrude tool. It should automatically pick up on what shape wants to be extruded, as it is only viable sketch available. Input your extrusion length using distance A, and then press Okay. Now we have a three D model to sketch on. Press the SK or start a two sketching the toolbar. Select an edge to sketch upon, and then click. Now you're drawing on the face of your model. You may want to add lines relative to the model's edges, which means you would need to redraw the lines around the model edges. Thankfully, we have the project geometry tool. Select the tool and then click on the model to project its edges to the current sketch. This is extremely useful for getting the edges from a complicated shape to your sketch. From here, you could begin designing your next features. So let's say I wanted a ten mill hole, 20 mill in from the corner. Okay. We'll make it at mill hole. And now we can go from the edge nice and easy because we projected the geometry onto our sketch. If you finish your sketch and look towards the left hand side of your screen, you'll be greeted by the model tree. This list shows all the features in your model from every extrusion to every sketch and plane, as you can see. It's here that shows your progress. So if you want to make changes from past features, come over to the feature you would like to change and double click. Here I'm going to change the length of my extrusion. I double clicked in the pop up menu that appears, and I'm just going to change my distance A again. I'm going to change to seven this time. And now you can see that it has shrunk down 15-7, and the sketch has actually followed the face along with it. This now covers everything inside the create section inside the sketch tab, and we're now going to move on to the modifier in the next lesson. So before we move on, enter your model tree and highlight everything you'd like to delete. I'd like you to delete everything so we have a clean blank slate to work off. Click on your extrusion, and if you sketch like I did as well, hold Control and then click that, as well. After that, you can press the delete key and then enter, and it should all be gone. If it doesn't work, you might be pressing backspace. Don't worry to find the delete key, and it should be easy. 12. 4.6 Sketch Modification Commands: Hello. And today, we're covering the sketch modification commands within the sketch area of our part. To get into the sketch for you, press S or begin the sketch par and select your plane. Now that we're back within the sketch view, we'll take a look at the modification section for sketches. This can be found at this part of the tool bar just after the create. The first tool is the move tool, and this is yet another self explanatory one. I'm sure you can guess what this does. That's right. You can move stuff. So if I draw some geometry down here and grab the move tool, I can quickly move stuff around. To begin, draw yourself a shape. And then once you have, click the move tool in the top and select the lines that you'd like to move. I like to use the right to left green selection box, as it's easiest since it doesn't require you to be so precise with your selection, making things a bit faster. Click the red arrow in the pop up menu to define a base point. I recommend selecting a base point attached to the selected lines as it makes more sense when moving them into a different area. So make sure that you find a node on the object, as this will make it easier and don't make your base point off the object like that. And now you see I'm moving it around, but I'm not actually connected to the geometry. If you're trying to break geometry such as this square, a pop up box might appear. Letting you know you're going to break constraints between lines. Press Enter or yes to carry on. Now select where you want to move your lines to. And if you only select half of a shape, the shape will break into two. So make sure you select the entire shape if you want to move it all. That covers the move tool. It's a pretty simple one. The next tool works very similarly to the move tool, and it's the copy tool. That's just below the this works exactly the same as the move tool, except the original lines will remain in place, and you can then place multiple copies with your mouse. Once again, choosing a sensible base point makes using this tool much easier with the snapping features found in Autocad. As you can see, now that I've selected a node on the corner of this shape, I can easily snap it onto other geometry, and it's a lot more controllable. That's everything on the copy command. Once again, it's a very simple one. So the next tool is the rotate tool just underneath the copy command. The way the rotate tool works is that you will select your desired lines that you'd like to rotate. Selecting the same line twice will actually deselect it, so watch out for that. After selecting your lines, you're going to want to choose a base point, the same way described as previous tools. The base point represents where you'll be rotating around. So if I select here, you'll see that this geometry is rotating around this center point, which you can also see as a black line from the center point to my mouse. The angle of rotation can be inputted in the pop up menu or by moving your mouse and clicking. Once again, ensure you type in your specific number to be more precise with your work. Right here, doesn't really matter too much as I'm not really aiming to do anything other than demonstrate how the tools work. The next tool available to us is the Trim tool, and that's just next to the move command at the top, as we've jumped up to the top of the modifier section. Trim tool is very useful, and anyone who's used two D Autocad before knows this already. Select the trim tool or press Shift and X together for the hot key. You'll see that the trim tool has been selected by the plus that you can find right next to my cursor. So if I come out of it, shift and X, there's a plus. Press trim, there it is again. Otherwise, you can also look at the tools at the top and you'll see the tool you have selected highlighted. To use the trim tool, select the trim tool, or use the hot key. And then it does exactly what it says, and it removes an excess line depending on where another line is passing through it, cutting off the end, like so. The way you use the trim tool, rather than highlighting is you draw a line, and any geometry that happens to be in the way of this line is then cut or trimmed. This tool quickly tidies up sketches after you've done constructing them. After the trim tool, we have its cousin, the extent tool, just underneath it. This is virtually the same tool, except you're adding extra rather than taking away, as you can see here. This tool is found below the trim tool or by pressing Shift and X once again. But this time, because as before, shift and X brought us the trim tool, if we hold Shift, you can see that we're now extending the line at the top up here, and that's how we get the hot key to the extending tool. The way the extend tool works is that the line will not just extend into a void. You need to make sure that there is a line for it to reach. Otherwise, it simply won't work. Our next tool is the split tool found just underneath the extent tool. This also works like the past two tools. Any single line with another line passing through it can be split into two separate lines using this tool. I've personally never had a reason to use this tool, but this may be helpful to someone watching. As you can see, when I hover over this line, the other line that is intersecting it has created an X. And once I click, this big line has now separated into two separate lines. Next up is the scale tool, and this is another two step tool like copy and move. A top tip for two step tools. Once your targeted lines are selected, you can quickly move to the next step by holding right click and drawing a line to the right. This serves as a quicker way than moving your mouse up to the pop up menu and pressing the red arrow. Anyway, with the scale tool, a base point will be where the selected shapes are scaled from. So this lighter blue line is my current selected geometry, and if I place my base point at the bottom of bit, you'll see that I can grow that line or scale it, whereas the base point remains in place, as you can see with that lock there. Move your mouse around close to the base point to get an idea of what this process is doing. You can now click to confirm the scale or type in a scale factor in the menu. A scale factor of two will double the size of your sketch. I've just placed down a ten by ten square to better help demonstrate this scale tool. After highlighting it and then placing my base point, I can now put in a scale factor of two, and this takes the square to 20 by 20. A scale factor of two will double the size of your sketch, and a scale factor of 0.5 will half the size. This also means that your original sketch has a scale factor of one. As you can see, we're back to our ten by ten. So a ten by ten box with a scale factor of two becomes a 20 by 20 box. I hope that clears up what a scale factor is. Moving along our menu to our next tool, we have the stretch command. Once again, this is another very versatile tool. The stretch tool uses two steps selection and base point. The selected points at the end of the lines and the lines themselves can be moved. Connected lines will stretch to stay connected, keeping a closed loop. So on our square, we currently have connected lines. So if I decide that I'm going to stretch this end of it, I'll highlight this part of the square, choose a base point, which I'll make the top. Yes. And now I'm able to stretch it around. And you'll see that the line I didn't highlight isn't being stretched, and the rest of the geometry is following around and staying connected. Otherwise, if we have geometry that isn't connected and we use a stretch tool, you'll see that the lines will cause a break. When the lines stay connected like this, this is known as a closed loop. It's very important to know when working an inventor. Closed loops are necessary for turning a two D sketch into a three D model. They're also exactly what they sound like. A loop that has no openings or breaks, therefore, a closed loop. The reason we need a closed loop when creating three D models is because we can't have a open loop and then extrude this out because there's no specific area that is defined here. Personally, I use the stretch tool quite a lot at work when I'm designing windows. I find that I can design the window at a smaller scale quite easily, and then after that, I can simply stretch it to be its actual size. Moving on to our next tool, we have the offset tool. And what this tool does is it creates another line, a set distance away from any selected geometry. With a single line, this simply creates another line, a set distance away. So find the offset tool just underneath the stretch tool or by pressing O as the hot key on your keyboard. Click on the geometry you'd like to offset, and then you can move your mouse around and click or input your number. Inputting your number will create a dimension between the two lines, which you can edit in the future. Whereas if I was to use the offset tool on the line and didn't input a dimension, I don't get the dimension between the lines. What's special about the offset tool is that with closed loops in rectangles and circles, you can create bigger shapes with the same qualities as pre existing shapes or smaller shapes, as you can see. This proves to be even more powerful when you start getting into more complex shapes. So I'll just do a little abstract thing right here, and then I'll trim all the inside lines so that we only have an outside line. Just like that. Oh, miss a bit. And then offset, and as you can see, is keeping all the characteristics of this abstract art I just made. This proves to be very useful, and I recommend remembering it. The offset tool is hard to explain, but very intuitive once you have used it once or twice on different shapes. It's worth noting that a ten millimeter square with an offset of 1 millimeter will result in a 12 millimeter square, as it will be extended by 1 millimeter in every direction. As you can see, we've got a 12 mill line across here now. A useful way to use this tool is to remove the center of a part to reduce its weight. This is done by offsetting inwards rather than outwards and then removing the inner shape, leaving you with a frame thus reducing weight. So I'll just quickly show you what I mean by that. So I'll enter a sketch, quickly put down a square, and extrude it so that I have a model to work with. So now we have our model. I'll just create a sketch on this plane, project the geometry so that I have the edges. And then after that, I can offset these edges in by two mill, and then extrude this smaller square all the way through, creating a frame like I mentioned before. Another thing worth mentioning and something that I didn't quite cover before. With the complex shapes, you might notice that certain details will be lost to keep the offset consistent. As you can see, this little square portion at the top has been removed just to keep a consistent offset line. Now, that covers just about everything inside this modifier section. So join me in the next lesson where we'll go over this pattern section. 13. 4.7 Pattern Based Duplication: Hello, and welcome back to the final section within this module, the pattern section. Within this section, you have three different ways to effectively copy and paste elements. Let's start with the miratol as it's the quickest to explain and probably the most useful as well. So the tools that we're covering here in the pattern section in the tool bar, these three here, and we'll start with the miratle. To begin using the mirror tool, you're going to need geometry you intend to mirror. And what's known as a mirror line. Before you even click the mirror tool, decide what's being mirrored and where? Once you've decided, draw a vertical line halfway between the two locations. So I'm going to mirror this square right here, and what I'm going to do is I'm just going to mirror another one so that it's right next to it, and it's equal size square. So I'm going to select the mirror tool. Highlight all my geometry. Go to the red arrow in the pop up box, known as mirror line, and then I'm actually going to select some of the geometry in my shape. And you don't have to use the geometry in your shape. You can also create another line outside of it. But for now, I'm just going to use this. And as you can see after I've confirmed my mirror line and the objects I would like to mirror, my mirror image appears. If I plan to have a ten mil gap between these two mirror images, I can draw my mirror line in the center of the two. And this one is five away from my mirrored object. So on the other side of this line, it will also be five mil away from it. Something worth noting is that when creating your mirror line, you can ensure that it is vertical by pressing tab to get to the degrees input field. Here you can input 90 degrees to create a vertical line that is definitely straight or we can input zero degrees, and this will create a horizontal line. That's perfectly straight. This means that when you mirror, you don't end up with strange angles, such as that. Now, this is obvious, but when the line is only just on the wk, when the mirror line isn't perfectly straight, you may not notice that the mirrored creation isn't quite straight, and this can massively affect the results of your drawing. So to reiterate the mirratonOce you click the mirror button, you can select your mirrored elements. And then you can right, click, press Continue or click the mirror line button and then select your mirror line. After that, you can press Apply or right, click, and press Okay, and this will create your mirror image. As you can see, when I click on this line, I just use as my mirror line, a lot of constraints can be seen, something that will cover in the next lessons. But for now, I'll just let you know that these are mirror constraints and ensures that each of these squares remain mirrored in relation to this line. This means that any dimensional changes made to one side will translate to the other side, also. So if I decide to stretch this rectangle to be a little bit taller, the other one will also move with it, as you can see, and this goes for the other side, too. So that covers the mirror tool. We'll move on to the next pattern tool, which is the rectangular pattern tool. Used to copy and paste elements multiple times in up to two directions. To begin using the tool, press the rectangular button and highlight the geometry you'd like to repeat. So I'm going to use this square once again. Now, right click and press Continue or press the red arrow found under direction one in the pop up menu. The next line you click defines the axis, your copy and paste will be on and can also be a line from the geometry that you're copying. So I'm going to click this on the square. And you can see the direction has been chosen. I can flip the direction using this arrow within the direction one category. All the work for this tool is done within this little menu. The input box next to the three dots, as you can see here will be the quantity of copies including the original. So putting two in here will only create one copy, as you can see. Putting in three will give you two copies in the original. The next input box below is there to specify the distance between each copy and this direction. Speaking of direction, the direction of the copies can be switched the other way using the red and black arrow button. This process is then repeated again for the second direction. So, for example, the 50 and mill you can now see there's a bit of distance between the two of them, and then I'm going to specify my second direction, and I'm going to ask for five copies. And now you can see I'm forming a grid with all these squares down here rather than just copies of the original square. Once everything looks correct to you, can press Okay or once again, right click and then press Okay. And this will create it all. You can quickly change the parameters for this tool using the dimensions, and it will update all of them. Now that just about covers everything for the rectangular tool. So we'll move on to the final tool in our pattern section, and that is the circular pattern. This one is also very similar to the rectangular tool, except it creates copies around a circle or a radius. So I'll just quickly put down some circles and radiuses because without it, it's going to be pretty difficult. Select the circular pattern tool and highlight the features you want to copy. Right click and press Continue or press the red arrow in the pop up menu. After that, you can decide which feature to copy around. I'm going to use this arc at the moment. If you haven't already, you may need to press Escape and close the tool to add a circle in the center of your desired copies. After selecting your circle or arc, faint versions of your selections will be shown. Changing the number in the first input box will change how many copies there are. Next input field should say 360 degrees as a default. This can be changed to whatever you like below 360 degrees. And the number of copies will be evenly distant around the center circle for the amount of angle inputted. So if I reduce the amount of triangles I have hit to ten, so there's a bit of space between them. And then I change it to 180, you'll see that it is only occupying 180 degrees of this radius. If I change it to 250, you can see that it's going 250 degrees around this center circle. The reason you can't go above 360 degrees is because once you've hit 360 degrees, you've done a full circle. It's okay in the menu to confirm the location of these copies. Once again, you can quickly change how the circular tool functions using the dimension that appears with it, and this will work the same as if you were doing it inside the pop up menu. That covers all of the tools within the two D sketch environment used to create and manipulate lines. As mentioned earlier, the next lesson will inform you in regards to sketch constraints similar to the mirror constraint we have already seen. I look forward to seeing you there. 14. 5.1 Dimensional and Geometric Constraints: Hello, and welcome to the next portion of the course where we'll be going over the sketch constraints available to you in inventor. And some scenarios, you may find the constraints used for length. The constraints can be found inside of sketches. So if you make your way inside of a sketch, and here you'll see the constraint tab at the top in our tool bar. And each of these buttons inside this tab obviously is a different tool that can be used play around with constraints. Personally, the way I see constraints is as rules that certain parts of geometry must follow. This means that when you make a change to your sketch design later on, the rest of the part will remain similar to your original design idea. Constraints inventor you to control the behavior and relationships between components in a design, geometry and sketches and parts within assemblies. Constraints are a key aspect of creating accurate, reliable designs that makes specific requirements. The types of constraints we have available to use within sketches and parts are geometric and dimensional constraints. Other mating and fixing constraints can be found in the assembly portion of this software, which I will talk about in later lessons. To begin with, the geometric constraints are used to control the relative position and orientation of components within a design. For example, you might use a coincident constraint to ensure that two components are aligned exactly. I'll just show you how that one works. This here is the coincident constraint at the very top, the first of this grid here, and I'm going to select the end of that line in the center of this circle, and now they can coincide with one another. And when I move it around, you'll see that they remain coincident. Other very useful constraint tools include the parallel constraint, which is this one here just underneath the last one. And if I select my two lines, they remain parallel. And now I cannot make that not parallel without breaking the constraint. And you'll see that it's adaptive, too. So everything updates together to make sure your rules still work, even with your design changes. And that's why it's so important to make sure you apply your constraints before you make edits to your design. When working with geometric constraints, you can highlight lines and you can see the symbol for the constraint is shown. Working with geometric constraints, after highlighting geometry, symbols appear displaying what constraints are currently affecting it. As you can see here, I've got a parallel constraint, and that matches this one at the top. Outside of geometric constraints, we also have dimensional constraints, and dimensional constraints are used to control the size and shape of components within a design. For example, you might use a distance dimension to control the size of a part or a radius dimension to control the shape of a curved surface. By using constraints, you can create designs that behave in a predictable and consistent way, even when you make changes to the design. This makes it easier to iterate and refine your designs and helps to ensure that your designs are always accurate, reliable, and meet all of your design requirements. To quickly show you how the dimentical constraint works, you can click on the dimension button at the top here or press D to get to your hockey. After that, you can click on the geometry, and a dimension will be created between them. Now you can press a scape to come out of it, and now you just know how far away it is or you can double click back into it and then change the number inside the field. This isn't just used to measure the distance between your geometry. You can also use it to edit the distance between your geometry. As you can see, look, I just went from nine mil to 15 mil between these two lines. And I can also control the size of this circle if I decide to put it 30, it now cannot change size. If I put down another circle, you'll see that I can easily change its size. Very important to constrain your models, and it ensures that the pre existing design requirements set by clients remain in place throughout the design process. So even throughout the multiple changes the model is bound to go through, all of the important relationships remain consistent. For this reason, adding constraints roughout your sketches helps to keep them flexible as only the important parts of the sketch remain true, while the rest of it is free to modify. 15. 5.2 The Dimension Command and Tips: Welcome back. In this lesson, we're going to be covering the dimension command and diving into its capability. To do so, you'll need to be in the two D sketch environment. In the last lesson, I explain the different types of constraints and general uses for the constraints. Before I talk on each specific constraint tool and its use, it's important that I teach you about the most versatile of constraint tools, the dimension tool. This is not only used to pull dimensions from your sketch geometry, but it's secondary use within a sketch is to set the distance relative to geometry, also known as a dimensional constraint. In order to access the dimension tool, you can click the tool at the top here or you can press the hot key D for faster access. Now, before I start using this tool, I'm just going to quickly put down some geometry that I can influence with it. Hee, I've drawn myself a little face here, and I'll use that with the dimension command to get a better understanding of its function. So, like I said, before the dimension tool is at the top, or use Hotkey D for faster access. When using the tool, press an element such as a line or a point and then place the dimension nearby to change its size. So now I've placed it down with my first click, I can change it with my input. Keep the dimension close and in a place that clearly represents what it is that it's measuring. This is for your own ease. So as you can see, this clearly represents that this line here is 25 millimeters. But if I decide that I'm going to take this dimension, just throw it really far away, really far away to exaggerate my it becomes difficult to know what it's being used for. So ensure that you always keep it nice and tidy, and I like to center them too. To move them around, you can click on the number and hold and then move it around. After closing the input menu for the dimension that appears once you create your dimension, you can double click back into the dimension to open up the input field. From here, you can make whatever changes you like. To constrain a certain distance between two pieces of geometry, select the tool and then target the two elements. So I'm going to choos the top and bottom line here. A dimension will appear between the two. Now place the dimension where you want it, and from there, you can change the distance. Now you can see I've made the head a bit longer. Oh, I can bring it back down to be the same size and square shape. As you can see, when these lines have a dimension between them, their distance between each other is constant, even when moving the edges around. So you see I'm just going to try and move it around. The shape remains rigid. This is better displayed if I only have one constraint, and now you'll see that I'm able to move it around, but the 20 stays constant. Using multiple dimensions together helps to easily locate geometry. I'll show you what I mean by this now. I've drawn a simple square using the rectangle tool, and I've dimensioned it how big it is to fully define the size. So now it's fully defined, it will not change shape, and I can also make sure it doesn't move by centering it around this datum point. And as you can see, once I get all my dimensions in there, this outside line has now become black rather than the blue for these unconstrained one. Shows that these lines are fully defined and completely constrained. No more constraints can be applied to this, and you shouldn't need to either, as they will no longer be able to move as they're locked in place due to all the rules that have been applied to them. Using dimensions is useful to ensure its length and width don't alter as we make changes. So let's say I wanted a square frame with the bar down the center. So I'll use the offset tool to give the edges some thickness, and then I'll draw the bar through the center of the square. In order for me to have this bar dead center, I would need to take the overall width, take away the thickness of the center bar, and then divide the remaining by two for an even distance either side of the bar. That feels very long winded and takes too much time. The quicker, smarter way of doing this is to fully utilize dimensions and driven dimensions. A driven dimension is only there to measure a distance and will change with the geometry, not enforcing any rules. So as you can see, I've changed this 228 driven dimension, and I can now alter. And it will change in accordance with how big that line has become. I can then change it back to a normal dimension, and I can start changing it again. You'll see that when it is a driven dimension, you can't make changes, the input field is grade out. So in order for us to utilize driven dimensions to get this center bar central, we're going to place two dimensions either side of our bar, and one of which is going to be a driven dimension. And you'll see that it's automatically becoming a driven dimension due to the sketch becoming overconstrained. Driven dimensions have these brackets around the number. Now we have a driven dimension on one side of the bar, and we can dimension the opposite side. You will see that the bar still isn't central. What we need to do from here is use some more of that dimension tool functionality. Select your normal dimension, and when the input menu appears, select your driven dimension. Like so. What this does is tells this dimension to be equal to the selected one. You can see that this dimension that I have open is called D eight and the driven dimension is called D nine. These are pre created names in the menu, and you can change the name of them if you really want so once you've input this dimensions name into the input field, it can and will change to a number where both sides of the bar are equal, as this is the only way both dimensions can coexist. Thus putting our bar right in the center with minimal time and calculations. And there you go, you got eight millther side, but I've done it wrong, and I went to the wrong line. So I'll quickly show you that again so that you can see how much faster it is to use the driven dimension technique to get it central. So here's my normal one, and then my driven one will automatically generate, and then I open my normal dimension, click on my driven one, press Enter, and then you'll see that this bar has been centralized. Nice and easy. And very little map involved. This isn't the only use for the dim tool, though. It can be used to set distances between elements, as you just saw, and also change the size of elements, too, such as line length, circle diameters, arc radion much more. Just to demonstrate that, here's a circle, and then we can change the size of it. We can also change where the circles located using the center point, and we can easily manipulate its location. As you can see, the same applies to arcs, so I'll quickly put one down. And you'll see that I can change the radius of this arc to ten, and then the same again with the center point, I can just constrain it to another relative area. If you ever need to change the size of geometry, don't delete it. Add a dimension, and then change that dimension. Not only is this quicker, it also locks the element at the specified value, meaning it won't change, and there will be less errors in your sketch. Using the dimension tool on angled lines such as this one, ensure that your cursor is close to the line when you click again because this creates a dimension that measures the overall length of your line. If I pull too far away, you'll see that the dimension actually appears without me clicking. And that is the overall vertical height of this line and the overall horizontal width of this line. And this just demonstrates the many different ways that the dimension tool can be used even on stain elements. So if you want to get the overall dimension, remember, don't pull too far away and click nearby, and then we can just place it where we need it and edit as we please. 16. 5.3 Geometric Constraint Tools: Hello and welcome back. In this lesson, we'll be going over the first of the geometric constraints. For us to do that, we're going to need to be in the two D sketching environment. So once again, we're going to start a two D sketch at the top there. The first geometric constraint of the 12 available tools up here is the coincident constraint, and this is found in the top tool bar under the sketch tab, much like the rest of the tools we've been learning about previously. The coincident constraint will have two selected elements coincide with one another, meaning there will same place. This remains a fact even when the sketch is moved about. So here I'll put in some geometry to show you that. I've selected the constraint tool at the top, and then I'll select the nodes either side of these lines, and you will see they will coincide, and I'll just do it with the middle of this one. And now you can see the three lines. Even when my sketch is being moved, the rules will still apply. Now, like I just showed you, the way to use this constraint tool is to select it from the top and then click on the two elements that you wish to target. Find that with all the constraint tools, you'll need a minimum of two elements in your workspace, much like these two lines. And without them, there isn't enough geometry to relate to one another. After selecting your elements, they should connect with one another and are represented as small yellow squares. They will remain this way until the constraint is removed. The way to remove a constraint is easy. Simply click the yellow square and you will see your constraints pop up. Your selected constraint will be highlighted in this red color. So I'm going to left click it, and then press delete, and now you'll see that both of those constraints are gone. Covers coincident constraint. The next constraint tool is the colinear constraint. And this is used to align the angle of one line with another line's angle. And that's found just next to the previous constraint. And this works not through nodes, but through lines this time and will ensure that all the lines selected will have a consistent angle. And if I decide to change the angle of that, you'll see the other one changes with it and they remain in line. As you saw before, the lines may connect after the constraint is applied, but this doesn't mean they need to stay connected for the constraint to remain. The lines can be on the same angle and also be nowhere near each other. A bit like that. Only constraints between certain geometry will result in a permanent yellow square. The way to access the square for something like this is to click on the line that you targeted beforehand. Now your constraints will appear. You can click on it and then press delete and your constraint will be removed. You see that they're no longer collinear. Moving on, we next find the concentric constraint tool, and this tool is used to align the centers of circles and arcs. To use it, press the tool and select the two curved elements. But for us to start using this, we're going to need some curved elements already down. So I'll just throw down some circles and arcs. This way we can constrain properly. So the concentric constraint tool is used to align the centers of circles and arcs. To use it, press on the tool at the top here to the right of our previous one. After that, select your two different curves. So I'll set this circle and this arc, and you'll see both the center dots right here or center marks will now be aligned and will remain aligned no matter what changes you make to it. The same effect can be created with the coincident constraint. Our first tool, using the concentric constraint that we have just used, we can click on the two curved elements to align their center points. Whereas using the coincident constraint, we can simply coincide the two center points and achieve the same effect. Knowing multiple ways to do the same thing proves to be very useful, especially in Cat as not everything tends to work out the way that you'd like it to. So having a second option I find is extremely useful. This constraint is useful when creating circular parts of which require a consistent thickness all the way around, such as circlps and rollers, because you know the circle centers will always be aligned, meaning there is less chance of on to the next constraint tool, we have the fixing constraint, and that is represented as this lock at the very top. What this one does is it just locks whatever element you're using in the selected position that it is in. This can be lines and points, and you'll find the fixed lines or fully defined lines turn black. So if I click on that and just select something real quick, you'll notice the whole line turns black because it is now fixed in place. Once again, you can click on your constrained element and your constraints will show up as these small symbols by the side of the line and you'll see here that I have the lock. Fully constrained lines means that they don't require any more dimensions or constraints and will not move. Using the fixed constraint is the quickest way to fully define geometry. Other ways include using dimensions and constraints to relate elements to one another. To delete a line with multiple constraints acting on it, you need to select the line and then select the constraint symbol that pops up to delete just the constraint. Once again, elected constraint glows red, as you can see, and I'll just select delete, and now it is no longer constrained, it can be moved around. That's the fixing constraint. It's a pretty basic one and self explaining, really. After that, we have the parallel constraint, and this is found on the next row down the very furthest on the left in the middle row here. This is pretty straightforward one. Click the tool and then select the two lines that you want to be parallel and remain that way. Like that. This is a good tool for ensuring that your sketch stays a rectangle shape after sketch edits. So, I'm changing the angle, and they remain parallel to one another. The next tool that we have available to us is the perpendicular constraint tool. And once again, this requires multiple lines to use and is the opposite to the previous parallel constraint. Because instead of making lines flow in the same direction as each other, this tool ensures there is always a 90 degree angle between the two of them. What makes constraints so great is that it allows a sketch to update correctly upon changes. This means that even when one of these lines changes angle, the other will update to become perpendicular once again. So I'll just show you that by using this perpendicular constraint the same way as I have with all the others. I'll change the angle of a line if it would let me. I'll do that using another line. I'm going to fix that line in place. And now you'll see that no matter what angle I change this bigger line to, the other one will remain perpendicular. After the perpendicular constraint, we have the horizontal constraint. Any line that this is applied to will update to be horizontal and will no longer change angle. A horizontal line is a line that flows from left to right at zero degrees, dead level. Onto our next tool, which is also a very similar tool, and that is the vertical constraint tool. And guess what this does. You guess any line that is selected with this constraint applied to it will stand up vertically and remain that way. A vertical line flows from top to bottom at a dead 90 degrees. That about covers those two rather simple constraints. Next, we're going to have a look at the tangent constraint. This works through selecting curve geometry and possibly a line or another piece of curve geometry. Apply the tangent constraint, you'll select your curved edge to begin with and then select any other element, including lines or other curve elements. So as you can see, I've got a tangential constraint on this circle and this line. And when I move this circle around, it grows smaller as I get closer and bigger as I get further away to ensure that it remains in contact with that line. Alternatively, I'll select the same circle again and another one, and you'll see that this one's actually grown in size so that we get that tangential constraint. No matter what I do, these circles remain in contact with one another. I'll just clear the workspace so that the next constraints I show you are a little bit easier to demonstrate. To fully understand what a tangent will do, I'm going to lock a circle in place and then tangentially constrain a line to a circle. This line will remain attached to the circle unless it is no longer long enough. Nonetheless, if this line was to carry on, it will always touch the edge of the circle. So if you lock yourself a circle like this and create a tangential constraint to it with this line and then begin to move the line around, you should begin to get an understanding of what a tangential constraint is. I only recommend doing this for somebody who doesn't quite understand what it is. Anyone who understands what a tangent is shouldn't need to do this. The next constraint is the smooth G two constraint, and this one I'm going to skip as it requires the use of a splintal and we haven't touched on that just yet. After we have the symmetrical constraint, and this is the constraint that is made when geometry is mirrored. The constraint itself is what's responsible for updating the mirror image when the original is altered. So if I create a miror line here and then I'll highlight it and turn it into a construction line just so that we know that it is a mirror line. I'm also going to lock it in place using the fixing constraint. The way to apply a constraint of this type is to have a mirror line pre created for your target lines. This mirror line could be one you made for this constraint or a preexisting line. If you do happen to create a line for this job, make sure to highlight it and format the line as a construction line. This is so the mirror line doesn't interfere with any of your other tools. After selecting your tool, or symmetrical constraint, select your first and then second line. After this, select your mirror line of which you want your two elements to be symmetric about. The two symmetrical lines will always share the same angle from the mirror line, but in opposite directions. So I'll just show you that with lines as well. Once again, you're going to click your two elements that you wish to be symmetric and the mirror line, but they will be symmetric around. So as I change the angle of this line, you'll see the other one changes angle also. Alternatively, I also did it with these circles, and I'll just quickly delete the fixing constraint. And now you'll see that when I move this circle, they remain symmetrical to one another, and that is the same for everything including size and position. The last of the constraints that I would like to touch on is known as the equal constraint, and it is a very useful one, too. For me to explain this properly, I'm just going to clear my area and put down two lines, nice and simple. I'm also going to dimension these lines with driven constraints so that they can change size, and this will update with it. This isn't the case for normal constraints, as you can see, it's just moving the line. Anyway, the way to use the equal constraint tool is to select the tool and apply the constraint to two elements in which you want to be the same size. So I'll click this line at the top first, the 176 millimeters long line. And then this one below after. And you'll see that the bigger line has shrunk down to 161 millimeters after the equal constraint has been applied. This can be used for line lengths for circle diameters. I'll just show you that quickly. There you go. And this can also be used for the radius on arcs, which is very similar to the circle. So after applying the constraint to two, you'll see that the radius dimension is equal across both of them. When selected, you'll see the equal constraint applied to them. And what's good about this, as with every constraint is that it will update simultaneously. So using these constraints in conjunction with one another can create very powerful dynamics which massively speed up your workflow. So I very much recommend making a habit of using them. 17. 5.4 Fully Defined Sketches: As you may or may not know now, before consuming a sketch to make models, it's a good habit to fully define the sketch. Fully defining a sketch turns all the geometry into black lines that cannot be altered by dragging geometry about. As this. As you can see, all the lines are black, and I can't just drag it around. This is what we're going to be covering throughout this lesson. So if a sketch is not fully defined, you may experience issues such as underconstrained sketches, which can make it difficult to create accurate designs since your geometry will keep changing as you carry on working in the file. To fully define the sketch, each piece of geometry needs to be dimensioned or constrained relative to one another. To fully define the sketch, each piece of geometry needs to be dimensioned or constrained relative to another piece of geometry. Once your sketch is fully defined, you might find that a change is needed. So how can you change it after defining everything already? Make changes to fully defined geometry, you'll need to change input in one of the already created dimensional constraints. In order for me to demonstrate how to edit a fully defined sketch, we're first going to fully define the simple square sketch. As you can see, all the lines are now black, and each side has been given a value. Not only has each side been given a value, but the square has also been located around the datum point. And as you can see, when I make changes, this dimension from this edge of the square to the center here or the datum point moves in accordance. So so once your sketch is fully defined like this, you might find that a change is needed. So how can you change it after defining everything already? To make changes to fully defined geometry, you'll need to change an input in one of the already created dimensional constraints. And you'll do this by double clicking in and changing that number, as I've shown you before. Changed figure will also need to be congruent with the rest of the design. Otherwise, the sketch simply won't change. In other words, the change you're trying to make needs to be possible while the other dimensional constraints you're not editing are active, too. So it would be impossible for me to have a ten in this dimension over here, as well as a 20 on this side, as that would go against the rules in place or the constraints in place that keep this square a square, such as these parallel constraints here or perpendicular constraints here also. A fully defined sketch in autodesk inventor refers to a sketch that has enough constraints applied to it so that the size and shape of the sketch are completely determined. A fully defined sketch has no degrees of freedom, meaning that all of its dimensions and relationships have been specified and cannot be changed without violating the current constraints. To fully define a sketch before turning it into a model, the entire sketch must be dimensioned and constrained relatively. This process can take quite a while and proves to be quite meticulously when done manual on rather complex projects. The quickest way to fully define a sketch is to use the automatic constraints. So I'm going to quickly, once again, just put together a bit of a mess of shapes and then I'll fully define it so that it can no longer be changed. So now that I have my complex shape, it would be quite a long and arduous process to go and manually change all of these dimensions that I can find here, as you can see. But instead of me doing that, I'm going to escape out, delete these dimensions. And now I'm going to use the automatic Constraints tool. Automatic constraints in Autodesk inventor are constraints that are automatically applied to your sketches based on the relationships between the elements that you have already drawn. When you draw a line or a circle, for example, inventor will automatically apply constraints to control the size and the shape of the sketch. After these dimensions have been generated, you may find that there are far too many. So feel free to delete a few of the unnecessary dimensions to free up some wiggle room within your design. In order for you to apply your automatic constraints, come to the constraints tab at the top and click this dimension icon with the lightning bit above it. After highlighting your sketch, press Apply. And as you'll see, far too many dimensions, and it's not very clean. So like I said, feel free to delete any dimensions to free up some wiggle room in your design. Right now, I shouldn't be able to move the design around too much. As you can see, I'm just changing where it is placed right now rather than changing the size of it. But if I was to delete a few of these dimensions, you'll start to see that the design is a bit more malleable, but I'm just going to reapply them. So now that I can't just drag the lines around, you might be wondering, how can I regain the ability to once again drag these lines around? In order for you to do this, you're going to use the relax Constraints button. And that's found within these constraints settings under Relax. Simply tick on the Enable Relax mode box and press Okay, and you'll now be in relax mode. And as you can see, I can once again make changes to the design just by dragging. Although I don't recommend doing this, I always recommend changing designs by editing the dimension field. As this is a lot more accurate and you have a better idea of what's going on, this is still good to know. Relax mode and inventor allows you to temporarily suspend the constraints that are applied to your sketches. This is useful when you want to experiment with different design options or make changes to your sketches without affecting the constraints. When in relax mode, you can move and modify your sketches freely, and the constraint will not be enforced. Once you're finished making changes, you can exit relax mode, and the previously created constraints will be reapplied to your sketches. So while in relax mode, after dragging any of the sketch components around, the constraints actually change with it, meaning that once I go back out of relax mode, all of these dimensional constraints will have updated to fit the new sketch. All of the pre created dimensional constraints will have now updated to fit the new sketch. In general, the goal when creating sketches in inventor is to make them fully defined. This can be quickly achieved using the automatic constraints. When using the automatic constraints, ensure that the design is exactly how you would like it before doing so. By using automatic constraints, you can fully lock your sketch and no longer have to worry about it changing for reasons outside of your comprehension. This is nice as a beginner, since things might be happening in your files that you don't fully understand yet. Therefore, automatically constraining the sketches, thus locking it proves to be useful and a smart thing to do. 18. 5.5 Constraints Assignment: So now we have a general understanding of how most of the constraints work. We need to solidify what we have just learned. I've made a worksheet based off of one I found online. Download the worksheet and work through each section. Each section uses a different constraint tool, and some use multiple of them. The top rectangle is the one that you'll be editing, and that's this one here. And the rectangle below is what yours should turn out like. This worksheet shouldn't take too long, but don't worry if it does take you while, as sometimes it can be hard to get your head around. So quickly work through that and join me in the next lesson of the course where we will begin turning our sketches into three D objects. Now, for those who might be struggling with the constraint worksheet, I'm actually going to work through it right now just as a guide for you in case you don't quite understand what to do. So as I said before, the bottom one is how it should look. I've written that here, and the top ones we're working on. So we're going to make this line perpendicular. And for that, we'll use the perpendicular constraint tool and just click the two lines. Done. Moving on. Make all three of these lines parallel. You'll see, these are all parallel. It might not turn out exactly the same, but all the lines will be parallel. So we'll take the parallel constraint tool, and we'll use that twice on all three lines. So now we're going to connect all these circles via a tangent. And once again, we're going to use the tangent constraint tool. And just click on on the circles, and that brings them all together. This uses the same tool again, but this time, instead of using it on multiple circles, it's just using it on lines and circles. Moving down to the next line. Now we're going to make the lines coincident with the circle center. And as you can see, this should form some kind of X through the center there, but as I said before, it's not was going to do exactly like that. We'll use the coincident constraint, select our line, and then the circle center. And then once again, and there we go. Making all the circles concentric, we'll use the concentric constraint tool. As see, it's quite self explanatory. You should be able to do this on your own, but don't worry if you can't the lines colinear, using the colinear constraint. You can always hover over the constraints to learn the name of it, as you can see. And now all those lines have become one. Making the lines horizontal. Use the horizontal constraint, just like that. Same again for the vertical lines. Make sure that when you're clicking on the lines, you're clicking on the lines itself, not any of the nodes, like this green.in the middle or this green dot at the very end. You want the lines to do it, not the nodes. On this one, we're going to make all the angles of the triangle equal, and we're going to use the equal constraint. And what this will do is it will equal out the lengths, therefore, equaling out the angles. I've just realized I've got a spelling mistake, but I'm sure you get the point, making the circles equal in diameter, once again, using the equal constraint. And I've got the driven dimensions here to show you that it's 500 millimeters. And last but not least, we're going to make the circle centers all lined on the horizontal plane. And the way we're going to do this is using the horizontal to. I'm just gonna click on the circle centers. And now you can see if I just draw a line. They're all aligned horizontally. And that should be all of them. You guys do that yourself, and when you're done, we'll move on to the next lesson. 19. 6.1 Extruding and Revolving: Hello, and welcome to the next lesson in this course. This lesson will go over the three D creation tools available and how each of them works. Throughout this lesson, you may find that my explanation isn't enough for you to fully grasp how each tool works. If you do find yourself running into this problem, first off, sorry that I didn't provide a good enough explanation for you to understand. But secondly, you can hover over any tool and press F one. What this will do it will take you to the official Autodesk inventor help page where you can find more information about the program provided by Autodesk themselves. You shouldn't have to do that, but it's best you know in the worst case scenario. Anyway, let's begin learning these tools by creating a simple sketch such as a rectangle. For a sketch to be converted into a three D object, the shape cannot have any breaks in it all the way around. This creates what's known as a closed loop sketch. After this, you can exit your sketch by clicking the big green tick at the end of your tool bar. The sketch will zoom out and change angle once you've exited. The tool bar at the top, has now changed to the three D model tab. The first tool in the tab is the extrude tool. Upon selecting this tool, it will automatically select your rectangle as it's the only viable sketch. If there are more than one closed loop sketches, then you will click the tool and be made to select which of the sketches you wish to convert into a three D model. Once you have decided which shape to extrude, a pop up menu will appear containing all of your options. These four orange icons symbolize the direction you're adding your third dimension in. The first two buttons, the first one known as default, and the second one known as flipped, are both opposite direction. The third button equally extrudes in both directions, leaving the original sketch in the center of the newly created body. The final button here, is similar to the third one, extruding in both directions, but this one gives you control over how far it extends in either direction, providing great functionality. So as you can see, with the body that's being created here, I just make that a bit bigger so you can see. Over here on the right is where I did my sketch. And with the first direction, it comes out this way. You can flip it, so it goes the other way. My sketch is now on this side, as you can see with that little yellow dot because that was part of it. Then we can choose the symmetrical one, and it went 25 out this way. And 25 mill out that way. And lastly, the most versatile of them is the asymmetrical. And now you can see that it's coming 50 milli, and on the other side, it's 25 milli, leaving your sketch in a somewhat central position. For now, we're not going to touch on the advanced properties, so I'll just close that window for you. You can name what this body will be called. Typically, I'll just leave it as the default name, though. After you've decided what the body is going to look like, you can just press Okay, and there it is. It's been created. Now that covers the majority of the extruding tool. For me to demonstrate the next tool, the revolve tool, I'll need to delete our extruded body. For me to revert back to our original sketch, I'll look towards the model tree on the left hand side of the screen. I'll right click that first extrusion and come down to delete. I'll make sure to also uncheck this consumed sketches and features tick box. This ensures that the sketch isn't deleted along with our body. As you can see, there's our original sketch steal with it. Leaving the box ticked will delete the sketch and the body together. So, now that we have our best sketch again, we can move along to our next three D creation tool, and that is the revolve found just to the right of the extrude. The revolve tool takes a closed loop from a sketch and then revolves it around a selected line ins sketch, producing a curved outer edge body. Use this tool, select the sketch desired, or, like I said before, if there is only one closed loop available, it will automatically select it, as you can see, with this blue hue in the center. Once our profile has been selected, we can then move on to selecting our axis. Axis will be a line which could be part of the sketch or even separate from it. To use this tool, select the sketch desired and then select a line to revolve around. Using a line that's part of the revolving shape will create a shape with no gap in the middle. Was selecting a line that's a distance from the chosen shape, creates a rotation with an empty space in the center. I'll just quickly show you that now. And I'll just draw a separate line. For us to revolve around, and as you can see, I've created a bit of a taurus or doughnut shape, which has a hollow center. After creating any of these frilly features, you can double click on the feature in the model true, and that will reopen this pop up menu. When revolving, you're not limited to full 360 degree rotations. A full rotation is default, but can be changed by input in a degree below 360 degrees in the pop up menu. The way to do that is simply click inside this input field and then change it to whatever number it might be. And now you'll see I've got a 200 degree tan rather than your typical 360. Similar to the extrude tool, we can also change the direction that it might go, even using symmetrically and asymmetrically again. Ing the number inside of this input field will limit how far the shape rotates by your input amount. Now, that covers everything to do with the extrude and revolved tool, and we'll cover more of these tools in the next lesson. 20. 6.2 Further Create Tools: Hi, and welcome back. The next tool along used for creating three D bodies is the sweep tool. The sweep tool requires the use of not one but two different sketch planes. One of which will contain the closed loop sketch, which we have already talked about in the last lesson, and the second sketch, which you can think of as a rail guiding the shape along a set path. Start off by creating a shape with a closed loop on any sketch plane. I'm just going to keep it simple with a rectangle with a semicircle at the top. Sure that the datum point is in the center of your profile. This makes things a lot easier down the line. Exit out of this sketch and then start drawing on a plane that is perpendicular. So perpendicular is a 90 degree turn away. So I'll be selecting this one. Since my sketch is on the X and Y plane, I'll be selecting this Y and Z plane. So the reason that we centered around our datum point before is because now because now we can start drawing from our datum point. So this perpendicular plane will be the guide rail in which the original profile will follow. So we'll start off straight to show what that's and then we'll add in some curves. And you'll see that when I'm adding these curves in with the arc tool, I'm looking for this tangent constraint just to appear. And this will ensure that once the profile has been created, it will be a smooth and continuous shape. Now you have a sketch and a rail. Click the sweep tool after exiting out your sketch. Here's a sweep to. To begin with, select your shape sketch and then select your rail. Press Okay on the pop up menu and confirm your new body. Now you can drag the view cube from the top right to see the body you've formed from different angles or use an F like me. As I mentioned before, the rail doesn't have to be completely straight and can take turns. It can also follow a curved path, too. Avoid taking sharp turns such as 90 degree turns as this will either fail to create or will look very odd. And that's why when I was creating this sketch three on my second sketch, I ensured that they all had tangential constraints between them as this kept the flow nice. That just about covers the sweep tool, so I'll delete all of that. And then we can move on to the loft tool. And the loft tool works similarly to the sweep command. This tool creates a body between the two sketches with closed loop smoothly transitioning from one to another, meaning you can use two different sketch shape profiles rather than one shape profile and a guide rail. So we'll start off centering around our data point once again. It's not as important with this tool, but still a good habit. So we'll start with a 20 by 15 rectangle. Then we need to start create in our second sketch. So for the loft command to work, you're going to need two sketches. Start by create in your original rectangular sketch, and then we need to sketch offset from our original. To achieve this, do the following. Head to the model tree and open the origin folder. Here you will find three planes and three axes. And a center point. The three planes you see here are the planes shown to you when you click Start sketch in an empty workspace. Hover over each plane and find which one has your sketch on it. Once you've figured this out, right click this plane and select the visibility option. Now this plane is visible. So now we have our sketch and the visible plane. We're now going to create a second plane in which we can then sketch on. Look at your toolbar and locate the plane button at the top. Press the drop down menu and select the first offset from plane. Now, click your sketches plane and input a value of how far away your sketch will be. Start a two D sketch on your newly created plane and create a different shape. I'm going to do the circle. After you've done this, exit the sketch. Now all your sketches are set up. Click the of tool and select the two sketches. Press Okay or enter to confirm. And now you should have a shape that is transitioning between the two sketches, changing from a circle to a square. To tidy this up, select the two visible planes in your model tree and right click them to make them visible. You don't need to do this one by one. You can click your first one, hold Control, and then select your second one. And then when you right click and change the visibility of one, both of which will disappear as they were both highlighted. Alternatively, I'll just turn these back on. Alternatively, the hot key to change the visibility of elements is selecting your desired elements and then both holding Alt and V together targling the visibility. So I'll just highlight my selected planes and then Alt and V, and they turn off immediately. These are the very basics for the loft and sweep to, as you can create very dynamic shapes using these techniques with rails. But since this is only the basics course meant for beginners, I don't feel it's necessary for you to be learning about that just yet. With that, we'll move to the next tool along our toolbar, which will be the Emboss command. This tool creates extrusions into a solid body of which share the same shape as text. Now, you might be thinking, What's stopping me from using the extrude tool to achieve this? The reason for that is because the extrude tool creates totally straight extrusions, whereas the Emboss tool allows you to wrap the lettering to a curved face, making for a more professional look. Also, to use the extrude tool, you would need to sketch the letters yourself using line tools rather than just typing it in. So this is a lot easier as well as a lot more functional. In order to use the emboss tool to extrude into a curved face, you're going to need a curved solid body available to you. So start by selecting a sketch plane and then sketching a square and revolving it. Like so. After that, find your way to the model tree and open the origin folder again and change the visibility of one of the origin planes. I'm going to use the X and Y, as it actually cuts through my piece, unlike this piece that doesn't go straight through the center, and this one isn't facing the way I would like. Remember that selecting and pressing dV does this nice and quickly. Now, using the offset from plane tool found in the plane drop down box, click your origin plane and input a value to offset the plane to the tangent of your curved edge. Alternatively, if you don't know the distance between the tangent and your origin plane, we can use the tangent to surface and parallel to plane tool in order to create a sketch plane on the tangent of this curve body. To begin with, we'll click the curved edge, and then we'll click our original origin plane. And now you'll see that we have quickly created a sketch plane on the tangent of this circle. I'm going to hide the visibility of our original plane as we no longer need that. And now we just have a tangential plane. Now, start a sketch on your newest plane and find the text command and then type something in the borders of your shape. So textal and I'll come in the middle and I'll just type in something. I'm going to make this text a bit bigger. That might be a little bit too big. Here we go. After you're done typing, exit the text editor and move your text into place. You can use dimensions to get specific with this, although for now, I don't think that's necessary. So now your text is smaller than your body. Exit the sketch and press the embostol. Start by selecting your text, and now you have your text selected to the side of the desired outcome is a slight step in or out of the body and click on the corresponding burn in the menu that popped up. So as you can see here, this creates a slight extrusion out of the body. This burn will create a engravement into the face, meaning it slightly cuts in, and this button is a mixture of the two. In the pop up menu, we can change the depth. And we can also select this button to wrap to face. Now, this is necessary. When we're clicking on a curved body. And now you'll see that after I've selected all my options and pressed o, the text has been embossed to the curved face. I can double click into the emboss feature within the model tree and change whatever features I like. So I'll make it cut in. Or alternatively, I can make it come out ten times further. As you can see, you can create some pretty cool effects here. Mess around with this feature settings by double clicking the emboss feature in your model tree. Now you can tinker with the settings and the mode within the popup menu and get it in a way that you like. Make sure that you press Enter afterwards to change the settings. Now, that covers most of the create tools so far, and we'll carry on talking about the other ones in the next lesson. 21. 6.3 Understanding Consumed Sketches: Hello, and welcome back. In this lesson, we're just going to be going over the consumed sketches, which I have spoke about recently, but we're going to go into detail here just shortly. So after creating features from sketches, the sketch itself disappears and is then replaced with a feature in the model tree. As you can see, we currently got a sketch on the left hand side, and once we extrude it and press okay, it's been consumed. Our sketch is now consumed by this extrusion feature. Pressing the plus icon on your feature, you'll discover that the sketch is actually still accessible and available to edit with a double click. When the sketch is found under the feature, it is known as consumed. Consumed sketches and Autodesk invenna are sketches that are used to create three D models. When a sketch is consumed, it is no longer editable as a standalone sketch. And any changes to this sketch will be carried forward into your previously created feature. And here's an example of that. Consumed sketches can also be used to create complex models by using them as the basis for multiple features. For example, you might use a single sketch to create multiple extruded features or to create a series of revolved features. In order to use one sketch for multiple features, you need to first consume it with your first feature of choice, and upon doing this, refine the sketch in the drop down and make it visible. Now the sketch will remain visible, and even after using the three D modeling tool, it will grant you the ability to once again use another one. Overall, consuming sketches is a key part of the modeling process in Inventor and allows you to build up complex designs. During the buildup of your model, it proves very helpful to accurately rename sketches accordingly, because the last thing you want to be doing is furiously clicking into one sketch after another, looking for the correct one. This is especially true when dealing with complex models with lots of features. In order to keep things well organized, I recommend naming sketches and features accordingly. This is pretty difficult to remember to do, and I tend to forget to do it myself. But like I said, extremely useful and you should get in the habit of doing it. That covers everything to do with consumed sketches. 22. 6.4 Automatic Hole Command: Hello, and welcome back. Throughout this lesson, we're going to solely cover the automatic Hull command and its many uses. So as you may or may not already know, the automatic hull command is extremely useful and allows you to create holes in your model at sizes and lengths that you'll find in a real world scenario, such as fabrication, manufacturing, and other forms of production. In order for us to use this tool, we're going to need a three D body already down. So I'll just quickly make a simple rectangular body. So now that we have our body, we can now select the whole tool. After selecting the whole tool, you can then place the center point of your hole on any flat surface. This can be placed freely, or it can be placed using construction lines. Holes placed using construction lines will typically be more accurate. The hole tool will snap the node at the end of lines allowing for an accurate placement. Once your hole position has been chosen, a hole will be created in the model. You're not done yet, though, as you've only placed the hole, and you'll see the pop up menu appear again. If the pop up menu hasn't appeared for you, double click into the feature within the model tree. Within the pop up menu, you have the choice to switch between the different hole types, including simple holes, clearance holes, tap holes. Tapered taped holes. The most commonly used hole tool in my experience, is the tapped hole tool, as you can automatically insert, say, a H sized hole without the need to account for how big the hole will be if the thread was in there. This makes creating accurately sized holes in a real world environment quick and easy. You should also take a look at the other hole types, especially if you find yourself using other not so simple holes within your line of work. Now, I'll show you the tapped hole options, and that's this third button here. So select that option from the four buttons at the top of the pop up menu. Below those buttons are the seating options, and the seat is used for the fastener being fitted into the hole. A countersink screw might need a tapered seat to allow for a flush finish once the screw is tightened. For that case, you'd select the counter sint option. The other options create a slightly wider and shallower hole, followed by your actual hole size. I'll show you that here. You'll see that my seating hasn't showed up just yet, because with this red imation mark at the bottom, you'll see that the value needs to be bigger than the hole. So I'll just make that bigger, and it should then appear in our model. Now, that's a bit too big, so I'll make it like that. And now you'll see we have our tapered hole, and then with the other holes, I'll show you the other seating method, and we'll just use the clearance gap. So the red is six. And if you hover over the red exclamation mark, you'll actually see the value of which the hole is taken up and what it needs to be bigger than. So mines that 4.917 number, so I'll make it five mil. You can also increase the depth of these holes, and that's done using this input field here. I'll do that five again. It changes five to ten so you can easier see. So there's our seating. If I come around and create some more holes and take away the seating options, we're left with just our thread options. And your whole type in the threads part of the menu, refers to the different standards available in the world. Choose the one you would typically use. If you don't know which to use, use the ISO standards as that as the international standards. After selecting your type of standard, you can come to the next box below, and this is the box that will decide the size, and this one is obvious. So since we're using a tapped hole, this is M 6m7m8. This will change the size of the hole, but don't worry too much. As within Autodesk inventor, rather than creating an actual thread, it more or less paints an image of a thread around the hole. As you can see, it may look like there's a thread there, but it's actually just painted arm, which you can see from certain angles. The only reason you would change this setting is to make annotate in the hole using a whole dimension easier during the annotating process. Another niche part of this tool is you're actually enabled to change the direction of the thread, allowing you for left hand threads. Once again, I don't find this too useful, though. If I open up the holes again, we can move down into the behavior section, and you'll see three or more buttons at the top of this section. Each of these defines how you will change the depth of your hole being created. The first is the most simple and is inputted by your distance manually using your input field to the bottom here. The next button will automatically create the hole all the way through the part to its very edge. And here you'll see at the bottom, only the length of thread can be decided here. So if I make that five, you'll see that the hole goes all the way through, but the thread is only five mileep. The final option here is the two option, allowing you to select a face to be the limit for the depth of your hole. So upon selecting this option, you'll be prompted to select the face. Your hole will so if my hole starts on this side, I want it to reach that side, you'll see that it goes all the way through. The final section of the bottom, if I come to this distance command, helps define the length of the hole, the length of the thread within the hole and the drill point. Input your desired value into the field to change the properties. And that just about covers everything to do with the hole tool. So now we'll talk about the filllet tool and have a very versatile command in the next lesson. 23. 6.5 Modifying a 3D Model: Hello, and welcome back in today's lesson. We're going to be covering more of the features used to modify your three D models. And to begin with, we're going to start with the Fillet tool found just next to the whole tool that we covered in the last lesson. So after selecting your Fillet tool, you are greeted with a pop up menu, and here you can input your radius for the fillets that you'd like to create. Once your radius has been added into your field, you can select your model edges that you'd like the radius to be applied to. What this will do is turn them into smooth curves rather than hard corners. Also known as fillets. When using this tool, ensure that all of your radius are selected at once to keep your model tree tidy and to ensure that all your fillets are neatly under one feature. You see that when I select this fillet one on the edge, all these fillets are shown at once. Whereas if I was to just click here one by one, come back to the fillet and do that, it would also be slower, but as you can see, I'll have multiple fillets under multiple features, and we don't want that. We want it nice and tidy. Have all your fillets of the same size under the same feature. This also means once they're all the same feature, you can change all their sizes at the same time, too. I can make them all one, and I don't have to click through all the features like I showed you before to change them all. And that would also take a lot of time. So it's something else to talk about and fill in, if I just make the bigger again so I can show you. If for some reason, select a line, you don't actually want to be filleted, you can hold down the Shift button, and then the blue line that shows where the line would have been before the fillet, and that actually unselects the fillet. So hold Shift and click the easy. After that, it should return to its former pointy edge. This tool is not the only way you can create a fillet. A fillet can be created using a sketch, too, and I'll show you how to do that. I'll delete these fillets, too, so that you don't get confused between them and also the holes while I'm at it. So, to create a fillet in another way, you can use the sketch tool. So start a sketch on a flat face or a plane in line with the edge that you'd like to round, draw the radius onto the corners after you've decided how far that you'd like the radius to be. So I would like this to be five mill deep and then five mil deep. Now, if I place a circle that's in line with both of these, and trim it, I can now extrude this profile in the corner all the way to the end, using the two command on the extrude, this one here. And then press Okay. And then I'm given exactly the same feature as if I was using the fillet command. The only difference with this is that I'd have to go into the sketch to make any changes to it. And also, it's not as quick. It's not as easy. So make sure you're using the fillet command. Only reason I will show you how to do that using the sketch tool is because it may be more useful to you if you find yourself working on more complex models where the fill command isn't working quite the way you'd like it to. The next tool is a similar one, and that is the Shafer tool, and works in a similar way. Because it is a similar feature and it can also only target model edges. To use the tool, select the Shafer tool and input your distance, then click on the edge that you'd like to set back. The distance value you input defines how far from the original point your cut begins and ends, and I'll show you that with a sketch. So as you can see, that's five mile either side from the original. You might find that having equidistant chamfers aren't very versatile, so I'm not going to show you how to create an uneven chamfer, too. Double click into your Shamfa in the model tree to reveal the pop up menu once again. Click on the bottom most button among these three on the very left. Now you're presented with not one but two different input fields which control the vertical and horizontal distance on your chamfer. So I'm going to make this 110, and that one can remain at two. And now you'll see that I have an uneven chamfer with two mill at the top and ten mil down. We can always alternate these two if it didn't come out the way you'd like it to. And this type of chamfer is just a lot more versatile and allows a lot more control than what you're used to using using the equidistant one. That covers just about everything to do with the Shampa tool, and we'll move along to the next tool that we have available to us. And that is known as the shell tool. And this can be used to hollow out your part, leaving just its walls and the base. This is great for creating containers of sorts. So to use it, start by clicking on the shell tool found underneath the hamper tool. And before selecting a face, change the thickness in the input field. You'll see the ghost box inside your part changed size. This faint image displays what area of your part is being hollowed out. So change your thickness to edit the wall's thickness. So I'm just gonna make this two, that seems a bit better. When you have it set up how you'd like it, click a face on your model. Now, you should see your parts inside removed and a wall remaining around it. Three buttons inside the pop up menu. I used to change where the walls are located in relation to the original model. So the original option, we're cutting out of the inside and leaving some remaining. With this second option, original model is the hollowed out area, and walls have been applied to the outside using the thickness command. And the bottom option is a bit of both. So if we're using a ten mil thickness, we will have five mil of our original model remaining, and that is that blue rectangle here, and then five mill created on the outside. Out of these three options, I'm always going to use the inside command as our original model stays the same shape, and it simply just takes a cut out nice and quickly. Very simple to use and simple to understand that way. No need to faff around with the other settings. The next tool is the draft tool, and is used to create a similar sloping effect to the Shafer tool. The draft tool is used by selecting two different faces. The draft tool will slope away from the first selected face, this top one on the selected second face, this side. And I'll just changed this to 50 degrees so you can get a better idea of what you're looking at. Clicking on the pull direction arrows, this red and black arrow in the pop up menu will swap from cutting into the model like that into adding onto the model, like it originally was. And you can interchange this for however you'd like the model to turn out. The draft angle, as I've already showed you, can be changed in this input field. And once again, you can just type in whatever number you'd like to get the model how you would like. Alternatively, you can drag this orange arrow to create an angle that you would like. As you can see in the input field here, it does move an increment of five. So if you want it to get very precise, you could do 42.5 degrees, but that's only possible using the input field. I typically type in the angle of the draft, so it's precise, but pulling on the arrow can be well used in situations where you know how you want the model to look rather than its exact angle and dimension. That covers the draft. We can now move on to the next tool, and that is the thread tool if we move to the top of the modified section once again. And this tool is used to create a thread image on your model. But for us to use this, we need a circular face. So I'm just going to create a cylinder. The thread image is applied to curve faces and cannot be applied to flat faces. As you can see, I clip the flat face, and it's just applying to the curve form. And like I said before, what this does is it simply just paints on the image of a thread and doesn't actually change anything about your model, only how it looks. Besides adding the thread visual to your model, the drawings created showing the thread will also have an incomplete circle on the drawings, which is exactly how a thread should be represented on a engineering drawing. So the main practical use for you using this thread tool is to make sure your later produced drawings are accurately representing your model. Use the thread tool, your model will need a circular body for the thread to be applied to, similar to a bolt. After clicking the thread tool and selecting your circle geometry, use the pop up menu to change the threads athetics including the designation and handedness. Below these are more important behavior tools which affect the depth of the thread, which is how long the thread will be applied to and the offset of the thread, which refers to the amount of material between the threads beginning and the end of the body. The small orange button next to your depth input is a toggle for full length threads. Next tool that we have is the thicken slash Offset tool. And this works similarly to the offset tool in the two D sketch environment we covered in previous lessons. Using this tool and selecting a face then shows the dotted green line offset from the body, signifying the size of the body extra to be created. So that's one mil extra created. If I change it to 50, you'll get a better idea of what's going on. This doesn't only work on flat faces. This can also work on curved faces, as you can see here. After input in the amount of thickness that you'd like to be added or cut, this can be changed from creating material to cutting it by changing the direction inside of the Boolean section within the pop up menu. For the next tool, I'm going to skip to the Delete Face tool. This tool deletes a face or faces on your model. I've never needed to use this tool before, and don't think you should have to either. Click on the Delete Face tool and then select the face that you want to delete it. After doing so, you should be able to see inside your model, and a very thin wall will be created. Like I said, I've never found a use for this, but feel free to use it if you find it necessary. 24. 6.6 Quickly Editing with Direct Edit: So now we've covered a bunch of the create tools. We'll move away to a much better and much more versatile tool known as the direct Edit tool. This command right here is amazing for making changes on the fly to pre existing designs. I very much encourage you to learn the ins and outs of this tool. If you work in an environment where people give feedback on designs and you need to immediately change the model in multiple ways. So for us to use this, once again, we're going to need an actual model to work with. And I'm going to make this one a little bit more complex as it's a very useful tool and can probably make use of all these strange shapes. So here's my shape. And to use a direct edit tool, would find it at the top here. And unlike the other tools, this one doesn't have a pop up menu. This one has this sort of strange options menu. To activate the direct edit features, you're going to need to click the direct button at the right hand side of your modified tab alarm at the top. Now, a bunch of buttons are going to appear of your model. Each of these buttons on the top row represents five of the different modes available. Move size, scale, rotate, and delete. So it's basically like five tools in one. From these five, I believe four of them are very useful to most people, and two of which I couldn't live without. Guess what? The delete one is useless, again, as we can delete objects in many other ways than using this tool. So, the most used modes here is the move command. Now after choosing move, you can select faces, edges and vertices, as you can see, by all these little nodes that appear. Upon selecting your face, you can then pull or push on the orange arrow extending or shortening the model. To moving the arrow, a input field will appear, allowing you to accurately type your dimension, rather than pulling the arrow to your desired length. Press Enter to confirm your direct edit, and remember you can use the minus numbers, too. So I'm going to use minus five here and cut that away. Something very much worth remembering is that the input field does not appear straight away, and you need to move the arrow ever so slightly for it to appear. So let's say that I'm met with a model that needs to be pulled diagonally rather than a basic X and Y axis. In this situation, we can make use of the locate button found in the settings of the tool, and that's it. The locate tool snaps the three axes of arrows to a model feature, allowing for the angles and geometry of the model to define how the direct edit tool functions. So to locate, we need to already have clicked a face or feature, and then we can click on Loc and select. A different point of axis. So now you'll see it's not your typical pot Z. We've got some diagonal axis going on here. And remember, this front face is the one that we currently have selected, and if I move this angle, you'll see that it's extending outwards in relation to the diagonal location that we put at the start, and this is where it is this little silver ball. And that's coming out 30 degrees or 30 millimeters, and that's diagonally. So it's not actually coming out 30 entirely horizontally, but this is just in relation to the rest. Allows us to move geometry diagonally. It can also be used to move a diagonal face vertically or horizontally without altering its length to do this. You need to select the diagonal face you would like to move. And then locate onto another face on your axi of choice. So we'll click here. And now, as you can see, the length of the face isn't changing. It's just moving further away. So get another direct edit tool and also the locate part of it, because it can be very useful and also opens up a lot of avenues in which you can carry on using this tool in more and more ways more than you could ever know. The next mode in the direct edit tool is the Solis com. Used on a flat face, it functions the same as the move tool, as you can see. But when used on a circular or curved face, you can quickly change the radius sizes. All the tools here function by selecting faces, pulling the arrow, and then typing in the number. This technique helps to keep your model dimensions as round numbers. A common design mistake is increasing a circular face by 5 millimeters in order to change from a ten millimeter circle to a 15 mil. So for me to demonstrate this properly, I'll draw a ten mil circle. So the problem that I'm representing here is that we want to take this ten mil circle to 15 mil. And the way we're going to use this is added button and the size mode within the butter. So I'll click the face I want, and if I want it to be 50 in mill, you make it five mil bigger, right? Not quite. Because if I measure this for you, you'll see that the five mill extension that you've done actually happens all around the circle. So the original ten mill that we have here, we get in five mil here, and then we get five mill at the bottom, too, which actually gives us a 20 mil circle. See that. And we don't want a 20 mile circle. So when we are making direct edits on circular faces, remember that it is being offset or shall I say, extended on every direction of the circular face. So you actually want to put in half the amount that you expect to put on. This is similar to working with a center love if that's something that you've done before. That covers the size mode within the direct edit tool. The next tool within the direct edit is the scale command, and this one is fairly basic. After choosing scale mode, you can then click the body and alter every length at once. The final size of the body depends on what your original model is like. Applying a scale factor of two using this input field will double the size of your model or two exit. A scale factor of one remains the same size, and putting in 0.5 will half the size of your model. And so, a non uniform option is available here, allowing you to scale the model set amounts for each axi rather than one amount for all, that's done with this dropdown box it. So This is a very confusing tool to use, and I would recommend messing around with it if you can't find other ways to create shapes like this, but there are easier ways using sketches and extrusions. So if we move on to the final part of direct edit tool to cover, it is the rotate mode, giving you power to make a face rotate along your chosen point and then letting the computer regenerate the model with a new design change implement it. So I'm going to turn this circle into a square real quick. And this should help show it better. In order to use the rotate mode, you need to select the point that you'd like to rotate. The point that you apply the tool to is critical as it becomes the center point of your rotation. A similar more complex looking arrow system will appear buffer as it's just as easy to use. This right here is used to rotate the chosen feature in every direction. So once I start messing around with it, you can see the point that I selected is now the center of this strange axis arrow system, and the model can be altered Simply click and drag the slices around, and the model follows. Once again, after pull in your greeted with the input field box giving you the choice to type your desired angle. Press Enter to confirm, and the model automatically updates. 25. 6.7 Pattern Driven Feature Duplication: Hello, and welcome back. In the previous lesson, we discuss the direct edit tool and all the tools that come along with that, and that actually covers everything that I'd like to cover inside the modifier tab. So now we're done with the modified tab. We're going to quickly take a look at the pattern tab. The pattern tab is found two sections over from the modified tab and contains the rectangular circular mirror and sketch driven buttons. To begin with, we're going to start with the rectangular tool, and this can take a shape and then duplicate it across a rectangular grid pattern. This can be very useful when adding a feature in multiple places you only need to create the feature once, and then after that, you can just duplicate it elsewhere. To use the tool, come to the pattern section and then click on the rectangular button. After that, you're going to select the feature that it is that you'd like to duplicate. So now that you've chosen what you need to duplicate, you now need to define in what direction the item is going to be duplicated and how far away it's going to be located. The way that we select, which direction is going to be duplicated, we have these two direction arrows found in the pop up. After selecting the direction one arrow, we can then click on one of these vertices or model edges, and you'll see an arrow has been created. This arrow can be flipped using the flip button just next to the arrow that you used to select it. And after selecting it, we can then decide how many copies we'd like to be made. Currently, there are two being made. You can see that with the green frame in place showing where the next one's going to be created. So I'm going to put three, and currently, they're all 10 millimeters apart, but this is a 50 millimeter cube. So if I did them 50 millimeters apart, you'll see they line up quite nicely now. But if you want to gap, we'll do 75, and now they will have a 25 milligap. So that's the rectangular duplication tool. As you see, I've only got this cube selected. When using these pattern duplication tools, you can also select multiple features at once. And this can be done by holding shift in the model tree or this can also be done. I just click on the feature as well, and then press an OK update all your duplications. Don't forget that there is a second direction tool. The second direction button can be used to add yet another ax to this and is controlled in the same way with your number of duplications in the top input field and then the distance between them. In the bottom. Now you see I've built up a grid of all these different features duplicated. This pattern duplication tool can also be used to duplicate features that aren't adding to the model. So I'm going to select this box that has been cut away from the model, and I'm going to choose the direction using the red arrow underneath the directm one in the pop up menu to select an axis where I can then duplicate this box 30 millicross. And now you'll see I have another cut, so it's not just used for making mass. It can also be used to take away mass. Now, everything I just told you applies to most of these pattern driven tools. So I just know that they carry across all of the tools. The only difference between these is what patterns they follow. Next tool is just another way of creating copies of features. The difference is whereabouts they're placed. This time, the duplicates will be arranged in a circular pattern, meaning we are using the circular pattern tool. And since you know how to use the rectangular tool, this one should be pretty easy. After clicking on the circular tool, select the features you wish to duplicate. So once again, I'm going to click on the cube, none of the other bits. Now find the second Rad arrow in the pop up menu named Rotation axes. Found here. Select a model edge or circular face. Upon doing so, duplicate wire frame models will appear showing where they will be placed. You can now mess with the settings to better suit your needs or press Enter to confirm. So currently, this square is rotating six times all the way around this axis on this circle. So if I just confirm that, you'll see that it's a bit of a mess. I've actually created a bit of a star. But if we decide to do this in a way that's a bit more easy to understand, we'll take all of these little cylinders that come off it, and we'll rotate it around the top left cylinder. And now you'll see that we have the same star pattern because these original four here are all being duplicated in circles around it. So here's the other four. There's one. You can see one here. As you can see, it's just been duplicated a lot of times in a way that's somewhat confusing. If I change it to four, there you go. It's a bit easier to understand. Once again, even with the circular tool, to change how many duplicates are created, locate the placement portion of the menu and change the default six UL to what you want. So I'm going to change it to two. You also have access to changing how far around the circle, the copies will be created by changing the angle of degrees in the input field below. So if I do 180 now rather than all being created all the way around, it is only being created 180 degrees around the axi. Like I said, very similar to the rectangular tool. Next tool, which is the sketch driven pattern arrangement tool is used in conjunction with a separate sketch to define where duplicates are placed. Because of this, the tool is a lot more dynamic, which can make it hard to incorporate into your workflow. This doesn't mean you shouldn't try using this tool, as it's very powerful, which I'll now show you. For you to use this tool, you'll need to begin with a model body already created such as this rectangle or a feature in the model. That, create a sketch plane on the two D sketch using the point tool to mark your destinations. So I'm going to delete these three cylinders and keep these sketches. And then, instead of having these circles here, I'm going to add points where I'd like my duplications to be. And I know it's hard to see, but if I highlight them, they go. You'll see that I actually have a point there. Next tool, which is the sketch driven pattern arrangement tool is used in conjunction with a separate sketch to define where duplicates are placed. Because of this, the tool is a lot more dynamic, which can make it hard to incorporate into your workflow. This doesn't mean you shouldn't try using this tool, as it's very powerful, which I will now show you. To begin using this tool, you will need a model body already created or a feature in your model tree. After that, create a sketch plan, and on the two D sketch plan, use the point tool to mark your destinations for where your copies will be placed. The great part about having the destination specified by a sketch means you can be precise and pinpoint exact areas rather than relying on a circular or rectangular pattern layout for your features. If you happen to have more than one active sketch available, you may need to select a point from the sketch you want to use so I'm just going to use I'm going to turn the visibility on for the sketch that I would like to use. And in this sketch, I have points available to use for me. So I'm going to use my sketch driven one, and it's already selected the only visible sketch. And now I can select the features that I would like to duplicate. And as you can see, it's picked up on the points that are in the sketch, and the features are automatically duplicated in place with them. As you just seen, adding another point to the sketch will automatically update and add the feature there as well upon exiting the sketch. Now, if you happen to have two sketches active at once, like I have on this side and this side, your points won't automatically be picked up on. So you'll need to select your feature first and then come to the placement red arrow, and then we can select our sketch. After that, it's automatically picked up on the points, and we can press Okay again. Another advantage to using this command is that if you decide an edit to the feature placement is required, you can simply open up the dot down box in the model tree and double click into the sketch consumed by this command. Any changes made inside the sketch will automatically update in the model after exiting the sketch. Last of the pattern section is the miratle. And this is exactly the same as using the two D sketch miratle. But rather than using lines in a sketch as your mirror line, you'll be using model edges or planes in the three D environment. To begin using the mirrortle, you're going to need to know what you're going to mirror and where you would like the mirror image to be located. Once you've figured this out and you know what you want and where you're going to need to create or to find a plan of which to mirror around, the mirror line will be an equal distance from your original body and its copy. So I'm going to use the offset from plane tool. And if I want this cube that I'm going to be duplicated to be 20 milliway, I'm going to put the plane at ten milliway as this ten mil gap will be duplicated either side. So the way I'm going to do it is click on the mirror tool, and then I'm going to select all the features I'd like to duplicate. Right click and press Continue or select the red arrow mirror plane and then select the plane I've created. Now, you'll see the mirror image created in a green frame. I can then press Okay in the menu or by right clicking. And you'll see there's my 20 mil gap between them because the plane is only ten milliway. As you can see. And all the features on this cube have also been mirrored across. As you'll see, this is no longer on the right side, it's on the left, and the same goes for the cutout at the top. Alternatively, we can create mirror images without using the planes. We can select our features and then come to our mirror plane. Now, we don't actually have a plane to choose from. But as you can see, when I hover over the edges of this cube or faces of this cube, I can select it, and then that can be used as our mirror line. Meaning we can create two bodies here that almost look as if they are connected. Typically, I would only ever use this for creating copies of features. Once again, the mirror tool is very easy to use and also very easy to incorporate into any workflow. So make sure that you learn it well. It's worth mentioning that duplicate parts change direction after being mirrored. So that covers the last of the patent tools, and in the next section, we'll begin going in depth in using the planes to get the full use of the patent tools you just learned about and a few others. 26. 6.8 Creating Parts from a Drawing: Hello, and welcome back to our first assignment of the course. In this assignment, we're going to be going through the drawings that I have created beforehand and actually recreating them in Autodesk Inventor. And this should hopefully help you gain a better understanding of how to not only read drawings, but also how to create them yourself. So make sure that you download the zip file from online. And that will have all of the drawings that we're using here today. And this is just a look at some of the drawings or all of the drawings that we'll be using here. And all these parts together come together to make your common workshop vice. Pretty straightforward. So, like I said, make sure that you have the drawings downloaded before you start. Now, in order for us to begin creating our model, we need to start up a part file. And just so you guys know all of the dimensions inside this drawing are millimeters. Ensure that everything that you're doing is in millimeters. So to begin with, we're going to start off with this adjustable jaw. And this is one of the more complicated of the drawings we have here. So, to begin with, we're going to start with the main bulk of it, and that's going to be the actual vice part of it. I'm going to select our rectangle, our central rectangle, known as the two point center. And I'm just going to create the overall size of the grip. So that's 120 milli by 115, as you'll see on the drawing. So now we have that. I'm going to press E to quickly move over and extrude. And we can see on the drawing that it's 55 millimeters thick. And that's the start of our vice. It's very simple to begin with, but we'll crack down into the details as we go, so don't worry about that. Trust the process. So now we're gonna chisel away at the side to start getting our details in there. As you'll see, I just use the project geometry bone to give ourselves a nice edge to our part. That just makes things a lot easier. So I'm going to use a rectangle here, and I'm just going to cut away in this shape, and then I'm going to size it. So I know this is 80 mil and 50 in mil. Now I'm going to extrude this. I'm going to flip it around. I'm going to change it to cut, which it automatically does when you flip it around, and then I'm going to select two. Move the model round and click on the other side, and you'll see that it's extruded all the way to the up side. Right, click. Okay. And then we can move along. So now you'll see that we're building up a little bit of that shape. And we'll just keep building on that. So we'll do the length of it now. And to do that, we're going to start from this face. Once again, projecteometry. It's a very good habit to start doing. And we're going to be creating a 50 by 50 square off of this. So I like to just put the square down and then type in everything myself just easier for me, and I feel like I have more control. And now I want this to be central. So rather than figuring out how far everything needs to be, I'm just going to put down two dimensions. You'll see that one turns to a driven dimension, and then I'm going to select my non one and tell it to be the same size as the driven one. So D 11. Now you'll see they've evened out because that's the only way that both the rules can actually work at once. So that's now central, my 50 by 50 square. I'll extrude once again. And this time, according to the drawing, this wants to be 220 mil, just like that. So as you can see on the drawing, there is a hole in the bottom of the model that you'll see, and this starts just 3 millimeters away from the edge. And once again, we're going to want to project our geometry so that we can create the dimension between our new sketched geometry and our part. We can also see that this square stretches all the way along to 18 mill away from that, and the 3 millimeters actually assists all the way around. So we'll just show that. And now you want to extrude this and flip it as this will turn it to cut mode, and this cuts into it by 47 on our 50 mil block, leaving us with another three mill wall, which is just what we want. So, since we're cutting through it at the moment, we'll do a hole that goes through it. So we'll need to make our way to this side of the model, start a sketch on this face, as always, projecting that geometry. And we'll see that there is a ten mil diameter hole. Cutting through all the way to this cut that we just made. So I've just got to put that ten mill diameter hole on there, and now I'm going to locate it where it needs to be. That's 20 mil, and this wants to be central once again, so I'll use the same trick once again. The less thinking I do, the better. So that ten mill hole is gonna cut through all the way to this face. That's that hole, but that's simply not everything. There's also a bit of a counter ball to it. So we could have done this with the hole tool as well, but sometimes with simpler holes like this, it's just easier to do it manually. So you'll see that when I use project geometry, it's actually showed the hole as well this time, and I can quickly find the center and then put my 15 mil hole over the top of it. And we can see that is ten mil deep on the top view in our drawing. So now we've got a little bit of a counterbll there. So that just about covers everything except from the actual vise grip itself and the little protruding pile we have around our hole. This is a 20 mill diameter, and we're just going to select that, and we can see on the top you once again that it's five mill that it sticks out. Okay, so we're getting somewhere now. As you start to add in your different details, it will begin to look like the actual thing. Something I also recommend doing for beginners, especially is actually naming your different extrusions. As this helps keep track of what everything is and what's going on and can make it a bit easier to go in there and edit things if you find that you've done something wrong along the lines. So I believe it's time we start tackling this curved structure at the top, and I'm going to use M for the measure tool to measure what we currently have. And it will see we've got 55. All I did was press M and then select my two face I'd like to measure between, it's just a quick measurement. So because I have 55, I already know that it is the correct thickness at the top. I now need to know. How long it is. I can do this again with the M, and I can see that it's 120. So I actually need to cut away from this rather than add it to it. The bulk of this is going to be 90 mil. I'm just going to centralize that the same way as I have been. And now I can use the parts that I didn't draw to cut away. And according to the draw room, we should only have 15 mil remaining. So if I do two and do it to here, it says 55. Now I'm just gonna come in here and do -15. And ensure that you get rid of the millimeters units, as that can sometimes mess with the system or has done for me in the past. So there you go. Now I'm left with 15. Now, the quick way of creating this curve, rather than coming onto here and then drawing it in ourself, is just to use the fillet tool. So use the fillet tool at the very top, you'll see that the radius is ten, and we're just going to click on both our sides that need fillet. And now that we've done that, right, click Okay, done. Nice. So, for the final parts of our model, we need to add in our curved edges, as you can see around here and at the bottom. And then we're also going to add in our holes, as well. And this is so that we can secure the jaw to the vice. We'll start with the Phillip tool once again and just put that big 40 mill radius on the top there. And then we've got another ten mill radius at the bottom here, too. And now you're starting to see it all come together. We'll add our holes in. So we're going to start sketching that face, project our geometry. And then, rather than putting a six mill hole in ourself, we're going to use the whole tool. So we're going to use the points tool to create our holes rather than drawing our holes ourselves. So the way we're going to do this is we're just going to put in some lines that help us define where the points will be. Just something simple. Anything will work as long as you end up with the points in a precise place. So we'll see that it's 25 mil from the side, 25 mil from the side. This wants to be central, and you can see that it's already got a central constraint on it because it's turned black straight away. Because I've actually drawn the line from this green node here rather than this yellow one to another green one. And that knows that it needs to stay that way and stay central. We'll use our point tool here and we'll put it in place, and now we'll come to our whole tool. This should automatically select our points, as you can see. And we can look on our drawing and see that we have a six hole. So we'll change that using the size. Then we can change the length of the hole at the bottom. I set both of these to ten, and that will change the length of the hole and the amount of thread in the hole. So now we have an M six hole, ten mill depth, and I'm just double checking the drawer, and I can see that that's correct. So okay. And now you'll see that we've actually got a proper hole with a thread in there rather than just a blank blind hole. Now, unless I'm missing anything, that does seem to be just about everything. So we'll move on to the next part. Thankfully for you, our next part should be a little bit easier. So we'll open up a new part file, make sure that you control S or file, save your last part. I don't need to. I've already got it made. And then we'll move on to our next part. And what we're going to use or create, should I say, is the handle bar. And this is very easy. So hopefully you shouldn't have any trouble with this one. So we'll start with our sketch, and then we'll put down our first circle, and that's going to be six milldiameter. Extrude that out. That's going to be the overall of 130 mil. Nice and easy. No, I'm going to use my origin plane. You'll see that when I extruded, I used the symmetric direction because now that I can use the origin plane as a mirror plane, something will cover in the later lessons. So now I'm going to create a sketch here, project my geometry, eight mil diameter circle. This wants to go that direction by five mil. Now, instead of recreating that on the other side, I'm just going to use the mirror feature, select my feature, right click, continue, select my plane, right click. Enter. Brilliant. So now we're done with that. We won't be needing that anymore. We'll turn the visibility off. And now we'll pull out the fill it to set our radius to 1 millimeter, and then we're just going to select all edges. And just like that, we've already done it. Okay, so now we've finished the handle bar. We're going to be moving on to the fixed jaw. This is another fairly simple piece. So let's get straight to it. To begin with, we're going to start a sketch, and we're going to get our two point rectangle. This is how I start most things. It's just a very easy way to get going. And we're going to do 120 mil by 38 mil, as this is the main bulk of our body. Now, what you may have seen is we switch between these two fields. In order for you to do that, you need to press tab. So, type in the number you like, and then press tab, type in the number you like. And there you go. I don't want to place that, though, so I'm gonna pres escape. Anyway, back to this. This is our general body. You'll see from the drawer and that's the size, and then we're going to do a symmetrical behavior extrusion, and you'll see that the main bolt of the vice jaw is actually eight mill thick. Now, what I'm going to do is I'm going to take away the material that isn't necessary. So I'm going to start a sketch, project the geometry, and then create another rectangle, and I'm going to make sure that it spans all the way to the other side. That way, it will already be constrained. And you'll see that with the black lines and also these little logos that appear or icons, shall I say? Now, I'm going to use the dimension tool by pressing D, and I'm going to select these two lines and make sure that it is three mill between them because that is what the drawing calls for. Now I'm going to select the bottom area. Since we already have our eight mile, we're going to be taking away filed mill. So that leaves us with a three mile here. And now, if you look at the drawing, that looks pretty similar. We're on the right track. Anyway, onto the holes, we're going to start a sketch on the front face, and then we're going to place a construction line. Now, you don't always have to place a actual construction line. You can just place a normal line. But if you wanted to turn it into a construction line, that is how you do it. You have to highlight the line and then press on construction at the top here near you finish a sketch green tick. The reason that you might want to turn it into a construction line is because when using your three D model tab, these tools won't work with the construction line, but not always necessary. Wait. I'm going to select the point tool and put it on our line, and then I'm going to dimension them 25 mil away from the edges just like the drawing calls for. And that should leave us with a centers of 70. And as you see, there it is. Now, all I'm going to do is I'm going to put a six mill hole on either of these and press E to extrude both of them all the way through. So I'm going to select both of my holes, and then I'm going to press flipped. This will automatically turn it to cut. Then you can do two to go to the other side, or you could just type in a number that's a lot bigger than what it is you need to do. Make sure there's nothing behind it because it will cut through this as well. Anyway. Here we are. That is the majority of our part. But you'll see that there is a counter sink in the vice jaw. And this just allows for the head of the screw or bolt to seat nicely and flush within the vice jaw. So in order for us to do this, we're going to use a chamfer. And we know that the thickness of the material is three mill. So I'm going to put in three mill here, and then I'm just going to click on the edges on the correct side, the front side, and then right click o or alternatively, okay, in the menu. And now that is our part done. So now that we've done this part, we're going to move on to the Vice shaft. And this is the last of the simpler parts, and we're going to finish up on one of the more complicated parts just to finish strong. So, as usual, we're going to create a new part and begin the same way we would with a sketch. I can't use a square this time, although I would like to, we're going to use a circle, and we're going to start creating this part from the left side over to the right. And you'll see what I mean by that in a moment. But it's always a good idea to have an idea of how you're going to create a part. So circle on the Daton point at 15 mil diameter, and now we're going to extrude this by 50 mil. So that makes it the head of it, and now we're going to do the rest of it. And what I mean by the rest of it is this thread length, notated here. So I'm going to project my geometry as usual, get a circle, place it in the middle, and you'll see that it calls for a ten dimension. Now, an ten dimension for those who do not know is a ten mil dimension, but it is with a thread on it. And as you may know, with a thread, have a lot of divots inside of it, and it's not just one uniform profile. So the reason it says ten is because it requires to be threaded. Now, in CAD, you can just keep it as 10 millimeters, and then we can apply the thread feature afterwards. So back to creating it, this needs to be 250 mill long. Okay. Brilliant. So that gives us the main body of it. We're just going to add in the little details now, starting with the Shamfors. So use the Shampa tool at the very top and select a small number. I typically use 1.5, and if it isn't specified on the drawing, then I would also use 1.5 if I was you, and we're just going to go around and apply the Shafers to all the areas that need it. But you'll see that I've made a mistake here, and this one doesn't need it. And once again, just hold shift and select the blue line, not anything else, the blue line, and that would take the feature away. P to finish, and there you go, or you shan't fitter in place. Lastly, or not lastly, penultimately, we need to create a circle that we can extrude through this body. Now, you cannot create a sketch on here, so we need to get creative with our planes. We will touch on this later in the course, but for now, just follow along and we'll show you how it's done. I'm going to use the origin plane that cuts through the center at the orientation that I want. I'm then go to start a sketch on that plane, and here you can press F seven, and that will cut your model in half through that plane. This isn't necessary, but definitely clears things up. Go to clip the circle again, and I'm going to put in a six mil circle. Now, this isn't centralized. It's not even in the right place. It's nowhere near. So I'm going to use the dimension tool between the center of the circle and the edge of our shaft so that I can dimension ten mil. Now, I'm going to take the overall dimension here. I'm going to project all the geometry so that I can actually dimension between them. You'll see this non projected side, I can't click. That's why it's so important. So the projected side, the yellow edge to the center, and then I'm going to make that this dimension. So for me to make it this dimension, I'm just going to click it. You'll see that it's now called D 11, and that's because this dimension is called D 11. And then we're just going to type it and divide it by two. And that will simply just take this dimension and divide it what? Simple. Anyway, that circle is now in the place that it needs to be, and we can press E to extrude, and we're going to do it both ways. This is very important because if you don't do it both ways, you're just going to create a hole at one side. I'll just show you how that works real quick. So look now we've just got a hole on one side because I started from the center on this plane, but I only extrude in one direction. That's why it's very important to make sure you press the symmetrical one. This cuts both ways, and then you'll have a hole all the way through your put. Anyway, that's done with that plane, so I'm just going to turn off the visibility there. And last but not least, we're going to go to the thread tool at the very top, and we're just going to click it here. You can specify all the different stuff that you like, but it's not really necessary. You can actually change the length or the depth of your thread, but this isn't necessary here. We're just going to use the thread tool, click on that. Okay, and done. Nice and so that covers that part, and we'll move on to our final part. Our final part is going to be the fixed jaw. And like I said, this is not one of the simple ones, and I'm sure you can figure that one out for yourself. And the way we're going to start building out this shape or this object, it's three model is we're going to start with the main body of it, and then after that, we're going to move on to the base here, and then we're going to do this sort of front area, the actual clamping part of the vice. After that, we'll get into the details of the central part and add it in the holes and the fillets. And things like that. But like I said before, it's very important to have a plan of attack. Without it, you'll struggle. So, to start a new part, come to your home, new standard part in millimeters. I'm going to start a sketch and place down my favorite two point rectangle. So, the main part of this body looks to be a combination of all these numbers here at once. Now, you could calculate it, add it all together. Or well, first off, you could look at this number here because that is the combination of all of them, but I'm going to show you another way of attacking this. So the way that I would do this is I would figure out the width that it needs to be, and that is 100 shining on the drawing. And then this is 130 shining on the drawing, but I'm going to show you how to do it another way. So using the string of numbers that we pointed out earlier, we can do 15 plus 50 plus 30 plus 35. And then press Enter. And you'll see that's down to 130. And it's actually using the function inside of there. Something that is very useful and cannot be found in many other CAD programs, I find, anyway. So make the most of that. It makes your life so much easier. So that's the main body of it. We're going to extrude symmetrically, and it needs to be 70 mil thick. And that makes the start of it, and that's our block. We're going to come to the bottom, and we're going to start creating our base. The base of it is 130 by ten, and you can assume that it's going to be centralized around the block body. So 130 tab, 110, just like that. E to extrude, and I'm going to select the outer edge of and then the inner. And on the drawing this is calling for an eight mil base plate. Okay. So you'll see that we actually started to get somewhere now, and now we're going to start creating the clamping part of the voice, and that will go not there. Go delete that sketch. That will go on the front here. So, to begin with, obviously, we're going to project geometry, and then we're going to place down a two point rectangle, and we know that it's going to be flushed with the top, so you'll see that I'm putting my cursor on the very corner and moving it away. Do you see that line being formed? I haven't drawn that. That's just showing that it's sticking on that horizontal plane. So create it off the edge and then move it over here, create it off the edge, and that's just a good starting point. Now we can dimension it and become a lot more accurate. You'll see that this wants to be 35 mil tool, and overall is 120 mil. Now, obviously, this isn't correct, and we're just going to use the same trick that I've been using for quite a while a few times here as well, is we're just going to take the two edges, except that that's a driven dimension, and then have them drive one another. So that's that. We're gonna extrude it. Make sure that youll all the rectangles available. Otherwise, you'll only have half the part being made. And this wants to be ten mil. No, not ten, 15 mil thick. Bank. So now you'll see that we're actually getting somewhere. To begin with, I think we're going to tackle the base plate and add in the details there. So in the drawroom, you'll see that these holes are there to allow the vice to be bolted down to a table. We need to start a sketch and create the material for the holes to be put through as they're not currently there. I'm going to place a point where the hole is going to be on both sides, and I'm going to dimension it at ten mil away from the edge, and I'm also going to dimension it so that it is in the center. Once again using the same trick. And then, rather than doing all this twice, I'm going to create a mirror line ahead of time and tad it into a construction line. So that's where our hole is going to be, and we can see that the diameter of the material around the hole is at 18 mil. Now we're going to add in a whole diameter at eight mil, and you'll see that this isn't actually connecting to it. So we're going to take a line on the edge of our circle, and we're just going to bring it in. And we do that on both sides. Now we can use the trim tool to trim away that. And we're left with a bit of a tap. Now, you'll see on the drawing that there is a ten mil radius fillet connecting the two of them. This is something we'll tackle after the fact with a three D model fillet tool. Alternatively, you could draw it, but it takes a lot longer to draw things. Now, you may run into a problem like this where you're extruding in the wrong direction. As usual, use your behavior tools or just use two and select the face that you'd like it to flush up with. Nice and easy that way. Okay. So, like I said before, we're going to use our fillet tool, set it to 10 millimeters in radius, and we're going to select our edges we'd like. And now that is looking identical to the drawroom, but we only have it on one side. So I'm going to create a plane in the center of our block. Even though we've already got one now, I'm going to show you another quick way of doing it. So we're just going to use the drop down button on the play tool, and we're going to come down to mid plane between two planes. And what this does is it just creates a center line, really. We're going to select the left and right hand side of our block, and now we have a central plane. Nice and easy. Click the mirror tool, select the features. That you'd like to duplicate. Come to the mirror plane arrow, select your mirror plane, and then press Okay. And now you'll see that we've got a nice symmetrical part. And you'll find that when you make changes to mirrored parts, they actually mirror over as well. So it can become very useful to you if you're making a lot of changes to parts in your work or wherever you may be doing it. So now we have the base. We're going to add the holes into our clamping surface. What we're going to do is start our sketch, project geometry, and create a center line. Going to turn this to a construction line and add our points. Once again, we're going to dimension our points from the edge. This is going to be very similar to the jawed part that we did because these parts are meant to link up. So these features will be almost exactly the same. This hole can be made using the hole tool, though. And that's why I've used two points. So we want a M six hole with ten mil deep, which is what we already have selected, so we can just press Okay, and there's our two holes already created. Remember to double check your work with the measure tool by pressing M. And just click what it is you'd like to measure between. This has selected the center of the circle and the top of this. That is the top and the bottom done. We just now need to tackle this middle area. And this is arguably the most confusing part of it all, but to begin with, we're going to just create a square that just passes through the center of this part. So we're going to project our geometry as per usual, and then we're going to put down a rectangle. This rectangle wants to be 50 mil by 50 mil. So now our rectangle is down. We're going to place it. And once again, we're just going to use the dimension tools, but to begin with, I'm just going to drag it up in a place that's a bit more similar to where it needs to be. This wants to be 50 in mil from the bottom here and obviously central. And guess what? Going to do the same thing again. This is why I preach that you learn how to do this and do it as often as you can, because it's just so common. So now I'll extrude this part all the way through. I'm going to use the two command to be precise rather than cutting through more than I need. And that is our whole. Now we need to start building up. Inside of there, but we're gonna have trouble seeing in there. That's where our F seven key comes in, and we can cut through to our sketching plane, nice and easy. We're going to open up the sketch, press F seven, and then we're going to place it down another rectangle. Now I'm going to project my geometry. And here, I'm going to be building up this part in the middle. So, this chunk calls to be 25 mil wide and 50 mil long. And this sits central. Right, so I'm going to drag this rectangle in a place so it's somewhat near where it needs to be, and then I'm going to add my dimensions to once again center it. Just like that. Now we're going to build up the block, and that wants to be 35 millimeters tall, okay? And then last but not least, we're going to start putting a hole through the middle for it. Now, what this wants to be is actually a hexagon. Now, you could draw a hexagon yourself, but this just takes a long time. So we're actually going to use the polygon tool. And the way this works is you select the amount of sides that you want to put down at the top here. And then we treat it like a circle. So there's our center, and we're just going to put anything down because we're going to dimension it afterwards. So our six sided hexagon will allow us to put a nut in there. And from here to here, we want it to be 16 millimeters. We also want it to be flat, so I'm just going to create an angle here and change it to zero and delete that. So now I actually have something that I can use. Now, I'm get a dimension from the bottom to the center at 20 millimeters and centralize it once again. You'll see there that my hexagon decided that he wanted to tilt, so I'm actually just gonna keep that zero mil dimension between them. So in the drawing, it says that this wants to be 48 mil deep, which leaves two mill at the end. And that's just so the insert that we put in there doesn't pop out at the very end. So the exit hole here wants to be 14 mill in diameter. So I'm actually going to click on the face inside of our premade cut, and we're going to project the geometry and get ourselves a nice center line. This allows us, I'm going to turn it to a construction line. This allows us to get the center point of our center line, and we're going to put down our 14 mill hole and extrude that through the remaining that we have. And that is two mill in the other direction, just like that. And that concludes that B one big thing that I'm actually missing out there, and I'm going to use the fillt tool. I'm going to change it to 50 mil radius. I'm just going to put this curve on the back here, and that brings it all together and makes it look all nice. That covers all of the parts that we have for our vice here. And once you've done all of these, hopefully you can do it on your own. If not, obviously, you can just follow through this walk through that I'm doing here for you. And in the next assignment, we're going to be going through and constraining all these parts together to create a full vice assembly. 27. 7.1 What's a Plane?: Hello, and welcome to the next segment of the course revolving around planes. Here we'll go over what they are, the different types of planes, and which ones to use to best suit your application. But first, what is a plane? A plane is a flat two dimensional surface that can be used as a reference for creating and positioning three D objects. A plane can be created in several ways, such as by selecting three points in space by aligning with the face of an existing three D object or by using predefined planes. Once a plane is created, it can be used as a sketch plane to create two D sketches. Or as a reference plane for positioning and aligning three D objects. Planes can also be modified and adjusted as needed. To begin with, you'll find the plane button at the top of the screen to the left of the patent tools we covered in the last lesson. By clicking the plane button, you can now place one of the many model features and sketch lines also. Just select the plane tool and then the geometry you'd like it to line up to. After selecting the face, you want it to line up to. You then have the option of clicking another separate vertice or by selecting a point. After defining where the plane will be it should then appear as an orange square within your model space. At the moment, this plane seemed pretty useless because it's not doing much. To make use of the plane you've created, start a Toti sketch and click the newly created plane. Now we have created a sketch an orientation based off of our model. And with the sketch created, we can apply our three D creation tools such as Extrude, that we also covered previously. So currently, this may seem obsolete, as we can simply start a sketch on the model face rather than needing to place down a plane first. But the beauty of having this option to sketch on planes is that we can now create features at all kinds of funky angles and directions. How you might be thinking? Well, click on the drop down box on the plane bun and take a look at all of the different ways to define angles and distances for planes. Because of the sheer amount of options available, you should always be able to create a model feature the way you want it, no matter how peculiar that angle might be. So to reiterate, before we dive into these, planes are used to create sketches. At axes we typically wouldn't be able to access. And as with all the sketches, we can apply different creation tools to achieve a variety of results. So if you click on the dropdown box, you will see the 12 different ways to create a plane using different model features. 28. 7.2 Origin Planes: In the last lesson I described what a plane is and why it should be used. But before we start creating our own planes, we need to teach ourselves about the non user created planes, which are automatically created at the start. Previously, in this course, I have actually touched on this, but now we're going to go into it into detail. So these can be accessed in the model tree on the left hand side. And if you click the plus on the origin folder, you can right click any of the planes and change its visibility. Alternatively, you can left click to highlight and press OlTV for the hockey. You can hold shift or control to highlight multiple planes at once. These three planes that you find under the origin folder are known as the origin planes, which are centered around the yellow datum point within the first sketch you made. Since your planes are aligned with this datum point, it makes sense to also align your sketches with it, too. The reason behind you doing this is because then your origin planes could then be used as center lines. So as you can see, this plane here is in the center of our cube, and so is this one. And that's because I centered this cube, originally, if I go to open the first sketch, it's all centered around this yellow datum point, which keeps everything nice and tidy. If I delete this part and show you what a part looks like that isn't centered around the datum, So right now, I've created a part that isn't centered around the datum, and you can see this because the planes aren't central to the cube, other than this plane, which is based on the feature I created. So I'll just make sure that one isn't as well. So for me to align this part around the datum, we need to edit this original sketch which is being used to create this feature. Now written here, we need this yellow datum to be central to the rest of this square. So if I change the dimensions of the square to be 20 by 15, after turning off those origin planes, I can use the dimension tool to select the datum and then the edge of the square. I can now use the dimension length and divide it by two to ensure that it is in the center, and then I can do the same thing for the other dimension. This ensures that this data point is central to the rest of the sketch. And now you'll see after I turn these planes back on that they are all central. By this one, which means I need to change the behavior so that it is a symmetrical extrusion rather than coming one way or the other from the plane. It is now evenly spread. And you'll see I have center lines all over. And that's the importance of using origin planes as center lines around your datum point. So now that we have centered our origin planes, mirroring features becomes much easier and faster. As we don't have to define a plane, we can simply use what we already have. And I'll show you how that works real fast. So I can mirror this cut out to the other side of the cube simply by using our already created planes because they're centered perfectly. 29. 7.3 Placing and Using Planes: Hello, and welcome back. So now that we've covered our planes and our origin planes, we can now get into creating our own using this drop down at the top. To begin with, once again, I'm going to need a model to work with. So I'm just going to quickly throw together a So the first scenario I had come across while using inventor and other programs is needing to start to create a sketch on a curved surface. So I'm actually going to change this so that it is a curved surface, and then I can properly show you how that works. So, I'm no longer able to start a sketch on this curved plane. As you see, it actually clicked on this flat one at the back because the curved one isn't an option. If I wanted to extrude a hole through here, then it's going to be difficult for me since I'm not actually able to draw on that surface. So the way that we're going to start sketching on a curved surface is to create a plane on a tangent to this surface. To place the plane on the tangent of the circle's face, you need one of the tangent tools from the drop down. The tangent to surface and parallel to plane Optron is easiest to use in combination with the model's origin planes. To create the plane, you're going to need to change the visibility of the origin planes, which I showed you in the previous lesson. Click on all three of them while holding Control, right click and then press V. And now you'll see we have all our planes visible, and we can now go back to our tangent to surface and parallel to plane. And I can click on the curve face, as you can see here. And then I'm going to be selecting the plane, it will be parallel to it. So selecting the central one will create a parallel plane at the top or at the bottom. And the same goes for this vertical plane. It creates it on the side. And after I click, now, you'll see that I've actually created one after I get rid of our origin planes. And now I can start a sketch on the tangent of this curve face and actually be able to interact with it. This technique is most used by fire when it comes to planes. Hence why I feel it's necessary to cover this one first rather than order of the list. So now that I've done that, I can move back to the top of the list and start tackling these in a bit more order. The first in this list is the offset from plane tool and you can create a plane offset from a flat face on a model. After selecting the tool, choose a face and then input your distance into the field. This tool can also be used on another plane as well. As you can see, this is because flat faces and planes are seen as the same thing in the code of Autodesk Inventor. This tool can be used in conjunction with the origin planes to create another way of creating a tangential plane. I selected my original origin plane, and then I created an offset plane from it, the radius of the circle. And now I've got one on the tangent. So the next plane that I'd like to cover is called mid plane between two planes. This does what it says and creates a plane in the middle of two planes or faces. Use the tool, select midplane between two planes, and then click the two faces that you'd like the center plane for. So if I select these, I'm going to get rid of the other planes first, actually, just so it's not so confusing to see. So my midplane between two planes, I'll then select this face and my next face. And now you see, I've got a nice center plane in between the two of them. And that's mainly what I like to use this one for. Is creating planes in the center as this works perfectly for mirror and features. Our next commonly used plane command is the angle to plane around edge. This tool is used to create an angled or tilted plane on the edge of a specific face. To create the plane, you must first select a face, and I'm currently not able to do this as I don't have a straight edge anywhere. So once again, I'm just going to delete what we have and make a nice simple square, and then I'm going to put a curved face on it as well for down the line. Here we go. So the angle to plane around edge tool. This tool is used to create an angled or tilted plane on the edge of a specific face. To create the plane, you must first select a face and then a edge of that face. The plane will be angled around the edge that you choose. So I'll select this one. After selecting the edge, you'll be prompted with a input for the angle. This is currently set at 90 degrees, and you'll see that when I move this arrow, the degrees changes at the same time. It's helpful to move the arrow so that you know, by adding to this number, the angle of our plane will move up this way, and by taking away from our input field, it will move the other way. This isn't necessary, but helps to get your bearings for what the plane's actually going to do. So I'll set this at 50 degrees. This isn't the most commonly used plane tool, but I find that I do use it every now and then, and it's very useful to know about. The next tool below is known as the three points plane, and this isn't used too often, but it's good to know. In the rare case, you actually need to use it. This command takes three points from three corners and then creates a plane that intersects all three of those points, as you can see here. This can be used to create planes at typically different angles than normal. So right now, I would be able to create this plane the same way as I did previously with the angled tool. But what's great about this tool is I can select a whole range of different ones and come out with a pretty funky angle plane. And that just demonstrates the versatility of this tool. Our next plane we have available is the two Cplaner Edges tool. In the drop down menu. And this is used in a somewhat similar way, allowing you to define a plane's angle using models edges rather than points. So as you just seen, I'll simply select two points or two edges, and the computer will do the rest, and it will line up the plane across these edges I selected. This tool makes for more predictable and manageable planes. So due to the nature of a model's edges being longer than points, this tool makes for more predictable and manageable plane angles. Like I said, to use the tool, select it, and then you want to select two edges on your model. Nice and easy. So if we move along to our next ones, we have the tangent tools. And once again, we'll take a look at the tangent to surface through point tool. And this allows you to create tangential planes spoken about earlier. To make this tool work, you're going to select a curved face, and then a point. Points can be found where lines intersect or at the centers of lines. The last of the plane placing tools we are going to touch on is the normal to axis through point. I know the name doesn't make too much sense, but if you look at the picture for this option, it might make a little bit more sense. Now, to explain where this tool is most effectively used, you're going to need to create a sketch with a line in it that's going to be perpendicular to where your plane will be. So I'm going to start a sketch, and let's say I want a plane that ends up there. Now your line is placed. You can accurately move it with the dimension constraint. So I can decide that I want this to be 135 degrees and then 15 millimeters away from it. Once it's where you would like it, exit the sketch and then select our plane tool normal to axis through point. First, you're going to click on your newly created line, and then after that, we're going to click on our point at the end of the line. And then you'll see that our plane has been created in relation to our sketch rather than our model. And this means that we can then just start creating planes basically anywhere we like, because we can draw wherever we like, and we're not restricted by the model's geometry. This type of plane is useful when you get into three D sketches, something that I may cover in the future if this course is received well. The remainder of these plane creation commands can easily be figured out on your own, now knowing these basics. So once again, I encourage you to mess around with the commands you don't yet understand. This is the end of the planes tools that I'm covering. So therefore, the end of this portion of the course, and we'll move on to creating and constraining assemblies in the next portion. 30. 8.1 Placing Parts into an Assembly: Hello, and welcome to the next module within this course. In this part, we're going to cover the assembly environment. Now, for us to get in the assembly environment, on our home screen, we'll press the new burn, and then this design here or this icon, these three blocks represents the assembly environment. I'm going to go with the standard millimeters. After creating this file here, you can insert your own parts that you've created and then constrain them relative to one another. Since this environment is used to build up multiple of your user created parts to make an assembly, you're going to need a few parts already made and saved into a file that you can access. When in the assembly space, you can access your file browser by pressing on the place bun at the top left hand side of the screen. After clicking, your file browser appears in the middle here, allowing you to navigate your device's storage. Find the inventor part file you wish to place, and then click on it. After doing this, you can then click Open to place it into the assembly space, or you can double click the part as I just did. Once the part can be seen in the assembly space, move your mouse to drag the largest part of your assembly first and grounding the part so it cannot move. The way we ground our part, because now that it's in the environment, I can just drag it around this isn't something you want when you're linking everything together. So your biggest part, typically, you want to ground it. And what grounding does is ensures that the main body of your assembly does not move and remains in one consistent place for the constraining phase of your assembly buildup. Now, the way that we ground it is we click on it and I can press G, or you can make your way down to the word ground it and click it. Pressing G is just a quick now you'll see that even when you try to drag it, it won't move. And when you hover your cursor over the grounded part, there is a pin, as you see, and that is showing that it is grounded. Grounding a part, much like everything else in this software, can be achieved within the model tree using the same method as I just said. You'll also notice that there's a black.in brackets to symbolize that a part has been grounded in the model. Now you know how to place your own parts into the environment using the Place tool. We now need to know how to place in commonly used parts such as nuts or bolts. Now, firstly, you could model this yourself and then store these component parts in a neatly organized folder, but the better way of going about this is to use the content center. And the content center is found in every copy of Autodesk inventor. You may find that yours doesn't have the content center if you opted out of downloading it when you downloaded inventor in the first place. But for those of you that do have the content center, to access the content Center and its many pre created parts, use the drop down menu found on the place button. Inside of the content center, you have another tree type storage. This is used to organize parts among their families. Any standard commonly used parts can be found around these menus, meaning you don't have to waste time modeling it for yourself. And it also means that they will be accurate. They will be right. If you make it yourself, there's always the opportunity or the chance that it will be wrong. So trust what's already there, and it's so much quicker, too. So once you've located what you want, so I want a bolt, a countersunk bolt, and I want it to be this standard of bolt right here. Double click on the put. Now you can see a transparent version of the pt. Move it where you would like it to be and then left click again. Upon doing this, a pop up menu will appear, showing the many variations for the part you have placed. So now we have different types for this bolt. We can also look at the different sizes we have available to us and then the length of the bolt, as well. So I'll do a ten bolt at 25 long, and we should get an M ten bolt at 25 millimeters wide, just like that. And now since we have decided what sort of bold it is, we can just click it in as many times as we feel necessary without having to go through again and select all of our different variables. Once you've finished putting down all your bolts, you can right click and press Okay, and you will then be back to your original mode and able to drag parts around. The benefit to using the content center parts is that all the parts are adaptive and can be changed quickly using the pop up menu. Otherwise, we would be forced into modeling every single variation for the bolt ourselves. So that covers how to use the content center, and in the next lesson, we'll start constraining parts together. 31. 8.2 Assembly Constraint Commands: Hello, and welcome back. In this lesson, we're going to start going over the assembly constraint commands, and now we know how to place in our own parts and the other pre created parts such as bolts and nuts. We now need to use the constraint command to create some rules relative to the form factor of each part. So when I say form factor, I'm referring to the size and the shape of our parts, and it's just a nice easy way of saying that. To begin using the constrain command, you're going to want to click on the Constraint tool at the top of your tool bar and take a look at all these different types of constraints we have available. The first of the selection is the make constraint. And as you can see in this image we have selected, the first face you click will connect to the second face. So now that I've selected the Td, you shouldn't have to select anything. I automatically selects this mate tod. The first face that I click and the second face connected to one another. When you hop over the face of your choice with this type of constraint selected, a cross hair appears, and you can see that where my cursor is. The arrow protruding from the face signifies its direction. After selecting your first and your second face, the connection is made and can be understood better when looking at the smaller image and also taking note of the arrow directions when selecting the face of your models. You'll see in this image the cursor that we had. I'll show it again. So the cursor next to the axes that's on my cursor, and then you've also got the axe that's in the image, and you'll see that these two arrows are opposing one another. So when I select that, these two arrows are opposing each other and connect. Once you've selected the faces that you want to connect together, and the connection that is being previewed to you looks how you'd like it, click Okay or apply on the menu. Or alternatively, much like many of the other tools, you can right click and press Okay here. If the model hasn't updated to the changes, ensure that the glasses box in the menu is ticked. And that can be found just here. And this just shows the preview of what's going to connect to what? Constraints, similar to sketches can be found in the model tree under the part that they're effective. Here you go, you see the mate that I've created between these two parts, and that will show up in both of these parts in the model tree. Here you can right click to suppress and delete these constraints. And you can also left click or double left click to change the distance between these two constrained faces. So I can add a 20 millimeter gap between the two of them. And now, wherever I move this, that 20 mil gap will remain the same. Applying multiple constraints between two parts can begin to overconstrain the model to the point where both requested constraints cannot be fulfilled at the same time. In this case, an error message will be displayed. So with my current 20 mil constraint between here, and then if I also ask for these two faces to connect, I can do that, but it stays 20 mil away. So if I try and create the same constraint again at ten mil, it's going to have a problem doing that. So this is the error message that I'm talking about. For this constraint to be fulfilled, I need to delete my previous one. And that way, the ten mil constraint can then take over. So moving back into the constraint tool itself, the next version of the mate tool found in this solution tab is known as the flush constraint. The constrained parts can still be dragged around after being mated to one another, but now the parts will act accordingly under the rules that you have placed on them. Once again, parts that have been grounded cannot move under any circumstance other than being ungrounded. To ground parts right cluck the model or name in the tree and then press G to quick perform the action or find the grounded option in the menu and simply press that. It's always a good idea to have what I would call a base part. This is typically the very foundation the assembly is built on. By grounding this part, the entire assembly can't be dragged around. Just the underconstrained parts, meaning they need more constraints to be fully defined, such as this part here, as I can still drag it around that is underconstrained and need more constrained. So if I'm going to come to my constraint tool, you can click at the top here or you can press C for the shortcut, and that's what I've been doing. I'm then going to move to the flush solution in this part. I'm going to make this face and this face. No, wrong one, this face and this face. Flush. Right click and Enter. And now you'll see that these two faces are completely alarm with each other. And we've also got the bottom of this pup and the top of this face flush with one another also, and then the ten millimeter constraint here. And as I said before, this can all be found on the left side in your model tree. And from here, changes can be made for quick alterations. But now you'll see this is no longer able to be dragged because it has been constrained and secured in all three axes, the X Y and Z. So the next constraint that we're going to take a look at is the angle constraint, and that's this one here. The easiest of the options to use of these three is the first of the three. As this only requires two phases of selection and an angle input, the preview is very helpful ensures that you don't commit to what could be the wrong command. You may find that you have selected the wrong faces to achieve your desired outcome. So figure out how this angle tool works before diving into the other two, as I still find them confusing to use. And I've been using this program for quite a while. Sometimes you may need to use multiple types of constraints to get the assembly how you'd like it. So the way that I would use this angle tool is I'd select the two faces so I'd like to relative to one another, and currently it's at zero degrees. So if I set this to 90, I can see that it's flipped 90 degrees in the anticlockwise direction. And what's so great about the preview is that it allows us to see what has happened. I've turned it off. I've changed the angle, and nothing has changed. So now I don't really have any idea of where it's going to go. But clicking on the glasses gives me a good idea. And here you'll see that I've put a 57 degree or 33 degree constraint between these two parts. So moving on to the next constraint tool, this requires you to have a curved face. So if the model you're using doesn't have one, open it up by right clicking and selecting the open and then create a curved face. Alternatively, you could open up the content center. Come to the shaft parts and then bearings. Select any of the options and place the bearing. It doesn't matter which you choose. There's all bearings around. Thus, having around face. So I'll press the C hock key to open up the constraint tools quickly, and then I'll find the tangent command, which is the third one along shown as a circle and a rectangle. Once again, choose your two faces, and with this command, one of which needs to be a curved face. So I'll select this one and then this one, and you'll see the previews been created. I'll press o. This part will always remain in contact with that edge, since it's a tangential constraint. This command also works using two curved faces. Our next tool in the constraint command is called the insert tool. And that's represented it. The insert tool utilizes axes. So when I hover over parts of the model, a green line and arrow is depicted while also highlighting the feature driving the axis. So as you can see, I've got my green dotted line here with the arrow at the end showing which way that's flowing, and it's also highlighting the feature of my model, which is this circular part, which is driving this axis to be created. After selecting, the arrow remains visible, further helping you visualize the constraint you're about to make. Select your second part, and then your preview will be shown. Right click, press Okay. Then your constraint has been created. After the constraint has been created, drag one of the parts to understand the full range of movement permitted by this rule. The difference between these two options in the pop up menu is fairly simple. Option one opposes the arrows in your selection, whereas Option two flips it the other way around. And since we're only operating on the one axis, whatever you're trying to achieve can then be achieved within these two directions. So that covers just about all of the basic constraints that you have available, and you should be able to do an awful lot with just that that I've told you. So now you are equipped with the knowledge required to constrain any model, no matter how complicated it may be. 32. 8.3 Constraining Parts to Create an Assembly: Hello, and welcome back. Now that we know how to get into the assembly environment, how to constrain things, we're now going to take the vice parts that we made before, and we're actually going to constrain them together and make a vice, as you'll see just hit. And real quick before we start, make sure that you have downloaded the PDF that shows a fully assembled vice. That way you can reference this when you're putting it together. So, let's get started. To begin with, we need to press new and open up a assembly file, and then after that, we're going to go place, and we're just going to place down all of our parts. At the same time, I held control and clipped them all, and then I just pressed Enter, and I could put them all down at once. And that saves me going back and forth. It's just a little bit of a timesaver. So you may see that my parts are colored and look a bit different to yours, but this shouldn't affect anything as all I've done is I've changed the appearance of them using this drop down menu at the top here. Feel free to do that yourself if it makes it easy for you to follow along. But anyway, we'll get straight into it. After that, I've right clicked this main part, and I've grounded it. You'll see the dot on the far left side, and that just shows it's grounded, and I can't move it anymore. So now we're just going to start building things off of this main component. Also, we're going to need a second one of these jaws, so I'm going to press Control C and Control V and put another one down. Now, I'm going to attach this jewel to a fixed block, and I'm going to press C to get to my constraints, select the backside of this, and that needs to be mating with the front side of this. Right click and apply. Now I'm going to make these sides flush at the end. That way, it'll sit on properly. And then I'm going to take the top or the bottom of this lip and make that to the top of the vice. And now that should sit on there quite nicely, and you'll also see that the holes have lined up so we can put our screws in. Right. Now we're going to do the same thing for the other jaw. So all the same process again. Now, you'll see this is upside down, but after I apply my mate there, it sorts itself out, and then my flush mate at the end. Now that should be on aligned quite nicely. Now we're going to put together our handle pieces. So the way for us to do this is we're actually going to open up the origin planes for this part, and we're going to get the central plane and make it visible with right clicking, opening the menu, and pressing V. Now I'm going to constrain the central axis through this whole apply. And now I'm going to select this origin plane and make it visible, as well. I would like to make these two origin planes together, meaning that this bar will always sit central inside of the other bar, since it is a handle. So, this didn't work by pressing on the mate solution. So we're going to use the flush solution, and you'll see it's jumped over, and that's worked fine. And now you'll see that when I actually spin this part, the handle follows along with it and also copies its orientation. Now the handles all put together, we're going to start putting it together. So to begin with, we need our thread to oh, no, no, sorry. Before we do that, we're going to start putting in our content center parts. So come to the top left, drop down menu and place from content center. I'm going to show you how to get to it from the very start. So we're looking for egg nut. So we're going to fasteners and then nuts. It's a hex nut. And then we're looking for the Din 1479 nut. This is because it is a longer nut and is what our vice is designed to handle. Now we have our nut here, we're going to press left click and our pop up menu showed up here, allowing us to choose between our different thread sizes. So our thread on this bar up here is ten. So we want an ten nut. I'm just going to place one down and we only need one, so right click and ok. And that will be that. We've got all we need. So now we need to put this nut into our nut shaped hole. The way we're going to do this once again by pressing C and using our same mate constrain to just constrain the edges. Now, you'll only have to do two due to the shape and nature of this object. So now when I move it around, it will remain in the hole. Obviously, it can slide out. So now we're gonna take the backside of this nut and we're going to constrain it to the back end of our housing. Now when we try to drag it, it shouldn't move anywhere, and that's because it is fully constrained. It's actually got this little dot next to it on the part, showing that it's fully constrained. And that's why being grounded shows the same dot because that is essentially the same thing. It can no longer move. So now our nut is in there, we're going to use our content center once again to put in the screws. So now we need to put bolts into the draw in order for our connection to be made, since we don't actually have these magical connections in real life that will hold these together. So we're going to go to our content center once again, and we're going to come to the fasteners, open up the bolts menu, countersunk after that. And then we're going to be looking for the CNS 4558. After that, we're going to click it down, and that should bring our pop up menu up. This is a screw at ten mil long. Okay. And we want two of these. So there they are. And that was a lot faster than actually going out your way to make it yourself. And that's why we do that. So we're going to take this middle axi, and we're going to do that by pressing constraint and just anywhere on a curved surface, and you'll select it, and then we're going to put it into our hole, the axis in the hole. Now, you will see that the bolt is in the wrong way round. In order for us to solve this, we're going to come to the solution and press opposed, and this flips it around nice and easy. The bolt is now in there. It's on the axis that it needs to be, but it can slide in and out and through the material, which obviously isn't what we want. So, as usual, we're going to go constrain, and we're going to press our flush solution, take the face of the bolt and the face of the jaw and apply there. And now that should be in there pretty well. And then, of course, we're just going to do the same thing again for this other bolt. Now I did forget that we actually have four of these bolts to place. So instead of going into the content center again, I'm just going to copy and paste this same bolt, and that's just an even faster way of doing it. So knowing your options is very important because it allows you to move faster while you're working. So here we go. I'm just going to go through and add our constraints in the same way as we did our first, two, and three. Take your time when you're doing this, as you'll actually save time in the end if you make sure you're pressing all the right things rather than trying to be fast and messing it up. So now we have three distinct parts, and firstly, we're going to move on to our bar and thread with the handle through it. This wants to be actually facing the other way. So a quick way of turning a component around is by selecting it and we can select the handle of it as well. And then pressing G. We'll have a little axis appear here, and we can just grab the edge right here. You'll see my cursor actually changes as I move to the edge there, I'm just going to bring it round and then press escape. And now it's a little out of whack, but if I just move this, it should update and be in the position that it needs to be again. So now it's in a bit more of a similar position to where we want it to end up. We can then constrain it into our nut and apply that. And now we want to constrain this very end right here so that it sits flat against this face So you'll see that it's not actually in that hole. That's because this hole isn't in line with this axis. So, in order for us to do that, we're just going to do it the same way as we did with everything else and just make those two axes together and apply. So now it's starting to look like it's coming together, but as you see there, it's moving all over the shop, and we don't need that. So we're going to make the top of this to the top of our hole. And now everything lines up the way that it needs to. And we've got our content center placed parts in there as well, as well as our handle following around our adjustable part of voice. So that is the assembly of the voice. To go one step further, we can ensure that these no longer collide into one another. The way that we're going to do this is we're going to select our two jaws here, and we're gonna press right click and we're going to enable contact set. So this should stop them from phasing through one another as you're seeing. But the way for us to fully activate this, you can see on the pat tree that the jaws have the contact set enabled with this icon to the left of their part. But for us to fully turn on this function, we need to come to inspect and then activate contact Solver. Now, when I move these into each other, they won't go past each other. Unless I pull really far and it will just clip through it. So there you go. That is how you put together all the parts that you've already made and create a adjustable workshop box. So that's everything to do with this assignment. And in the next module of the course, we will be moving on to the drawing section of CAD, and there we can start putting together our own border and our own drawings. 33. 9.1 How to Open and Store a Drawing File: Welcome to the next installment of this course and the next area of the program that is inventor. That would be the drawing space, and the drawing space is found underneath the assembly space where we use. Here in the drawing space, you can import the models that you've been making and annotate them easily using the next set of drafting tools. For the time being, we're going to set up our own custom border, unlike the standard border. Before learning about the tools. So to get into the drawing space, you're going to need to open up a drawing file by pressing new and then selecting a drawing file in the unit of measurement that you're commonly using. So I've selected millimeters here. Not all versions of inventor will have you open a drawing file this way with all these different options has recently changed in the past few years. This is Autodesk 2023, but older versions will have four boxes in the homepage. That would simply be part assembly drawing and presentation. And here you would want to click on the drawing button. But that is for older versions of CAT. So upon opening the drawing template, a standard border is assigned to you based on the type of standard you picked when setting up the program at the beginning in the first lessons. We're going to create our own unique border in this next this border that we currently have works if you just want a drawing quickly and isn't being shown to any customers. This is because this drawing border has none of your business contact information or if you're not drawing for a business, then you'll want your own details on the drawing so others can contact you with queries related to the drawing, if need be. So it's worth noting that when you save a drawing file, you should save it alongside the part it will be showing in a folder. This helps keep everything tidy and ensures that all your files stay linked correctly. So what I mean by that is similar to my vice, all of my drawings here. These are my drawing files are saved alongside all the parts and my assemblies and my PDF. This is because when all of the files are in the same folder, they link to each other and can update based off of one another. Whereas this doesn't happen if they're not in the same folder. I recommend setting out project files by grouping all the parts, assemblies, and drawing files together, and then adding another folder inside for copies or superseded files. So here you'll see I've got old versions or superseded files. And then if I was going to make copies, I'd just create a new folder and name it copies, and then I'd save them in there. 34. 9.2 Designing a drawing border (Follow Along): So to begin making our own border, we need to get rid of this one. To do that, come over to the model tree and right click and delete the drawing border. So that's this to follow and right click and delete, and that's gone. And you're text in the bottom right, so that as well. If you can't find these, you might have to expand the sheet one at the top here, and then your drawing border and title block should be able to be found from there. So now we get to put our newly learned two D sketch commands to use while designing our drawing border. This should help solidify the knowledge in your memory while further gaining experience using each of the two D sketch tools. So before you start drawing in your border, define the page limits with a rectangle. And the way we're going to do that is we're going to start our sketch. Now, it's just going to immediately work because there's no three D models to select or planes that we need to select. There is only one place we can start a sketch, and that is right. So, start your sketch, and we're going to get a rectangle, and we're just going to define the edges of our border. And you'll see that the corners actually do snap so we can snap to opposite corners here. It does snap easier when you zoom in, although it doesn't appear to be snapping on this corner until I've zoomed in a lot. So make sure you zoom in a lot so that you can get that snap. Now that we have a rectangle along the border, we can start. So this border allows us to sketch geometry off of the page extents as if it were a line, meaning we can snap lines to the edge of our page. And also, we can find center points on our page, too, and that's the screen dot here. So we're going to interact with this using the offset tool. Press the OHC key or select the offset tool and interact with the rectangular border you have just drawn. Define your drawing border by clicking or typing in a value. When doing this, it's important to keep in mind that the inner space here is where your model views and dimensions are going to be. So allow lots of room to smut. So here I'd recommend only doing a small border as it leaves us a lot of working space, I'm going to use 20 mil, and now I'm going to delete that dimension. Don't worry about dimensions appearing. After using tools like offset, they'll disappear once you're done designing our border. Use the dimension tool to select the height of our bordering rectangle and create a driven dimension. So here, we're just going to click that, and we're going to right click it and make it into a driven dimension. This dimension is visible to us, so we can use it in formulas so that we can equally space our drawing zones. But it's not actually driving anything and can be modified. So we're going to sketch multiple lines of which we will use to break up each zone in our drawing. Keep these small, but big enough to identify when you need to. So I'm going to just cut it down into four zones here, which means I'll need three lines. I'm going to draw these at 15 mile. Feel free to do it however big that you like, and then I'm going to use the copy tool to just copy and paste this down a little bit, save me drawing it over and over again. So three lines. They're not equally spaced right now, and we've got one, two, three, four areas here along our left hand side. I am also going to use this locking constraint to select our outer border. I'm just going to do that for all the edges here. And this is so that it just stops running away from us. Now when I drag it, it should stay in place. So now the lines are in, we need to equally space them along the height of our drawing. To do this, we'll write a formula that will do the maps for us. So I'm going to put in my dimensions first, but to begin with, I'm gonna press D to get my dimension tool. I'm just going to pull these out to the side and line them up nicely so they're easy to read. And now that all our dimensions are in here, we can start using these to equally space them. So we know that each of these areas needs to be a quarter of our driven dimension or our overall page space on the right hand side here. So if I click into this dimension and then use this dimension as our starting point and then use divided by four, you'll see that it is now at that dimension divided by four. Now instead of doing this over and over again, I'm just going to click on this one because that rule is already in there, and then I'm just going to do that for all of them. And this is a driven dimension. So it's already the correct length anyway. So that's them equally spaced. So now that our vertical side has been done, we're going to move on to our horizontal side, and I'm just going to create four zones there again using exactly the same technique. Two, three. Three lines, four sections. And this last length here will always be a driven dimension, as it will already be fully constrained just based off these three here. But we're going to put it in as a driven dimension just so we can see the distance here and ensure that it is equal to the rest of our zones. And as you can see, they're all equal now. After doing this, you're going to have a messy dims everywhere. So take a moment to tig them up and move them off the paper, similar to how I've done so here. Now you can carry on doing the same process for the remaining edges. Or you can make a massive time save using the mirror tool to automatically place the rest. To do this, you're going to want to create a center line down the center of the page. This is also going to want to be done from left to right, as well as up to down. Make sure that the line is in the dead center and completely straight, as this will affect how the mirror geometry turns out. The green node on your line indicates the centers of the line. So if you're creating a line from the center to the center, you know that it is completely straight. So now your lines are in place. Select the mirror command at the top and press on all of the lines on one edge or highlight them for a little bit faster. After that, we're going to then select our mirror line from the menu, and that is going to be in our center. Click and Okay, and now you'll see on our right hand side, we have got the mirror image of the left, which is a lot more quicker than just drawing them in like we did before. And as you'll see, they are just in the same with the top and bottom side too. Much faster using the mirror tool, ensure that you learn that and incorporate it into your workflow. So once you're done creating your border lines, we can delete these mirror lines. Feel free to number each zone. So the way we're going to do this if we're going to use the text command, and we're just going to click, and then I'm going to do one, but the one is too small. So we're going to open it up light our number and change the size. I'm going to do it to ten mil. Now that's a bit more of a readable size. So now I'm just going to copy that over Control C, Control V. And you'll see that another one has been created right next to it, and I'm moving it over to our next zone. And you'll see that there is a dotted line that is showing that our two text boxes are actually aligned, which is obviously exactly what we want. Now I'm going to change this to two and then copy and paste, again, select the two that has spawned a little higher and then move it. Make it three. Don't worry if it's not completely in the center at the moment, as we're going to add some dimensions afterwards that should help center it up and ensure that everything's looking nice. Also, just because there are dotted lines doesn't mean that it is aligning with the textbox. It could be aligning with, say, lines or other geometry. So ensure that it is actually lining up to what you want before you let go and leave it there, just a quick double check that's worth doing. So now we've got one, two, three, and four. I'm going to do the same thing along the left and right hand side. But this time, I'm going to do A, B, C, and D. And this is so that I can refer to certain zones as A one. Or B four. Otherwise, with just numbers, it wouldn't be as easy to understand. So A, I'm gonna make that capital A. And I'm going to copy this down using the copy tool, which is a bit quicker, but nowhere near as precise. I'm just going to change the numbers. Letters. Right. So now we want to centralize these. So the way I'm going to do this is I'm actually just going to draw a line, and then we should have a green center node appear, and I'm just going to eye it really. I'm going to make sure that this green node here is on that line, and that way, I know that it is central. Now I know that one's central. I'm just going to draw a straight line down and move these over onto the line. You see that I'm actually clicking on the dot, which is actually the placement point of this text box and moving it over. Now when I try to move the text, the line moves with it, which isn't what we want. So now I know these are all aligned vertically. This one is aligned centrally. I'm just going to do the same thing as I did before and align these. You may find it easier to lock this line, then we can actually move it side to side, and it will make it a little bit easier. Now, for the sake of the tutorial, I'm not going to ensure that these are totally perfectly center, whereas I recommend that you do that for yourself, as if you plan to use this drawing border for the rest of your drawing career, then I'd imagine that you'd like it to be at least correct or, you know, as close to perfect as it can be. So now that one's in a place that I like, I'm going to draw a line from it to the right at a straight edge. You'll see the two lines that are appearing over my degrees input, showing that it is a straight edge when I move my mouse, you'll see they disappear, and they're back again because it's completely straight. I'm going to lock this so that it cannot move. And I'm going to put in my lines here so that I can find the center points between each of these zones. Now they're there. I'm going to put my lines here, and you'll see that two is off center. The threes pretty close, and the four is way off center also. So now that all our lines are in place, I'm just going to firstly drag the place point onto our locked line and move over the two so that it is somewhat central and then delete my guide. One's pretty central, deleting the guide. Three's almost central. Just go to firstly put the place point on the locked line and then move over. That's close enough for me. Delete that and same again over here. Now, when you're done with that, make sure to delete that locked line. And now we have some nicely spaced zone titles. So the miratal doesn't work for the text boxes. So if you actually want to title the rest of these zone edges, then feel free, but for the sake of the tutorial, I'm going to skip this for now, but I do recommend that you do this. So now the border is in the next detail to focus on are the different boxes you find on these drawings, such as the revisions table to show what revision the drawing is and the changes made in the revision and who made the revision on that day. You can add this revision table anywhere you feel fits on the drawing border, but just as you know, this is typically found in the top right corner or along the bottom conjunction with the other drawing details that we'll get onto pretty soon. So I'll be placing mine in the top right corner just by using a rectangle and then dimensioning it to size. Always keep in mind that you need room to have your drawing and annotations in it, so don't make anything too big. So now my revision box is a reasonable size. I'm going to separate the box into four different areas once again. Each area here is for the revision letter that is the date of the drawing change, the initials of the person who made the change and the description box in order to make note of the changes that were made within this revision. Some companies also use a change number box, too, so if that's you, you're going to need to add another box also. So same technique as I used before, and I use a lot because it is such a powerful technique. So I'm just going to dimension here, and then I'm going to ensure that they're all even the same way as I did before. The potted by four, and then these are going to be driven from this one. Easy. And now we have a revision box. So, press T or the text command in order for us to add headers into each box. So I've put down one of my headers, and I'm going to use the copy tool in order to ensure that the headers are in a consistent position across all of the boxes. So what I've done is I've selected the textbox, I'm going to press Continue. I'm going to click a common base point. And this is going to be the top left of each of our squares. So you'll see that I felt in exactly the same position because I'm using a consistent technique. So we've got the revision box, which is where we'll put our letter in. We're going to have the date box, which will simply be the date of the day of the change. Then we're going to have our notes box, and then we're going to have our description box. And lastly, we're going to have our initials box, and this is just so that we can tell who made the changes. Your font appears too big, unlike what I've got here, then you may want to double click into the text editor and change the size of it to allow room for the data that needs to be inputed. So now that our revision table is complete, we can move on to the boxes that occupy the bottom line of our drawing down here. In these boxes, we have info such as drawing numbers and standard machining tolerances. I recommend creating a layout similar to mine here, and I'll just open one up for you. I recommend creating one similar to mine here after you've inputted all of your headers, changing the box sizes to better fit the info and leave room for these details to be added in the future, ensure your lines are aligned to keep your drawing border from looking scruffy and unprofessional. As you can see, this line here aligns with that one. The title here is bigger and not aligned as it is the main part of the title block used to identify the drawing. Don't have to do it in exactly the same way as you see here, but a total of around about ten boxes should be added here as this is the amount needed to put in all of these different titles such as approved by date, drawing by scale, draw a number title revisions, and this machine intolerance is known. I'm just going to close that. I'm going to start drawing in my title block now, and I'm actually going to open up that PDF and just have it open in my screen for reference. So I'm going to start creating this border. I would like the overall length of this border to be no more than half the length of my page, which at this point is just here, and I'm going to make sure that it is no bigger than 100 tall. That's a good sized border, in my opinion. And now I'm just gonna use the rectangle to break this down into smaller boxes. I'm just going to select nice round numbers. This rectangle's 100 by 50, and just go to rinte and repeat and create something somewhat similar to what it is that I showed you before. And if you're following along at home, I recommend that you copy something similar to this. This is what I have been using basically throughout all of my career and has never done me any wrong. Now I'm moving on to my title block here, like I showed you before, and this just doesn't look like a big enough space for the title block. So rather than start it again, I'm just going to take this overall length, and I'm going to up it to 500. Then I'm going to take this rectangle and bring it back down to 100. Now, our title block is looking a little bit of a more useful size to us. And then I'm going to make sure to put in this little top box, as well. And that's quite important, and I'll show you about that later. So now that we have our ten boxes in, we need to start labeling them. The first box is going to be the approved B box. And once again, we're just going to select our text tool at the top or by using the hot key T. I'm going to click on the top left, and I'm going to type in approved box. Now I'm going to move this somewhere appropriate. I'm going to ensure that the text is big enough. I'm going to set mine to five mil, still a little bit too small, so I'm going to go back in there. I go to double it, go ten mil. That's far too big. So we'll go for 7.5. Still a little bit too big, and I'm going to go and settle for 6.5 maybe. Yeah, that looks like a good size, so I'll stick with that. Also, it's a good practice to ensure that all of the letters are in uppercase. So turn on your caps lock for now. And now we have a text box in. We can use the copy tool to keep a consistent position for these headers because the last one we want is a header that's here and one that's clipping through there and one that's not quite. One's right in the center. What we want is a nice, uniform, tidy looking drawing. Since this is an engineering drawing border, everything needs to appear professional. So obviously, they're not all gonna be approved by. I'm going to turn this one below into date. Colon. This one here will be machining tolerances. This typically, as I'll show you on this PDF, is your specified tolerances for the factory that you're working in. So for now, you could just copy them on. This would be a pretty standard machine intolerance for a factory. But if you find that you're working somewhere and you want to be completely short, then ask and find out. And here you go. So I actually need machine intolerances at the top here. I'm just going to put that in. And make sure it all fits just like that. So after we've done that one, we can move on to the drawn by and ensure that everything is in full caps. Below that, we're going to go to scale Kylon. This is our title box, as we discussed earlier. And underneath that is our drawing number, and I promise we're nearly done here. And this is our revision box, which we're just gonna call rev because we don't have much space. And this will just be our revision letter, we'll tie with our revision boxes at the top here. And I'm actually going to change the size of these, as well, because now that I'm looking at it from afar, they're kind of hard to read. So I'm gonna settle these to 5 millimeters, and that seems to be a reasonable size. Brilliant. Now we're starting to get somewhere. So all our boxes are filled here. The next box is very important, though, and that's this one on top. This is known as the projection sketch symbols, which is meant to explain how your drawing is typically displayed in relation to each of the drawing projections. Once again, pulling up my standard drawing border. This is what I'm talking about. And with the target on the right hand side rather than this parallelogram and the box on the left, so vice versa, this is meant to indicate a first angle projection. And this means that your top view should be located under your front view. As you can see, this top view is above it. So obviously, the opposite what I just said. When the target is on the left and the box is on the right, such as you can see here, this is known as third angle projection, and it's a lot simpler to understand hence why I use it. Your right hand side view will be to the right hand of your model, and your top view will be above your model. Meaning the view on the right is the right side, and the view on the top is the top side, pretty self explanatory. And the drawings just seem a lot more intuitive. I would do is I would sketch something that looks similar to these. It doesn't have to be perfect, but as long as you have something similar, people should get the idea. I'm going to start it in the center, draw some circles. And then I'm going to put my lines for it. So we're going to start, I don't know, five mill away. Same on that side. I'm just going to draw these together like that and highlight the little lines and delete them. So we're just left with the big line. And the same goes for just here, five mill down, five mil up. And connect them together, delete the small ones. Now, here, my symbol has gotten too far up, so we're just going to bring it down in a more central position. So there's our target. Now we need to draw a parallelogram. Now, this one should be a lot easier. I'm just going to start with a rectangle that is the same size, and I'm just going to take these corners, come in here and delete all the restraints. And now I should be able to move these corners up like so, and these corners in. And now you'll see that we have a pretty similar looking setup to what I have in my PDF, although we would like for these lines to be a lot thicker, so we're just going to highlight them. Using the Control pattern, we're going to select all of our lines. And then we're going to right click, go to properties, line weit, and I'm just going to up this to one. Now, obviously, you would center that in the drawing, but I already have my own border, and I'm just showing you how this works sure that you're polishing off everything. But now, as you can see, if we compare this border to the border in these drawings, it is looking pretty similar. The only difference I would say is this revision box at the very top, and I would probably stretch that out and make it smaller and just so that it looks similar, and it's a little bit more usable. Something else worth putting on your drawing border? I haven't seen a lot of other people do is placing in a remove all sharp edges and burs note. The reason I'm doing this is because when I create drawings, I create drawings for manufacturers. The reason this note in the corner of your drawing is very useful, as it helps to cover you if someone gets hurt while making something that is that you've drawn. Adding it directly to the border also means that you don't need to retype it for every drawing you make saving time. And that's also why I've tucked it in at the very top left because here we know that it's very unlikely we're going to have any of our models, our model views and dimensions that will impede on this area. Adding your note, you should be about done with your border. Now's the time to make any changes you would like, as we're about to save it as a blank template. You can open it every time you go to dimension or drawing. So now your border is created and filled with the info that suits you, you can finish the sketch and then name the border. The border won't show straightaway. To add the border, open the border folder in the moditory and double click the border we just made. So I'm going to finish the sketch as we have. And I just noticed that this isn't actually in the border. It's just a text that I've put down. So the way I'm gonna do that is I'm gonna double click into the border, put some text in the top corner. I'm going to paste what I just copied. And now it is one with the border and will always be there. So, we've finished our sketch. We've got our note in there. We're gonna name the border. So I'm just gonna name it something similar to me. My name is Jordan Keech, so I'm going to put in JK border. And this way, I just know that it's mine. So now that our borders finished, I'm going to save it as a blank slate. Somewhere else. I'll save it in my Cad folder. So you'll see here that my border is actually already there, and I save it as one AA and then the name of it. This way, you can always have it at the top of your files when you saw it by name. You'll see here that it's at the very top. I also recommend saving this file somewhere easy to access, as you may need a so there you go, one AA, my name, and then template. And that way it always appears at the very top. So now, when you want to start a drawing, you're going to double click onto our template, and then you're going to input your view, you're going to do what you like. And then once you're done, you're going to make sure that you don't just press Save. You want to save as. This way, you create a new file, naming it, whatever you like to call it. And the one a a template remains. And that way, when you're done, you don't open up the template and your old drawings on there. You just have a blank file ready to go again. So that just about covers everything here for creating your own border. So I'll see you in the next lesson where we will touch on placing and manipulating drawing views to clearly show important details in your sketch. I look forward to seeing you there. 35. 10.1 Placing and Stylizing a Base View: Hello, and welcome to the next section of the course titled placing and Manipulate in drawing views. Now we have our own drawing board containing all of the relevant information. We can now begin turning our models into drawings. To start off with, you're going to need to have access to a model assembly or a part. The way that you have access to this is you're going to need to save the part. That way we can then import it into our drawroom. Once you have a part saved, I'm going to use our Vice assembly, which was part of our last assignment. We're going to save it and then come over to our drawroo border. From here, to place your base, you're going to locate the base button in the top left of your screen. This is the first of the tools in your tool bar, and alternatively, to press in this base button at the top, we can right click and press base here. Your most recent model that you accessed with these tabs at the bottom of the screen will now appear here. And as you can see, that is my Vice assembly. Now your model view is on the drawing. This can be dragged to where you'd like to have it. You will also notice this view cube located to the upper right of your newly placed model. Orientate the cube to change the viewing angle so you can properly view your model details. And this is done the same way as in the three D model environment. Within the pop up menu that appears under style, there are three different boxes. Each of the boxes depict a different drawing style. The first box shows a wire frame cube. As you can see, and displays the hidden edges in your model. And you can see this because this shaft isn't actually visible in my model. As you can see in the actual model here, but in the drawing, it is displayed as a dashed line. And that's just how the style is represented. The hidden edges in your model that typically wouldn't be able to be seen are now displayed as dash lines. The next box that we have available is hidden line removed, and this one displays the model the same as before, but doesn't display the hidden edges. Very much similar to our actual model in the assembly space. This style helps clean up your drawing, making it easier for others to read for critical information and also ensures that it's a simplified view. The third box that we have available is the shaded box. And if I click into it, you'll see that this just applies all of the materials that you have applied previously in your assemblies, and your part files. And I typically use this when I'm creating an isometric view in the corner of my drawer and a bit like that. When you're dimentioning the drawing, it's always a good idea to ensure that you don't have your shaded on, and then you have your hidden lines viewable. You also want to create a view that is straight on to the object rather than isometric or diagonally. This is because it just makes it a lot easier to interpret and also dimension. So not only is it easier for you, but it is also easier for the people reading the drawing. The last box can be toggled, and we'll work in conjunction with the other two styles mentioned. When this box is toggled, your model will be shaded and now displays the colors of your model. I'd typically use this shaded style and an isometric view of my model as it easily displays different features that lines alone wouldn't show as effectively. Further down the menu, you can see a light bulb underneath your scale. This is another toggle box, and when this is toggled, your model view will be labeled. To change the text within this label, you can double click on your label or you can press the pencil icon next to the light bulb. Typically, I will leave this label as hidden, as I would like to create my own labels or just not have labels at all. Double clicking back into our model view, you can see that the scale of your model can be defined using a ratio inside this scale field. For those who may find this confusing, a helpful tip is to use your scroll wheel while hovering the scale. So you want to click into it and then use the scroll wheel, and now you'll see that different ratios are being applied to the model view. This helps you get a good understanding of the general size you'd like on your page. And then from there, you can refine the ratio 4.5 rather than four, or maybe you want to get really refined a bit and make it 4.85. And you'll see that this will change the size of the view. That just about covers everything in regards to the base view command. So now you're able to place a view of your model and set an orientation, style, and scale. In most engineering drawings, multiple views are required to show all the details and features on a model. So in the next lesson, we'll go into detail on how you can recreate that. 36. 10.2 Projecting Aligned Views and Setting out a Drawing: Hello, and welcome back. In this lesson, we're going to be going into detail on projecting aligned views and setting out a drawing. So that's just a fancy way of saying that we're going to be creating multiple views based off of this one that we already have that we created in the last lesson. So, in order to place the second view that's aligned with your base, you're going to use the projected view tool, and that's just found at the top left here. To create your new view, click the button there, projected found next to the base button. And after selecting your tool, you can click on the view and then move your mouse away. You'll see that in whatever direction that I move away from my original base view, a different view will be created. The projected view created is dependent on the direction of your mouse. A diagonal selection results in an isometric view. Linear up, down, left and right selections result in turning the model 90 degrees in the direction decided. Once the direction that gives you the view you're looking for has been found, simply click again and your projected view will be placed. This is very similar to the previous base tool, but has its benefits and therefore a reason to create views this way. So now that I've clicked, my rectangle is in place, I can right click and press Create, and now my view will be placed. Alternatively, there is a second way of creating these projected views. I'm going to first delete my view in the way I do this, and I'm going to hover over my view and this dotted rectangle that appears around it, I'm going to click it. And now when I move my mouse away, you'll see that the rectangle actually remains there. That way, I know that this is actually selected. You'll also see in the model tree here, that it is highlighted. So I'll click it, press delete, and now I'll get hit with a Are you sure I'll press Okay? And now the second way I can create a projective view is double clicking into my original view and then treating it the same way as I did before. But this time, rather than pressing right click and okay, I can do it in the menu. Just a little different way of doing things. But the main reason as to why you would use the projected view is because you can create many views at the same time. And this helps to save time. If you find that you are moving that fast, that using this tool will actually help you save time. But typically, I just double click in and create my views this way. For basic model drawings, you will be typically setting out using three different views and an optional fourth. This will be your base view and then two projected views, one of which will be placed either above or below, and the next projected view will be placed to either the right or the left. This arrangement provides multiple views covering everything on the model. And you may have remembered that I also mentioned a optional fourth view, and this is the isometric view that I've spoke about before. But this isn't the angle I'm quite looking for. So what I tend to do is I'll double click in and then create it on the bottom left hand side or the diagonal left and then press Okay, and then I'll grab this by the dotted rectangle and drag it to the top right. And that just makes for a nice isometric view that I won't use the dimension from, but gives the reader of the drawing a good idea of what it is they're looking at because sometimes the lines alone can be difficult to interpret for more complicated models. You've already seen, I usually change the style of this fourth optional view into a shaded one for the same reason as I just mentioned being that it just helps to understand what it is that you're looking at. After confirming the drawing views, you might want to change the line weight properties because right now, for me, this is too thick, and I'll show you how. I like to make the line weights on my drawings to be slightly thinner than the default line weight. To change the line weight, highlight your views. When you highlight your views, start your selection below where the top of this rectangle is because fully encompassing this dotted rectangle with the highlighting box will actually highlight the entire view rather than the lines inside the view. So start it below And ensure that you haven't selected any of these. If you have, simply hold Shift and then click on it, and you'll see that it's been removed when you move your mouse away. So now that you've selected all the different lines, I'm also going to do that for this one here, but I didn't hold shift there. So to add to your selection, hold shift, and that works for many programs, not just Autodesk inventor. So now that I have all of my different views highlighted, I can right click on one of the lines and come to properties. Now I'll have my line weight, and I can change this to 0.18 mil, which is my preferred line weight, and that just makes for a nice thin one and cleans up the drawing in general. I typically recommend using thinner lines as it's much cleaner and provides clarity when many lines are close to one another. So that covers the basics for creating and placing views and will be the majority of what you need when creating drawings. In some scenarios, you may need to use other tools to create specialist views. Thankfully for you, that's the next lesson, so I'll see there. 37. 10.3 Further Drawing Views (Section, Detail and Break): Welcome to the next portion of the course in the drawing space. Previously, we covered how to place and manipulate simple drawing views so that every angle of your model can be accessed in the paper space, thus allowing you to dimension the view. In this lesson, I'll show you how to create drawing breaks, section views, and detailed views. To begin with, you're going to need a model view in your paper space. Once we have this base view, further more advanced tools can be applied to it. So for now, I'm just going to delete all these extra views because they're unnecessary. And I'll make this one a bit bigger. The first of the tools we're going to use is the brake tool. Found at the top of the page. This command is pretty self explanatory as it creates a break in between two sides of your model, allowing us to shorten the drawing view considerably. After selecting the brake command, click on the view you wish to shorten. As usual, a pop up menu appears. The first thing to take notice of within this menu is the orientation portion in the bottom left. Between these two buttons, you can control whether your break is going to be vertical or horizontal. After choosing that, select where your break begins and ends on your model. So I'm going to click here and here and you'll see that it is shortened and there is now a break in the model. Typically, you wouldn't use a break on a model view such as this. You would typically use it, or I have typically used it on shafts that are too long to fit onto the page. So I'm just going to place another view of the handle put, and I'm going to delete this one for now. As usual, I'll scale it appropriately, and I will reduce the line weight, ensuring that I don't highlight the box around the view. So now we have something to work with. I'm going to use the brake tool, click on the view to select it, and now I'm going to create a break from here to here. And now the drawing view is shortened considerably. Now, this doesn't affect the dimensions, as this is still 248 mill long. And even after removing the break, you'll see that it is still the same. So this is typically used just to save space on a drawing. So still on the brake tool, if you find that after your brake has been created, and it's still not quite what you'd like it to be thin out, as you can still make changes to it without deleting it and starting again, try dragging the brake lines towards one another to reveal more of your model. So I've dragged that left one over the right one, and you'll see that it shows more of the model. And now I've run out of model to show in the brake, so it's showing me this error message. So when I pull these brake lines apart, you'll see that it then begins to hide more of the model. And you can just tune this to whereabouts you'd like the brake lines, but slowly moving it along. The last thing to know about this command is that you can change the appearance of the brake lines, as well as the distance between them with the pop up menu that appears. So this pop up menu obviously appears when you first start, but you can also access it by double clicking on the brake lines, and the pop up menu will appear again. As I just mentioned, the gap can be changed, so I can make that 50 mil big if I wanted to, even though you never would. Or you could reduce it down to a more sensible five mil gap. The amount of these diagonal lines in the center of it can also be altered by changing the amount of symbols in it. Although typically one break is more than enough. The next drawing manipulation tool in your arsenal is the section tool, and this is used to only view a section of your drawing via cutting it in half. This is often used to display details hidden inside of the model since they cannot be seen from the outside. For example, a drawing for a locking mechanism would need a section view as the important details are hidden inside of its casing. So if I had a model of a lock, all the important parts are actually inside where the locking mechanism is, not the outer casing of the lock. And that is where you would definitely use a section view. So, so once you've decided which of your views is being sliced, select the section tool at the top in the toolbar and then select the view you'd like to slice. Now, you need to draw a line across the entirety of the view and then Richlk to confirm and continue. I recommend keeping the section line straight as it keeps it simple for the sake of clarity. Now we have continued. We can move our cursor away from the line and out the way of the original view. And after that, left click and place our new section view. Once again, this is aligned. So if I was to move this base view, it moves along with it. The arrows in the section line display which side of the line, the section view is depicted. So as you can see here, the arrows are pointing to this side of the model. Therefore, it's this side of the line being shown in our view. So to better display just how this works. I'm going to create another one through the center of the majority of our material. The arrows in the section line are on the bottom pointing up, which goes to show that the top part of this model or everything above the section line is what's being viewed in our section view here. Section views are often used in manufacturing and also architectural situations. And a very important part of drawing and drafting in general. So getting a good grasp for how this works is of the utmost importance. Not all of our section views have to be straight lines, as you can not only draw them at a angle, but you can also draw with multiple lines, too. A corner can be removed from your model by creating a right angle cut before continuing. Similar to this. So that covers the sectured lines. The next view is extremely useful to myself when creating drawings at work, as I find I always have a use for a detailed view, and that covers what we're doing. Next, a detailed view. A detailed view is used to magnify a specified zone defined with a typically circular boundary. Much like the previous tools, we can find it in the tool bar, and we also need to then click our chosen view. Now we have we can select a point on the drawing, which becomes the center of our detailed selection. So I'm going to select the very end of our handlebar. Clicking once we'll create the center of our circle and then moving our cursor away from this, we'll define the radius and diameter of our circle, and then clicking again will then create our section view. After that, we can move our mouse away and out the way of our original view and place it down. Now you'll be greeted with a circle which creates the boundary for our section view, and then our section view itself. These automatically create labels for themselves, and these can be removed by just double clicking into the label, highlighting everything and deleting it. This can also be the case for just changing it to whatever you'd like to change it to. But once you get rid of this label, you can't get it back. So make sure that if you are deleting it, you don't want to lose it forever. Looking to change the shape of your viewport, you can only change it to a square view. This is done by right clicking on the circle you made and then selecting edit detail properties. From here, a menu appears letting you change between fence shapes, and you're also able to put a boundary around the detail that you have created. So I typically like to go for the circle boundary around it, and then display the full detail boundary, and then I like to keep a circular fence around it. So I'll press Okay, and once this updates, here you'll see that circle has been created, you'll see that this is just a bigger version of that, because that's exactly what it is. Just like any other view, you can double click into it and make changes the same way you would with any other view. And lastly, with this detail view, you can actually create a display connection line as well to show the correlation between the two images. Although typically I wouldn't do this. I would just stay with my labels, which I've already deleted. So now we know how to create a drawing layout using standard views, as well as using detailed views, such as the break section and detail view. Know everything we need to know to not only create parts, but constrain them together, too, to create an assembly. And we've also just learned how to lay out a drawing to include all its vital features, so it can then be dimensioned or annotated. In the next part of the course, you'll carry on using your Vice model to now create your own layout drawings for it. Then it will be ready for dimensioning, so it can then be produced in the future by someone reading your drawings. 38. 11.1 Dimension Tool: Hello, and welcome to our next lesson where we will be talking about the use of the dimension tool within the drawing space. Before you can dimension anything, you're going to need a drawing view to annotate. We covered this in the previous lessons, so check that if you're a little bit confused. So I'm just going to quickly paste down this little practice part that I've made previously. Now that I have my part down, a drawing view in place, I can begin annotating. And to begin annotating your model views, switch your tool bar at the top to the annotate tab at the top. There are quite a lot of intuitive tools available at your disposal here. So I'll take you through a few of the fundamentals which apply to all of these tools. The first and most versatile of these tools is the dimension tool. This works the same as the sketches back in the model space, except you can no longer change the sizes of geometry, using a dimension when annotating. It is purely there to show the distance between the two lines. Any line that you select will create a dimension of which you can place with a second click. So here, I've clicked this one, and now with the second click, I can place it down and it remains in place. After placing down the dimension, you'll find that you're still actively using the tool, meaning there is no need to click the dimension button again in the top left to exit the dimension tool, simply press the escape key. Like I said before, this is the most versatile and therefore the most used of these tools, so it's good to know about using the hot key D to quickly dimension things. Another way to use a dimension tool is to hover over the end of a line to reveal a green or yellow node. As shown here, after clicking the node, the end of the line will be selected. Now find another node and press that one. To create a dimension which measures the distance between them. Before placing your dimension with a third click, you can once again move your mouse around in different directions. Vertical and horizontal dimensions will be created, making it easy to pick the exact measurement you're looking for. If you happen to want the shortest dimension between the two points, then you want to position your cursor in between the two points so you get this straight dimension between them. Also it may seem obvious, but I'll point out anyway, the dimensions that show here in the drawing are directly correlated to our model. So if I have a dimension size of 80 millimeters diameter in the middle here, it will be exactly the same on this drawing, and that doesn't matter what size scale you decide to pick or change to. Because of this, in the event that you need to change the dimensions displayed here, you will need to open up your model and then physically edit it. Upon doing this, the drawing will automatically update, and I'll just quickly show you that. So now my whole is smaller. The dimension has actually gone pink because it is no longer linked to the model, but I'm just going to use the nodes to put it back. And now you'll see that the drawing has updated with it. This works a lot more fluid with non circular features such as this rectangular base, if I was to direct edit this end. You'll see the drawing model update as well as the dimensions would too if I selected the correct side. But I'm just going to go back through and remove all these features and come back to the standard. Practice part. So let's get back to the dimension tool again, using the D hot key. We have seen how this command functions when selecting a single line, but how does it work in different scenarios? Well, I'll show you. The dimension tool can also be utilized to create angular dimensions between two different non colinear lines. Simply put that just means two lines that aren't flowing in the same direction. As you'll see, these have a 90 degree correlation to one another. To create the angle dimension, what you're going to want to do is select your first line, making sure that you're not accidentally clicking on the green nodes at the ends or in the centers of the lines. And then you want to select your second line, once again, avoiding any of the nodes. Now your lines are selected. You can place your dimension however close or far away that you would like. In a complicated drawing, there may not always be room for your angular dimension to fit properly. So taking the dimension to the outside, like I just showed you, will create an external angle, which will have more paper space for itself, making it easier to read. The dimension tool has the potential to create a radius dimension when clicking on arcs. Every radius dimension will automatically place a R in front of the value to better display is, in fact, a radius dimension. This works for not only arcs, but circles also. You'll see when you select a full circle that it is not a R that's placed in front of it, and that is the symbol that we use for diameter. Before we move away from this command, I'd like to let you know about a function within the dimension tool that I have found very useful over my years in this software. When placing dimensions in series, you'll be able to quickly align its placement by hovering over nearby dimensions. So what I mean by in series is dimensions one after the other. And now I want this dimension to align with the other one. I can just hover over the Avoid and you'll see this yellow line appear or this yellow node. And now a dotted line is created between the two of them, and I can just simply click down, and now my dimensions will all be nicely aligned. This is something that you would have realized for yourself through day to day use for the software, but it's good to know about it early as I saves you from having to place and then align your dims, which can take a long time depending on what it is you're working on. The remainder of the tools in the dimension category of the toolbar have their own uses and can sometimes be used to speed up the annotating process. But I find that sticking to the standard dimension tool achieves the same results in a more manageable way. In the next lesson, we'll talk more about the tools that you can find at the top of this tool bar. 39. 11.2 Text Box Varieties and Drawing Symbols: Another highly important tool for annotating is the text tool, as this is your only way to type text and make notes regarding the model. This functions the same way as any other text editor in this program and can be quickly accessed using the T hot key or by selecting the text button at the top here. Use the leader text tool to place text with an arrow attached to it. The first click will create the point of the arrow. Other subsequent clicks will add bends to the line, and double clicking will finish the arrow, allowing you to access the text editor. When placing your arrow, ensure that it clearly shows what it is that it is meant to be pointing at. This seems obvious but can quickly become obscure when there's too much going on on your drawing. Moving on, the welding annotation is placed in the same way as the leader text and allows you to create professional standard welding bead dimensions. After placing this dim and attempting to edit its contents, you may be left confused as to what all these symbols mean in this menu. So ensure that you fully understand how to read and write welding annotations before placing any of these as instructions for someone to follow at work. Further down in the symbol section of the toolbar, located at the top here, you can see a cluster of small buttons. The first single line of this bunch can be used to create a dash line between two selected points. And this functions in exactly the way you'd expect it to. Upon selecting where you'd like your line to go, you can right click and press Create, and then you're going to want to press escape because you will still be in this line or center line to. After placing your line, you can then decide how long that you would like it to be by dragging the node at the end of it. The nodes that aren't at the very end of it decide what angle the center line placed at. This newly placed line can be used as a anchor point for creating dimensions, something you may find useful down the line. So for now, I'm just going to delete a bunch of these dimensions because it's starting to get a little bit crowded. The next button in this cluster is called the center line bisector, and is represented as the three lines, as you can see here. This tool functions similarly, but has one key difference in that instead of creating a line connecting between two points, it generates a center line between the two points that you select. This works perfectly for creating a mirror. Like I said, I would usually use this to indicate a mirror line showing that my model is symmetrical as a dash line down the center of a drawing shows that both sides are a mirror image of one another. Another useful symbol, similar to our center line is the center mark, which is the next tool in this cluster. This is displayed as a plus sign, and after being selected and used on a circle or a arc, the center mark is then placed. I mostly use this tool to mark the centers of holes that are to be drilled. With the center mark, a dimension can be created from the model edge to the circles center, displaying where the hole needs to be created. 40. 11.3 Sketching onto a Drawing: The last thing that I'll touch on here today is the ability to sketch in this environment directly onto your drawing views. To start a sketch here, locate the sketch tab at the very top, changing the toolbar over to the same one you use to start your three D model. Click on the Start sketch button or use the S hot key and click into the drawing view you'd like to sketch on to begin. Sketches can be directly applied to your drawing views or directly applied to the paper background. When sketching a drawing view, you'll find that the sketch geometry will follow your views around when it's relocated. Was a sketch that is directly onto the paper will remain in place when your drawing views are relocated. Another thing of note is that sketches created in a drawing view will automatically be scaled to the model view, meaning a 20 millimeter line sketched here is equal to 20 millimeters sketched in the model space. So since we know that this is a 80 millimeter diameter hole, if I was to place another 80 millimeter hole, you'll see that it is exact same size. And this also applies when you change the scale. You'll see that the sketch on the drawing view has scaled with it. This is not the case when sketching straight onto the paper. When creating a sketch in a drawing view, you're able to snap onto the model edges. Whereas, if the sketch is created a blank space, you're unable to. This can be pretty helpful when you're trying to figure out what it is you need from apart, and just doing a two D sketch to begin with can be a great way to prototype just what it is you like, and then you can move into the three D environment to turn it into a somewhat real thing. The best part about being able to sketch in the drawing space is that your dimension tool can snap onto this geometry, too. I found this useful to know when I'm running into trouble annotating the exact dimension I would like. What I would do is I would come into the sketch in the drawing view, zoom in extremely close to where I would like the dimension to start, and I'll place a small line so small that you can barely see it. Now I'd be able to create a dimension off of that sketch geometry. Typically, you should avoid doing this at all costs, as it isn't the proper way of doing things and will eventually lead to mistakes. As sketches here don't update with the model. Nonetheless, it's very useful when utilized correctly, but only use it if you absolutely have to. 41. 11.4 Making a Drawing Package and Setting Out: Hello, and welcome back to the next lesson in the course. In this lesson, we're going to be making a drawing package and setting it out. And the drawing package is just the combination of all the different drawings together, including the fully assembled model in the draw. To begin, we're going to want to create what is known as a top level drawing. A top level consists of the full assembly. Which I have open here. So that'll be the full assembly of this vice, including all the different parts on it, included in a parts list, and then the crucial dimensions for assembly and how it all fits together. So in order for us to begin making this top level drawing, we need to have this assembly already made, which I have here. So what I'm going to do is I'm going to open up my drawing file. And since the Vice assembly is the last file that I had open, I can just right click and click Base View, and it should be the assembly that gets shown. So what I'm going to do is I'm going to place a full assembly view and I'm going to have it so it shows all the hidden lines so that all of the parts inside of the assembly are visible. After this, I'm also going to create a isometric view with the same base view command. I'm going to put that on the top right. And this is only here because it better displays how the assembly will look in a real live situation since you won't actually be able to see through it, you know, obviously. I'm also going to shade this top right one for the same reason it's just going to look a lot more realistic and it gives you a reference point to work with. Then I'm going to reduce my line weights as I always do. So now that we have our two views in here, we're going to want to find the Annotate tab at the top. And then click on the Parts List tool, and that's found just here. After you clicked on the Parts List tool, click on your full assembly view and press Okay. And now a rectangle wants to be placed, so I'm just going to move that out the way and place it off of my drawing. So now I have my parts list. I'm just going to shrink all the columns down, and I'm actually going to get rid of the description part of it. So the way I'm going to get rid of the description box is by double clicking into the parts list and then right clicking this description tab and column chooser. Now I can select the description and say remove, and I can also add any that I might want. But for now, I'm just going to stick with item quantity, and part number. Also the hex nut or what is this? Yeah, that's the bolts. That's these bolts here. They have a very particular name, but for now, I'm just going to be doing six by 12 because there's no need for me to be so specific at the moment. I'm also going to follow that up with an LG afterwards with just a shorthand for saying long. There you go. That's a nice little parts list of which I'm going to drag into the corner. And now we have a nice parts list. So now that your table is in place, find the balloon tool at the top, and then create a leader pointing at each of the parts. So I've clipped my Bling tool, and now I can select this part of the vice, this part. I can select the jaw, and I'll take that part. Make sure to double click to make sure you don't create multiple bends in it like that. We don't want to be doing that. And just ensure that you pick up every single part. So I have one, two, three, four, five, six, seven available. One, two, what's three, three is my M ten. That'll be this. Four is my shaft piece. Got that. Five, yep, six jaw, and seven is the bolts, like we said about earlier. There it is, yep. So seven is our final part. And now we have each of our parts inside of our full assembly labeled up and coinciden with a parts list, which would also have a parts number given that you actually have one for it, whereas I don't, so I'm just going to leave it how it is. So what we have here is known as our top level drawing. So now that our table is in place, and we have our balloons pointing at all the correct parts, and we haven't missed any out. We can now create a part drawing for each of our individual parts. Before that, though, we need to save as this drawing to ensure that we don't save over our border file. So if you wanted to save this, don't press save because it will still be saved over your template. You want to press Save As and give it a different name. That way, when you open up your template file again, you'll have a blank template, not a top level assembly on it. So, to begin with, I'm just going to delete this because I don't need to keep this around. I have a PDF available to me, of which I made beforehand in a similar style. So, to begin with, we'll create a drawing for the most simple part first, and that is this handle part here. So what you can do is you can come into your file explorer and you can open it up that way, or you can come to your full assembly, right click it and press open, and then you'll have it open automatically for you, and it doesn't have to be open beforehand for that to work. Alright, this is our part, and now we want to create a drawing for that part. So I'm going to open up my border. It should be blank if you save Azed it rather than saved it. And now I can right click and place my base view. The only views that I'll be needing for this part is a long ways view and then another isometric view to better show how it looks, which I'm going to stop repeating now. And once again, as always, go to hold control to make multiple selections. I'm also going to ensure that I don't select this dotted border. And if I do hold control and click it to deselect it, now I just have the lines selected, I can rightly go to Properties and change this to 0.18 or whatever line you think works for you, but that works for me. And then, of course, I'm going to make this shaded. Now, that's just a bit of a habit that I've gotten into and something that I do every time I start a new drawing. I also want this to be a little bit bigger, so I'm going to make it 0.75. So when you're doing your dimensions on your drawer, I need to start by adding the vital dimensions such as the overall length and the diameters for each part of the B. And I'm just going to click D to get to my dimension tool in order to do that, or you can come to annotate at the top and find it here. You may notice that when I'm placing down my dimensions, I'm aligning them you'll see that it is being aligned when this yellow dart comes out the side of the dimension, and now you arrow from this dimension and that dimension overlap one another. And that just makes it look a lot tidier. I'm also going to add a overall note here in four capitals because I do everything four capitals when I'm drawing as it's just easier and clearer to read. So now we have our overalls we're going to add in our diameters, and that is for both this end nub and also the central butt. I'm going to move this out the way, and then I'm going to add my radius. Now that is just about all the dimensions that I need. I'm also going to add a center line down the middle using the center line tool at the very top. And this just shows that it is a symmetrical bar. Now, this should be all the dimensions that I require. But if you have a feel that you don't know if you have all the dimensions that are needed, then you can mentally go through what processes this bar would be going through on the center lathe, in this case, in order for the machinist to take a bar and turn it into this part. So just mentally go through it and think of what dimensions they would need in order for that to happen. Now, not everybody has the experience to do that, but if you happen to know how the part would be made, this is a huge advantage. That should be everything that we need for this Vice handle. I'm just going to delete this rather than saving it, whereas you should save as, not save, save as, and then rename it. That way, when you reopen your template, you get a fresh border, which is obviously what we're looking for. But now that we have done the Vice handle, we can move on to the shaft piece. This is another fairly simple part and is pretty similar to the handle. So, as usual, I'm going to open the part file using either our full assembly to right click and open it or go through the file browser and find it that way. But once we've opened it, we can come to the drawing and place our BseVew now that we have our base view, I'm going to scale it to a nice size. And after that, I'm going to create an isometric view towards the bottom left because this gives me the view I like, and then I'll just drag that to the top right. It's still too big, so I'm going to do one, two, three, so that it's half the size it is, and shade and once again, just taking away all those line weights in the same way that I've showed you forehand. Now we're going to start adding dimensions to our Vice shaft part. And because we have a hole in this one, what we're going to want to do is apply a center mark to it and then also a center line down the center of our part. And that way, we can define the center of the whole using our center mark, and then of course, the center of the whole part, pretty self explanatory. But the reason that we do this is because now I can define just where about the center of that hole is, and I can also get dimensions from the very center of the part to the edge. Now, you'll see that the dimensions here are overlapping, so I want to grab it, just move out the way, and then I'm going to realign it again. That way, they're readable. Anyway, with any hole, we want to add our dimension to it, but we're being given a radius dimension. So the way that I'm going to add a normal dimension to this circle, similar to these ones instead of a radius dimension is I'm just going to press the dekey to open up my dimension tool, and then I'm going to select these two center marks here. And then, as you'll see, when I hover over these intersections, a green node appears. I'm going to select both sides, and I've got a normal dimension from it, similar to anything else that I've used. This isn't just any dimension. It isn't just 6 millimeters. We want to add our diameter mark, so I'm going to double click into the dimension, press left on my keyboard, and then I'm going to press up here, which will add our diameter symbol. Alternatively, you can hold Alt and then press 0216, and this is the lt code for the diameter symbol, and we'll work anywhere, including the likes of, say, Google. I can do it here as well. So that covers about the hardest dimensions on there. Now we're just gonna have to add in the rest of them, which are pretty simple and obvious to think about too. If you don't know where to put the dimensions, there should be some PDFs available to you, of which will show this, which is my finished drawing, which I've done previously. But it is in your best interest to understand how the part is made and also how to best show the dimensions because in the real world, you're not going to have another drawing to take a look at. So get your practice in now while it doesn't really matter. Then when it does matter, you'll have all the practice in the world, and you'll be flying. So that's everything for the vice shaft part. Once again, save it. Save as. Don't save it. I'm just going to get rid of it and open up another border. So, now moving on to the final parts, we are going to need a few more views as the parts are a bit more complicated than the others that we've already covered. To cover every angle, I'll apply the strategy I typically use when working. And that'll be your original view, a side angle, and then a plan view also. So I'll just quickly open up one of our parts and then I'll show you that. So to begin with showing this technique, I'm going to use the jaw part as it's one of the simpler parts we have available to us and should give you a better idea of what it is I'm doing here, although I'm not going to need the top view, which is this one here, which I would normally put up there, as I should be able to cover everything with just these too. And then, of course, I'll have my third isometric view. Just to show what it is we're looking at. As usual, we're going to get rid of the lime weights, and then I'm going to shade in the isometric view at the top right. I'm going to start adding my dimensions in all of the overall dimensions to begin with, and then I'm going to start looking at the features such as this bend and the thickness of the part. I know that it's three milk. Also just going to put in a five mil here. And now the holes are our next feature that we would like to tackle. So we're going to put center marks in both of these and then a center line through this one, and that just shows whereabouts the hole center is. Now we need to dimension it so that whoever's reading the drawing knows exactly where it is. And you may find that I'm not getting this input box showing up when I'm using my dimensions. That is because when I put my dimension down, I'm pressing escape immediately, and that just stops it from showing up. And that helps you do things a lot faster. So that's a little protet for you. Anyway, this is a centers dimension, and there's a lot of different ways to write centers, and I've seen it written in many different ways, but this is the way that I tend to go for. And then we're just going to add in our final dimensions to fully detail whereabouts everything is, and then we're going to add our diameters. I degree right here to show how much of a bend it is. Clearly, you can see it's a 90 degree bend, but it's always better to show what it is exactly that way we know, and nobody's guessing at anything. I'm going to do the same for this countersunk hole, as well. So that should be everything for that. Now remember, when you're doing your drawings, you would fill out all of your different boxes with your text tool. But as I'm only showing you for a demonstration, I'm hoping that it is not necessary. Anyway, I'm going to delete it. You should save as it. I'm going to keep repeating that because when you've done this border, it makes a lot more sense to save as it. That way you can just immediately get in there and open up a fresh one and just keep at it nice and easy. Anyway, so now we've done the vice handle, the shaft piece, and the jaw. We're moving on to some of the more awkward pieces or should I say more complicated pieces. So now we're going to tackle this part, which I have called the fixed jaw. And as usual, I'm going to open it up, come to my drawing and start placing in my views. So now I'm going to show you the strategy in which I use to cover every angle I typically use when working. So what we're going to want is our original view here, which I'm going to flip around, so it's this side facing us. Then we're going to want a side angle of it, a top angle, and then our isometric view. Now, this isn't the top. I've just realized, so I'm going to place them at the bottom as this will show it from top down, and then I'm going to place the bottom left because that gives me the view I like. I'm just going to delete this one because I'm not needing it. Gonna scale this down. One to three will do. Drop that in the top corner, move this over here to the top, and just rearrange it a little bit so that everything fits nicely, and there's room for dimensions around it. Also, something worth noting that I just did by accident is if you somehow lose your drawing and can no longer find it anymore, you can double click your middle button, your middle mouse button, your scroll wheel, and it will automatically zoom everything to the extent of your screen, which is very useful when you are doing the drawing, as you may be moving around and zooming in to do your bit. And then when you want to look at the drawing as if it was in real life, you can just double click it and everything moves into a centralized position. So as usual, I'm going to add my shade to the isometric view, which is purely there to help you visualize the part, and then I'm going to come through, and I'm just going to select all of the lines without the boxes. Right click properties, scroll down twice 18, and now they're all in a nice line wait for. So to begin with, I like to put in all of my whole centers as well as my center lines. This way, when I begin dimensioning, I don't have to mess around with any of this. It's already there, and I can just carry on and be as quick as possible, which happens to be quite useful when you're doing CAD. As the quicker you go, usually the better you are, so keep that in mind. Anyway, now that I have all of my center marks in, No, not this one. So that should be all of my center marks. Now I'm going to move on to the overall dimensions. So I'm going to start with our main view here. That's it. I'm also going to scale it down a little bit because it looks like I don't have any room between these views. So if I've got one to two, I'm just going to make it one to 2.1 to 2.2, and that'll just drop it just a little bit and provide a little bit of room between them. So what I'm going to do is I'm going to apply my center marks and then my center lines, as this will help guide me through the dimensioning process, then I'm going to start with overall dimensions for different features on the part, such as this jaw holding part, and then I've got the base at the bottom here. Then after that, I'm going to go into the complex features of it and start adding in my smaller dimensions. And once I've done that to every single part, I should have a fully finished drawing. Now, I'm just going to speed this up so that you're not watching me draw all of this. It's also worth noting that there's no point in showing the same dimension multiple times, so I'd always try and avoid doing that. Mm. So as you can see, I've added in all my dimensions now. And if I was to compare that against the one I've done previously, it's pretty similar, almost exactly the same. And that just shows me that I've done it right. So, as usual, you should go to the file button and then save as. That way you can keep all of your drawings. As usual, I'm not going to, and then I'm going to open up another drawing border and tackle my final part, which is the adjustable jaw. And once again, I'm just going to time lapse this as there's nothing really for me to comment on that I haven't already touched on with the previous parts. Okay. So that there is my final part. And now that I have all of my different drawings saved, which you should do, save it and then name it and also fill out your title block. But now you should have a bunch of drawings that look a little something like this. So there's my top level, as I called it, and then I would have my different part. Here, you'd have a part number, which I'm just going to make one up right now. So it's CNO one. And then I would come to my Vice Draper, and I would name it CN one. And then that would be in the drawing number box. But if you wanted to add in your custom numbers, you'd want to keep your description box, and that is what we removed earlier. That way we can still refer to it as a vice jaw, not just CNO one. Anyway, that should just about cover everything that we have here. And just about rounds off the course. So thank you. First off, and if you'd learn anything, please while get in touch, let me know. I hope to hear from you soon. 42. 12.1 Piston Head Parts: Hey, and welcome back to a bit of a bonus section for the course. And it's going to be about modeling this here four stroke engine. In this module, we're going to be modeling this four stroke engine bit by bit and then creating the drawings to go alongside it. The main reason for doing this is to solidify anything that you would have learned so far, while potentially picking up on some of the smaller details that I do while I'm modeling that I don't particularly mention directly. And you'll pick up on those as I go through the modeling process. And obviously, by the end of this module, you'll have your very own four stroke engine model. And honestly, it's a pretty cool model. And you can see that it's actually functional, as well. I'll show you how to do all of this in the next few lessons. So, to begin with, what we're going to do is we're going to break it down into these three different parts here. So, as you'll see, these are all made up assemblies, except from the crankshaft itself. So to begin with, we're going to start with this piston head assembly. And the way that we're going to assemble this together is, of course, by creating this piston ring, this piston pin, and this piston hat. So what I need you to do is to go into EU Domi and download the PDF. For the drawings for each of these parts. The only parts that we're going to be looking at the moment are the piston ones. So you're going to need the piston head PDF, the piston pin, and the piston ring PDF open. For now the rest can just be closed. So, let's get started. Obviously, to begin with, we're going to need to start up a new part in millimeters. You can set it up in whatever units that you'd like, but I would suggest using millimeters as all my drawings are in millimeters. And if you don't use millimeters, then you're going to have to convert between imperial and metric units, which will just slow down the entire process, a massive amount. Anyway, when I look at these drawings with you today, I'm actually going to be going and speaking out loud what it is that I'm thinking and how I would go about modeling this if I was just given this at work. So, looking at this part here, the Piston ring, it is simply just a ring. There's very few dimensions to it. So the way that I would do this is I would draw two circles, the inner and the outer of the ring at 73 and 80, and then I would extrude it up by the four mil. And that's simply it. So we'll just quickly do that. What I'm going to do is start a sketch and then put it onto this X Z plane because that is the plane that is horizontal. And due to this view cube at the top, depending on which of these planes that you decide to pick will correlate to the orientation picked with this view cube. So I'm going to pick this bottom one. I selected this plane because I would like for the top of the piston ring, this view that we're looking at in the center here to be the top of the view cube. So as you can see, we've got the top right here on the top right, and now I can start drawing in, as I said before. So I'm going to do my 73 mile circle. And then you could do the offset command by 3.5. As you can see here, or you could just draw another circle at 80, and then I'm going to press E to do and Extrude, select that outer profile. And then my direction is going to be symmetrical. And then obviously it's going to be a foml in depth. Now, the reason that I selected a symmetrical direction is because I would like the body to be created either side of the sketch. This way, the origin plane remains in the center of the part, whereas if I was to change the direction, the origin plane is no longer centered, and therefore means when I want to create a plane in the center, I would have to manually put it there rather than just using the origin planes. So that is our first part very easy, the piston ring. And what you're going to want to do is just save this into a file where you're going to save all your parts for the four stroke engine assembly. This way, they're all nice and tightly together and easily accessible. So I'll name this the piston ring. Anyway, moving on to the next drawing that we have another very simple one, it is the piston pin. So looking at this, once again, it is a cylinder of types, and it is a 40 millimeter diameter pin. So what I would do is I would create this circle detail here. I'd draw my 40 millimeter diameter circle. I would extrude it by 75 mil. That way we would have a square from this point of view. And after that, I would then apply my five millimeter Shamvas to either end. And then that would be exactly the same as this drawer. So I'll show you how I do that in CAD right here. As always, you're going to want to open up another part. And then we're going to begin sketching. This time, I'm going to select the Y Z plane. This doesn't make a huge difference in the end, but it does save you a little bit of time because as I mentioned before, now my top view is the top view, and I haven't got to come to this view cube, right click and set a different top or front. It's just already there for me. Anyway, I'll start on the Y Z plane. I'm going to place down the 40 diameter circle that I mentioned before. Eat or extrude, and then once again symmetrically, so I can ensure my origin plane is centered, and then by 75 mil. Now we have that rectangle that I spoke about before, and all we need to do now is add these hampers onto the corners, and we're done. And obviously, we've got ourselves in our Shamptol, so we'll set the distance to five mil and then select our two edges, and that's it. We're done with this part. Brilliant. So we're gonna save it. Call it a piston pin, and then we're going to move on to last but definitely not least the pist and head, which is by far the most complicated component of these three. So I'll break this down for you bit by bit, and we'll get this done together. So looking at this part, once again, it is another cylinder. So what you might be thinking is, Jordan, let's just draw 80 millimeter diameter circle and extrude it by 85. And that would leave us with a cylinder the size that we want to use. But there is a much better way of doing this. It's easier, it's clearer, and there's less chance of you making any mistakes. And that is by using the revolve tool. So you'll see this center line in the center of the drawing view right here. What we're going to do is we're going to basically just draw everything to the left of this center line and then we're going to revolve it around said center line. And what this will do will ensure that we get this top radius on the piston head, as well as this detailed part here, as you'll see in the top right, we want to create grooves in the piston head for our piston rings. Something to note is that the grooves are exactly the same size as the piston ring. So, you know, take a mental note of that. Anyway, so what we're going to do is draw everything to the left of the center line and then revolve it, and we should end up with something pretty similar to our end product. And then we'll just have to do a few more bits after that, but we'll deal with that once we get to it. For now, I'm going to start up a new part and then select one of the vertical planes. And now I need to start looking at how I'm going to draw this so that I can revolve it. So, I can see that it's 85 mil tall and 80 diameter circle. So I'm going to start with my 85 mil tool. And I know that it's going to come out by another 40 mil. So what I've done is I've drawn my vertical line. You can ensure that the lines vertical by pressing tab and typing in 90 degrees. Or without doing that, you can see this little vertical constraint being shown in that small box to the lower right side of my cursor right there. So I've drawn my vertical line, and I've put a dimension between that and the center, and I'm going to set that at 20 since this is half of Oh, wait, no, sorry. I'm going to set that at 40 since this is half of the 80. After that, I want to be creating this detail up the side, and I know that this starts from 80 mill up to the top, and then I can make my way down with the features using these numbers in this detail view right here. So I know that it's 80 mill up and that there is a radius on the very top, a 200 millimeter radius on the top of the piston head. So I'm simply going to select my arc tool, selective end, position the arc so that it is bending in the direction I would like it to, and then type in my number at 200. So that's the very top of it, and I know the very top is at 85 mil. And I know the bottom of that radius is at 80 mill. So taking another look at our drawing, we now want to start putting in our cuts. We're going to start by going six mill down, and we're going to come in down and back out again. That's our general shape. That's the shape that we want. Now we just need to dimension it to ensure that it is in the correct positioning. So press D to get your dimension out, and then we can just place in our dimensions to ensure that everything is to the size that we would like. So let's take a look. Six mill down, 3.5 million, four mill down, and back out again. And then we can see that this repeats itself two more times. So what can we do? We could use the rectangular pattern tool. So I'm going to select that highlight the features or the geometry that I would like to duplicate, and then I'm going to select the direction. This line will do. And then I can see with the arrow that it's trying to duplicate it in the wrong direction. So I'm going to flip it. Now you can see that we've got a gray rectangle that's been put in place. This is at ten millimeter spacing. So if we were to press Okay, we can see that there is a ten millimeter spacing between the top of this rectangle to the top of that rectangle, which does leave us with 6 millimeters between it just like the drawing calls for. But I've only got one. So to do that properly, we're going to take the rectangle tool, continue, select our direction, ensure the arrow is facing the right way, and then we're going to type in three to ensure we get the correct amount of features at 10 millimeters distance from the top of this rectangle to the top of the next. And that will leave us with six mil since this is a four mill high rectangle. So that is our shape now. So as you can see, we've got our radius. We've got our cutouts. And if we were to revolve this now, we should have something it's similar to what we're looking for. So what I've done is I've pressed R, and now I just want to select my profile, and my profile isn't selecting for some reason. So I need to make sure that I come back into the sketch and ensure that it is a closed loop. And it's because I've missed off the bottom line here. And you'll see once I've drawn that in, this top part has actually turned black. So when I undo, it's going back to purple. I draw it back in, and it's gone black, showing that it's fully constrained and ready to be used. So I'm going to press, select my profile, ensuring that I don't select these rectangles. If for some reason, these rectangles are being included in your selection, you can try and hold shift to get rid of them. If that doesn't work, and it just gets rid of the entire profile, you're going to need to go back into your sketch and ensure that it is a closed off a loop. So that's our profile selected. Now we're going to select our center line right here, and you'll see. Now we're getting somewhere. It's starting to look a little bit like our drawing. And the majority of the features are already on there. Perfect. So the next part that we're going to tackle or the next feature of this part is the hole. As you'll see on view A, elevation A, we have a hole that cuts through the entirety of the model. And also has somewhat of a offset kind of feature on the inside. And this is best shown on the model itself as the drawing doesn't do a very good job of showing this. As you'll see, we've got a offset feature that holds the pin in place, and this is extruded out to the body of the piston. So we need to ensure we include that as well. But before we do the circle, we don't have our own piston head hollowed out just so the quick and easy way of doing this is starting a sketch on the bottom, projecting the geometry, and then we're going to take a look at our drawing and find that it is a six millimeter wall on the side and also on the top. So what we're going to do is we'll take the offset tool by pressing O, offset it by six mil, and then I'm going to press E to extrude. As we can see, on this drawing here, the inside is shown by this dotted line, and that stops once we reach this top cutout. And the top cutout is six mill down from where this radius ends. So with some simple math, we can see that it's going to be an extrusion of 80 minus six. Now, that is a very simple calculation. Obviously, I equals three or 74. But you can just put in 80 minus six. And when I click on my extrusion, when I click on my profile, I will set the direction to be the direction into the piston head and then ensure that the output is selecting cut. Whereas if I was to create or join, then nothing would happen. So cut to make sure I cut into it and then ensure the distance is set correctly and press okay. Now we have it hollowed out, we can begin to look at the circle cutout that I mentioned just a moment ago. So one thing or two things to take a look at before we start doing it is the size of the circle and where the circle is positioned. As you can see, we have a 40 millimeter diameter circle with the center of the circle at 27.5 millimeters from the bottom of the part. And we also know that this circle is in a centralized position because of this center line that we have on the drawing. So we can't start a sketch on a curved surface. And that's why we like to have our origin planes centralized. So, to show you what I mean by that, we're going to change the camera view so that we can see all of our origin planes here as we ho over them. And once you find the plane that is correct for you, we're going to click it. Right click, visibility, and now we can start our sketch on this plane. Before we begin to draw anything on this, we can press F seven to cut down to the plane. So you'll see that the model completely cuts in half when I press F seven, and this makes it a lot more a lot easier and clearer to see what's going on. So now we're going to start our drawing. And as I mentioned before, it's going to be a 40 millimeter diameter circle. And this circle center will be 27.5 mil from the bottom of the part. So, now that I finish that sketch, what I'm going to do? Before I start extruding is I'm going to press F seven again so that I can see the rest of it. And this way, when I press Extrude, I can see with a better clarity just what's going on. So I want to cut through, and you'll see that it's only cutting in one direction. So now I'm going to want to press symmetrical. And now you might see a problem in that it's not cutting all the way. So, as usual, you could just type in a really big number. If that's what you wanted to do, you could set it up to be 999. Or 99 for that matter, and it will cut through. But as a good practice, it's always good to use the through all measurement as this keeps things tidier and it's just a better overall way of doing things. So now we have cutout. Now we need to start working on the internal part that I showed you before on our model. So we want to start putting in this ring. Now the way that I'm going to do that, taking a look at the drawing is I'm going to find my origin plane, which will be the center line, and then I'm going to create another plane, 25 millimeters away from that origin plane. Then we'll have a start point for S outset ring, and I'll extrude this to the face of the piston ring, and that should create the feature we need on one side. After that, we'll mirror it using the origin plane, and then we'll have it symmetrically on the other side. So let's get into it, and I'll show you how that's done. As I mentioned, we're going to want to come to the plane, drop down menu and select offset from plane. Select origin plane. And then, as I said, we're going to type in 25 millimeters. And this will be the starting position for the feature we're talking about. So for now, I'm going to turn off the visibility of the origin plane just so we can clearly see what's going on. And then I'm going to start my sketch on the plane that we just placed. Then because I know that I want my ring to be 48 millimeters in diameter, we could just put in a circle at 48 diameter and then put it somewhere near the center, but that's not exactly precise and that's not really the way of an engineer. So now I've used the project geometry tool to add this circular cutout to the sketch, as you'll see, when I move the camera view around, it's a bit easier to see. So it has taken this geometry and applied it to the sketch. Now I'm going to press F seven to cut to the plane, and then I'm just going to delete this circle. And what I'll do is instead of drawing a circle myself, I know that this circle is 40 millimeters because that's how big it was cut. So now I need a 48 millimeter circle around it. That will be offset of four mil. Now, you may be thinking, why is it four mil? Why is it not eight? Because when you are creating a circle, this 4 millimeters is applied all the way around, meaning that the formal is on the left, and it is on the right. So only half as much needs to be added. So once we have our four mil applied right here, we're going to press F seven again so that we can see the rest of the model we'll extrude with E. We're going to select our outer profile then I'm going to change my view so that I can get a better view of what's going on. I'm going to change the direction so that it's going towards the edge. And now you'll see that we have effectively done what we need to do, but we're getting these cutaways. And we could create another extrusion and cut away at these, but there's a better way of doing things. And that is through using this here to next tool. So once I select that tool, you'll see a blue dotted line appear all around the piston head. And you'll also notice that the extrusion is no longer cutting through. And is somewhat of a dynamic extrusion and will be a different distance depending on whereabouts it is on this arc. In simple terms, it's going to this wall here. And that's all we need to know, really, so okay. And that's that perfect on one side. So now we need to get it on the other side. You could repeat everything we just did and do it again, but that's long winded. And I don't do it long winded. I like it to be as fast as possible. So as I mentioned before, we're going to mirror it using the origin plane we started with because this is centralized, and then I'm going to press my miratal. I could then select the feature on the model, but I prefer to do it on the model tree. That way, I know exactly what I'm clicking because as you'll see, I'll get a lot of different selections very quickly as I just move my mouse around a little bit, so I like just to be short and use the model tree. Now I've selected the feature I'd like to mirror. I'm going to select my mirror plane, which is this origin plane. And then I'm going to press Okay. And as you'll see, we've now almost finished our part. We only have one more thing left to do, and that is this cutaway. So the way that I would look at creating this feature here is, of course, once again, using a similar cut feature like we just for the whole. But this time, it's going to be using a different sketch, and we also won't need to create anything on the inside. So what I'll do is I'll create my sketch on the central origin plane once again. And then using this detailed view here, I'll create my geometry, which will mimic this curve. And then I will extrude symmetrically and cut through either side of the object, and then that will be this piston head done and we can move on to assembling it. So in order for me to do this, I'm going to open my PDFs on my other screen so that I can get an idea of the size of each dimension. So once we've got our correct origin plane visible, we're going to start our sketch on this plane. After that, I'm going to press F seven, and this will cut through the model to the plane. And then I'm going to start taking a look at our drawing and we'll see that we've got a 15 mil tool by 40 mil wide gap with radiuses of ten mil and 35 mil, with a three mill tool vertical involved, as well. So this is where I'm going to start creating this geometry. So I'll add my 15 mil vertical, my three mill vertical, for some reason that hasn't drawn vertically. And then I'm going to start constraining these about one another. So I know this is 20 mil from the center, and I also know that I have a 35 mil radius circle, which I can access by typing 35 times two, because a 70 diameter circle will always have a radius of 35. And then I can do the same for my ten mil radius by creating a 20 mil circle. So now that I have both my circles in place, I'm going to draw a small line at the top here, and I'm just going to set that to be, say, 3 millimeters. After that, I'm going to create a dimension between the end node of that line and our center line right here. And then I'm going to select three mill and press divide by two. And this ensures that our three millimeter line is always central to this line. You also have the option of highlighting said center line and turning it into a construction line. This way, when you decide to use your three D model features at the top, this line won't play a part in how that works. So it's just something to be aware of. So now that we have our geometry in place, I'm going to be moving the centers of set circles into a position that somewhat resembles what it is we're going for. And that is basically it. It's a three mill up into our ten mill radius, into a 35 mill radius, and then it flattens out, and then it's going to do the same thing on the other side. You see that on the drawing here, up ten, 35, and then same again on the other side. This won't do, with it all being under constraint. So what we're going to do, we're going to constrain the line to this circle using the tangent constraint. And then we're going to do the very same thing to this top line to a bigger circle. And then we're going to do the same constraint between our two circles. And now, you'll see that we're starting to get somewhere, and it's starting to look like our drawing. So what I'm going to do is I'm going to pull the center of this circle so that it is to the left hand side of our center line. This way, I know that our flat at the top is in use, because if I decide I'm going to pull it to the right hand side, you'll see that it's not actually being used. You may also notice that it is no longer attached to the top of our line. So we need to apply a constraint to the line and the top of our 15 millimeter center line. That way, we know that our cut is definitely going to be in the correct position. So like I said, the big 70 mile circle is going to be on the left hand side of our center. And then once we've reached a point that we believe to be pretty similar to our drawing, we're going to put out the trim tool. Now, you could do it at the top here, but I like to use shift and X, and making my way from the bottom to the top, I'm just going to trim away anything needed. Now, you'll see that as soon as I try to trim that, it's trimmed the entire circle. So I'm going to press Control Z, and I'm going to apply more constraints. So the top of this line wants to be constrained to the circle, and now you'll see that everything has gone black showing that it's totally constrained. Now I'm going to pull up my trim tool and I'm going to trim away everything that's needed all the way up to the top pit. And you'll see we've only got a small portion of this flat, but as long as we have a portion of it, then we're good to go. So I'll use the trim tool to get rid of everything else. And then once everything nice and trimmed, I'll press escape and just delete the rest as if it was any other day. The same goes for this line at the top. I'm actually now going to delete these dimensions, and I'm going to trim. So that we only have the portion we need right here, and then I'll trim the rest. So now we have the small portion of flat, a big 35 mil radius into our ten mill radius, into our three mill vertical. So once we have everything in position, we're going to pull out the miratal ensuring that we get that small part of a straight line. Then we're going to select the rest of our geometry, right click, continue, and we're going to do about our center line and press Okay. So now we're looking at something very similar to the drawing so all we have to do is press F seven to show the rest of the model, and then we're going to finish sketch. Once we've done that, we're going to extrude it, select our profile, which is in there. You might not be able to see it, and then we're going to cut through all in a symmetrical way so that it cuts both sides. Press Okay. Get rid of your central origin plane with the visibility command. And now you'll see that we have finished our piston head, our piston pin, and our piston ring. Now we need to move in to assembling our piston head, and I'll see you in the next lesson for that one. But before we do that, ensure that the piston head has been saved amongst your other parts. So I'll see you in the next lesson where we will be putting together the piston assembly. 43. 12.2 Piston Head Assembly: Welcome back to the next portion of the course. In the last part, we put together the piston head, the piston ring, and the piston pin. Now, in this part, we're going to be doing the piston head assembly. So in order for you to start doing that, you need to open up a assembly file. Then you can right click and place a component in. And what you're going to want to start off with is the piston head. Place that in there. Then you got to place two more components, one being the pin that we've made, and then the other one being the ring. If you'd like to orientate your model before you put it in, you can right click and rotate it in a specific direction, X, Y, or Z. This is pretty difficult to understand to begin with, because you'll be pressing just any old one and you don't know where it's going to go. So it's a little bit of trial and error, but eventually, you get the hang of it. So yeah, place your final ring in there. So even though we're going to be putting in three rings here, we're only going to need to use one because we're going to be using a duplication pattern. But to begin with, what we're going to do is we're just going to ground our main part here. So I'm going to click it and press G, and we're going to ground it. So now that won't move, and our other parts will be around this part, since it's not moving. But before I carry on putting these parts together, what we need to do is we actually need to open up these parts and just give it a different color. So you can open up these top menus here and just change it to whatever you like. You can also open up your other parts, and you can use just the color wheel here, so we can just change it to orange, if we so please. But if we're going to use it that way, we have to actually select the faces beforehand, and then we can change it to whatever color we like. Not that I didn't actually select this face on the back, so it hasn't changed color. The reason we do this is so that we can actually distinguish the difference between these two parts because once they're actually assembled and together, everything looks exactly the same. So to begin with, we're going to be using this pin and slotting it into our hole here. Pull out your constraint tool by pressing C or using the menu at the top. And we're going to select the central axis, which you'll find by just hovering your cursor over a curved face. That'll then select the axes going through the middle. And then the same thing is going to happen when you select this curve face on these outer circles of the piston head, and I'll constrain these together, right click and do a ply. And now our piston pin is constrained to the axis. It will move along the axis. But it is always going to remain on that axis. So that's now in line with the whole. Now we want to align them centrally. And the way that I always do this is through opening up our origin planes and making them visible via the model browser on the left here. And I'm just going to do that for both of the parts. And that way, once I have both my origin planes, I can pull my constraint that once again, select the flush solution. And then just select my two planes. The flush solution didn't work so I'm going to use the mate solution. Press Apply. Now, you'll see when I try and move this pin, all it's doing is rotating, as you can see with this origin plane there. So that way I know it is constrained in place. So I'm done with these origin planes now, so I'll just hold control, select the both of them, right click and press V to toggle the visibility. Now, you could just press the minus to close up your whole model tree or a different way of doing this is by right clicking into the model tree menu and then selecting collapse all from this menu. And that just closes it all up, makes it nice and tidy. So that's the pin inside the piston head. Now what we need to do is apply our piston ring into our grooves here. So, as usual, we're going to select the axi in the middle here by selecting the curve face, and then we're going to do the same thing inside one of our groups and apply that constraint. Now we'll see the same with the pin. It's on the axes, but it's still movable. So what we want to do is constrain it in place, so we know that this face wants to be against that one, and we can constrain that, and now it will just be rotating once again. So, like I said, at the start of this lesson, we only have one of the rings available. So the way that we're going to use this or duplicate it is by using the pattern feature at the top here. And what we're going to do is after we've selected our pattern feature, we'll select the component we're going to use the feature on. And then we're going to move over to the rectangular part of this tool. Now, this isn't usable for me right now. You'll see when I use my column direction, I can't actually select any ok, there's some little ones out and about all around the model, but none in the direction that I want to go. I'm going to create a axes. And the way I'm going to do this is simply just clicking the normal axes feature or tool and then select the top of our piston head, and that will just create an axis straight down the middle. And that way, when we use our pattern tool, we can go to the rectangular version again select our component with this top right arrow, which will be our piston ring, and then our column will be the axes that we just selected. So now you'll see that it's starting to create a second piston ring, but it's going up. So we want to go down into these two. So we're going to flip the direction like so, and we're going to change the distance between them to ten mil, because the bottom of this ring, bottom of that ring is going to be a ten millimeter distance. And we're going to want to have three of these rings. So we'll just change that to three and press Okay. And that is our piston assembly done and complete. Now, I would suggest that you pick some colors that um probably a little bit more suitable. But for the purpose of this video and providing clarity between the two objects, this will do just fine. So join me in the next lesson where we'll start doing the Piston Connector rod. 44. 12.3 Piston Connector Rod: Hello, and welcome back to another lesson in the course where we're going through and designing our very own four stroke engine very similar to this one that we have here. By the end of this module in the course, you should have yourself an assembly very much like this one and makes for very good practice. So the topic today is the piston connector rod here, and this is not just one part. This is a subassembly within our full assembly. And this is made up of these two parts, the piston connector rod, you'll see on the left hand side in the model tree. And then we've also got the connector rod cap also you'll find on the left hand side in the model tree. So let's just jump right in. Obviously, to begin with, we need to download the drawings that I should you should be able to download from the UDM website where you're watching this. So make sure that you have these downloaded that way you can follow these drawings along, or you could follow along the video and build it that way. Nonetheless, it should be a very good exercise in building these parts and also building, sorry, not building. Following drawings because this is a very important part in a lot of jobs that I've been a part of where you take drawings and you make the model out of that. So enough of all that, we're just going to jump right in, and we're going to start with the connector cap. This is the smaller of the two, and this way, it'll be a nice easy way into it. So to begin with, we're going to start a brand new part as usual, and it's going to be a standard part in millimeters. Everything that I've made is in millimeters, not in the imperial system. And we're going to begin our sketch. So, looking at our drawing, the first thing that we're going to be building is this circular part, this semicircle, and we can see that it has a R 45 on the outer edge and a R 30 on the inner. So that means that it is a 90 millimeter diameter circle all the way around, including the part that's not actually there and a 60 diameter circle on the inside. So we'll just quickly draw that in with two circles right here. So we know we want a 91, and then we know we want a 61. And because we're not going to be using the top half of it, we're going to take our line tool and then chop it in half. So this section here is what we'll be using to begin with, and that'll create that semicircle. So select the bottom portion of the circle, and we're going to change the behavior to be symmetrical. And according to the drawing, it is 50 mill wide. So we're going to put in a 50 mil extrusion. And that is the start. The next part of the model that we'll be touching on is this body here, which houses the holes so that the two parts can be screwed together. So taking note of the geometry, it is 120 mil wide by 20 with ten mill radiuses on either side. So to begin with, what we're going to is we're going to start a sketch on one of these faces, and then we're going to draw in the slot command. So I'm going to select the slot overall, and I'm just going to draw it off of the part to begin with, then I'll move it over once I'm done. So I'm going to press tab and press zero. That way, I know it's locked at that degrees, and I know that it's 120 mil overall. Now, once we've got this center dotted line in there, we can start controlling the overall width of the part. So taking another look at our drawing, we can see that it is 20 mil wide. So that gives us 20 mil wide. And because it's 20 milwide, we actually have a ten mil radius kind of built into this shape. So now we have the shape we and put it onto the part. So our yellow dot here in the very center is what we'll be using, and we're going to be using our constraints to take the center of this and line up with the center of that. And that is pretty much it. I'm just going to double check that everything is the same distance away using the dimension command. And as you just seen, they're both five mil out from the edge. And then I'm going to take my extrude tool after finishing the sketch and change the behavior so that it goes down, but it automatically changes to a cut in these scenarios. So what you're going to want to do is change it to a join. And that way, we're making material rather than taking away. Now what we need to know is how deep does it go. Taking a look at it, it goes 50 mil deep, which is already there, so that's brilliant. So now, it's starting to look a little bit like the part want. A few things that we need to consider before doing this is we need to add our fillet here and our holes. And then we also need to get rid of this center part because clearly that's not there in the drawings. So to begin with, what I'm going to do is start a sketch on that center part and then select project geometry. That allows me to highlight that area there, and then I'll use the extrude tool and cut away that material. Feel free to put in whatever number you like that's bigger than the 20 mill, or you could do it the proper way and go through all or even two and then select the other side. As always with CAD, there are many, many, many different ways of doing the same thing. So it's always good to know different ways. That way, in different scenarios, you have different tools at your disposal. Anyway, here we are looking like we're getting somewhere. Now we're going to add a fillet around the edge. I'm going to use a three mile fillet on this side, and then on this side, and okay that. And last of all, we need to put in holes. And the way we're going to do that is using the whole tool and we know that we need eight mill diameter holes, and I'll be adding a thread to this as well, as you can see in the drawing. When you have these two lines next to one another on a hole, this is actually representing the outer diameter of the thread, as well as the inner diameter of the thread. So in order for me to put these holes in, I'm just going to start a sketch in the same position that I did before and project geometry on both sides. Now, when I project geometry, you'll see whether we have two little nodes that have been created in the centers of these circles. And what I'm going to do is I'm going to select the point com and just click on both of these, and that will allow me to start the whole command, and it will automatically select both of these. And I'm going to select my isometric profile at a size of eight mill, and then the designation could be whatever you like. It doesn't really matter here and also ensure that it goes all the way through, and the direction is, of course, in the correct direction. Now, when you press Okay, you should have a nice threaded hole. Basically, we're done with that part. Apart from one final little detail, which is this hampor here that I failed to pick up on before. And that is simple enough. What we're going to do is just come to the bottom of our part, select the Champol, change our distance to 1.5 mil, just like the drawing states, and we're going to select this loop, and that will apply a nice chamfor to it, given us a nice, clean finish. So that is the piston connector rod. Sorry, that is the piston connector rod cap completely finished. And what you want to do, of course, is save it as you always would, along with the rest of the parts you plan to use on this assembly. But I've already done this before, so what I'll be doing is just deleting it. Now that we've covered the Piston connector rod cap, we can move on to this part, which is the connector rod. So, as usual, you want to take a look at the drawings that you will have downloaded, get familiarized with them. And then we can move on to actually making it. So, as usual, we're going to start up a standard part in millimeters and begin sketching. To begin with, we're going to start with the top circle, as well as this bottom half circle because these are the same distance. They're both 50 mil, as you can see on this view of the drawing. That way, we can do both of them at the same time and save some time. So before we start drawing anything, we need to know the sizes of it. So this has a 50 mil outer diameter, and a 40 mil inner I will start off by just doing that somewhere up here with a 40 mil and a 50 mil. And then we're going to take a look at our bottom semicircle, and we can see that it's got R 30 and 45. So once again, that is the same as before. R 30 means a 60 diameter, and R 45 means 90. So now that we have the two circles in place, we need to move them so that they're actually in the correct spot in relation to one another. Because right now they're sat at 196, whereas what they need to be is 250 as displayed on the drawing from center to center. So I'll change this dimension to 250, and now I know that they're in relation to each other, correct. Before we finish that sketch, as we did before with the previous part, we're going to draw a line through the center of this circle. That way, when we use the extrude tool, we can select just the top half, and at the same time, we're going to select the outer ring of these circles, change the direction to a symmetrical behavior, and then input the 50 mill as shown on the drawing. And here. So now we've got something that looks a bit strange. We're going to be moving on to the next part. And the next part of it that we're going to be doing is the stem that connects between the two. And as you'll see, we've got ten degrees between the two. And what we're going to do is we're just going to start a sketch on this plane in the center here. So open up your origin folder and turn on whatever plane it is that is in the center of it like this. Right now, mine is the X Y, but when you start at a sketch, dependent on the axis that you picked. That will change. So find the correct one, right click and press V. Now it is visible and I can start a sketch on it. So in order for me to draw the stem down, I'm literally just going to start by drawing two lines that are roughly the correct shape. And then what I'll do is I will use my constraints in order to get them correct. Before I do anything, I'm going to create a construction line, and I'm just going to join the two centers. That way, I have my center point, and I know that's correct. I'm also going to lock that in place so I know it doesn't change. And then I'm going to create a five degree angle between both of the lines and the center. And as you've seen, this piece of geometry didn't actually fully connect to the outer ring. So what I'll do is I'll use my make constraint and select the top of the line and the outer ring, and I'll do the same for the bottom here. Now, as we currently see, this isn't correct. So in order for me to do this, what I'm going to do is I'm actually going to create a point at the end. That way I have something to select, and I'll do the same for the other one. And this way, I can easily select the pair of them, even though on this one, it's letting me select it easily. That one is not. So I want a constraint that is completely horizontal, like so, and I'm going to put in a dimension of 20. Lastly, I want to ensure that both of these are somewhat in line with one another. So we'll take our horizontal constraint at the top here, and then we'll constrain those both points. So now we have a stem that is symmetrical and we can begin extruding it. But before I begin to extrude it, I just want to double check that they're symmetrical, using the dimension tool, as you'll see, both ten, so perfect. And I'll begin my extrusion using that point. And if I take a look at the drawings, I can see that it wants to be 20 mill thick. And as usual, when you're doing this extrusion, you want to do it on the symmetrical plane. That way, with this orange plane, you can see here, it will come out ten mil this side and ten mil that side. Now I'm done with that plane, so I'm going to just turn off the visibility and keep things tidy. And the next part that we're going to be doing in this is we're going to be applying radiuses here. And it's important that we do these beforehand, because as you'll see at the bottom here, the radius doesn't actually carry on the whole way because it gets cuts off by the next part that we'll be going to do, which is the body that holds the screws. So make sure that you do the fillets before you move on. And the way you're doing that is with the fillet command with a radius of 50, and we're just going to select where the stem connects with the other parts. So now we're getting somewhere, starting to look like what we want. We're going to take a look at the drawing and find out what we need to do next. So the next part that we're going to be doing is the body at the bottom here that houses the screws. We're going to take a look at the geometry and much like the piston connector oder cap, it is going to be exactly the same. This is because both of these parts are made to mate up to one another. So you can take a look at the drawings and ensure that you got all the dimensions correct or you can go from your memory from what you remembered from what we did just 5 minutes ago. Just like before, I'm going to create a slot using the drop down from the rectangle tool and press tab, ensure that it's zero degrees, and I know that it's 120 mil total and 20 mil wide. After that, just like before, we're going to constrain both of the centers, and now we have it in the perfect place. I'm going to extrude it by a total of 40 mil rather than 50 mil this time. And I'm also going to ensure that it goes the correct direction with the correct output. So now we're getting the housing for the screws done. As usual, we're going to take out that center part because this part needs to be hollow and we'll do that by starting a sketch on it, projecting the face, and then extruding it using the cut command. And that way, we have a nice hollow center there. The next part of this we're going to touch on is the holes in the centers, and this is exactly like before, and we'll do it in exactly the same way using the projected geometry and then placing our points on the centers here. After we've done that, we can finish the sketch and pull out the whole tool. I will automatically select the pair of them, and all our details for our whole have been carried over from our last part. That way, I know they're already correct, and we'll match up with our other part here. So now that the holes are in, we'll take a look at our drawings, and we can see in these drawings that much like before, we have a fillet between the main body and this collar, as well as the hamper. So before I carry on moving on to this webbing p or this cut into it, I'm going to apply those. So much like before, I'm going to take a three mill fillet and apply it to both sides of the pt. Make sure that you're picking up both sides because it won't do it automatically. So there's one of our fillets. And instead of creating another fillet that will appear in the model tree, much like this. I'm going to delete that one and just double click into the one I made before and then carry on selecting different edges. That way, they're all compiled into one fillet tool, and this is achievable because they're both the same radius. But other fillets can actually be added if you were to press this plus, and then we can start creating multiple of different fillets in the same fillet on the model tree. And I know that might be a little bit confusing to hear, but if you're watching, then I'm sure you understand. So as I mentioned before, lastly, we're going to want to put in our cuts here, and this is to ensure that the part remains somewhat light weight, taking away the excess material that is unneeded because the strength within this likely mild steel part should be enough. So, as you'll see here, we have a ten mil offset from the outside, and the way we're going to do this is by starting a sketch on the face, and then I'm going to project geometry. So rather than just taking my offset tool by pressing O and doing ten, you'll see that nothing's going to happen because it's selecting all of the yellow line. What we're going to do is drawing a line between the ends of both the radiuses, like so, and then we're going to do the same from the top hoo. And now that we have that, I'm just going to fill in the edge. And now we should have a black line all the way around, and I can select the offset tool and do ten mil. Now, that is the shape. We're going to use our extrude tool, and we're going to cut in by five mil as indicated on the drawings. So I'll take the extrude tool, change the direction, and then change in distance to five mil. Brilliant. So now it's looking like we're getting somewhere, but it's not on the other side. So just like before, we're going to come back into our origin planes, select the correct plane, make it visible, and then we're going to take the mirror tool. So now that I have the mirror tool selected, I'm going to select the extrusion in question, which is cut out, and you'll see that is highlighted with the blue dotted lines there. And then, now that we selected all the features, we'd like to mirror, we're going to select the mirror plane, which is the plane we just made visible and press Okay. And almost like magic, we have the feature mirrored on the other side. So now I'm done with the plane, I'm going to make it invisible again just for clarity of mind. And lastly, but not leastly we have to add the fillets into these webs. Now, this isn't important, but it does clean up your part and make it look like a professional piece. So I always encourage you to do so. So the last fillets that I'm going to add in, once again, three mill fillets. I'm just going to round the corners of each side of this web. And as you'll see just here, you don't actually need to be able to position your camera so that you can see the line. If you know that it's there, you can find it just by hovering your mouse where it would be. And that way, you don't have to constantly reposition your camera in order to do it. And this is also possible on the backside, but I wouldn't really recommend doing it this way because it makes it a lot harder. It's always better to have a look at what you're doing that way you have a better understanding. So there's our three mill fillets in there. If we take a look, it's starting to come together. And the last fillet that we'd like to add is this external one. As you'll see that it's not just a hard cut edge like it is right now, we've got another fillet which smooths it in. So once again, I'll get my fillet tool, and I'll change this to 1.5 mil and select that outer edge on both sides. And there you go. That is the final part. So the next thing that we're going to do with this is obviously save it in the folder with the rest of your parts, and then we'll come into a assembly in order to fit these both together. So now that we've finished both of our parts, we need to open up assembly file in the homepage. So as usual, new, and then we're going to come to our standard millimeter assemblies. Obviously, our assemblies are these three blocks here and create. So you get a right click and press place component, and then we're going to go and find our parts that we want to use, and we're going to use our cap and we're also going to use a connector rod. So place those both in, and now that we have them here, I'm going to ground the main piece by right clicking and pressing G. Now I'm not able to move it unlike this one. And your biggest problem you're probably seeing right here is the fact that this one is the wrong way up. So I'm going to do is I'm going to select the part and press G. Now, what this does is it just lets me move it however I like. And rather than trying to figure out how to constrain it the wrong way up, I'm just going to move it, so it's roughly the correct way up. You'll see that it's, you know, not exactly on the correct plane, but this makes it a lot easier to work with. So we'll take that, move it down, and then we'll press C or our constrain at the top here. And we're going to create a constraint between both the surfaces that are supposed to abut one another. Now I'll apply that constraint. Now I'm going to take the centers of both of these holes, and you'll see that I've got the centers cause the blue dotted line will appear through the center of the hole rather than the edge of it, like so. And then I'm just going to select the same thing on the other one. Apply that. Now we have a somewhat correct part, but it still spins around because we haven't done the same to the other hole here. And now that we've done the same, we have our finished assembly right here or sub assembly. So save this into your file with the rest of your parts, and then we'll start moving on to the next parts in order for us to create our four stroke engine. I look forward to seeing you there. 45. 12.4 Crank Shaft: Hello, and welcome back to the next lesson. In this lesson, we'll be going over how to create the crankshaft, which is this part right here for this four stroke engine assembly. If you haven't already, make sure you download the PDF so that you can see the drawing, and this is what we'll be creating the model from. Before I even begin modeling, though, I'd like to just point out a few things that are on this drawing that you probably would like to know before modeling with it. So the first very obvious one is, what is this line here? That line right there is known as a section line. And they can be shown in many different ways. I haven't seen too many drawn in this way, but more often than not, it will be a dash line with some sort of arrows or lettering at the end going through your model, and then you'll have a view, which is this over here. It shows the part exactly where the cut is. So this view, as you can see with the diagonal lines going through it, it shows that it is actually cut through that piece. So, yeah, that's something that you just want to know about before you begin. So if we're going to begin modeling this crank shaft right here, we're going to need to open up a brand new part as always, so, open up your part in millimeters, and then we can begin drawing it. So start your sketch. And what we're going to do is we're going to model it from left to right. And something you'll see throughout this lesson is this is a bit of a mirroring master class and what I mean by that is we will be using and abusing the mirror tool because the majority of the buildup of this model is the same part over and over again. So why would you create it over and over again when you can just mirror it? Anyway, like I said, we're going to be starting from left to right. So we want to create a 60 diameter circle that extrudes by 100 mill, and make sure that you start that on the datum point there. I've pressed E to quickly start my extrusion, and I've changed the direction away, and that is 100 mil. So now we have our very first part, which is this right here. Now we're going to do the next part over, which is 80 millimeter diameter circle 40 mil long. So I'm going to start my sketch and then create a circle on the same center point at 80 mil. And then once again, we'll just extrude it, ensuring the correct direction. And I'm going to put that at 40. Now we're getting somewhere. So the next part of this, which is arguably the hardest part, but isn't really that hard is creating this almost duck foot shaped part. And the way we're going to do this is by using this section view, as I mentioned before, obviously, to begin with, you want to start your sketch in position, then I'm going to project the geometry so that I can use this yellow line around the circle. So taking a look at this part, we can see that we have a big circle here that has actually been cut. It's just this portion of it. This radius is 80. So 80 mil radius, of course, means a 160 mill diameter because that is double the number. So this will make up the top edge right here of that duck foot shape, like I mentioned before. And then we're going to be moving on to the bottom portion of this, which is a circle with a center 44 mil away from the edge with a radius of 35. So with a radius of 35, we know that we have a 70 mil circle. And I'm going to use my constraints in order to vertically constrain these two. That way, I know that they will remain in line no matter where I drag it. And lastly, I'm going to use the dimension tool to ensure that both of these centers are 44 mile away, flight the drawing. So now we have the top arc and the bottom arc. Now we need to create these lines that connect between the two. And we can see that these are set 15 degrees away from the center line. So for us to begin, what we're going to want to do is just draw in a center line, and we'll use this with construction line. So click that symbol at the top there, and then we're just going to draw in center line. Now turn off your construction line, and we'll begin just by drawing in two lines that are roughly in the position that it needs to be. And from there, we can just begin constraining them. And I'm going to constrain the edges of these lines to the edges of the circles. And now that we have them looking somewhat as it should do, I will take my dimension tool and just constrain these at 15 degrees away from the center line. And now you'll see that we're actually getting the shape that we originally desired. So what I'm gonna do now is pull out the trim tool by pressing Shift and X, and I will trim all of the parts that don't make up the surrounding edge of our part you'll see that I've got a little bit of inconsistencies right here. So what I'm going to do is pull out the tangent command and make sure that both of these lines are on the tangent of this bottom circle. So now it's a pretty tidy looking sketch. I can finish the sketch. Take a look at how far it is, and that's 50 in milk. Press E to extrude, and once again, I'm just going to select it, all the faces that are necessary. And type in at 15 mil. Brilliant. So that is actually the majority of the piece. As you can see, it is repeated over and over again. So let's get to it to begin with. We're going to have to draw in our bottom portion of the shaft right here, and that is once again a 60 millimeter diameter circle at 50 mil long. The only difference with this is that it is in a different position from our center on our big central circle, as you can see here. So where we're actually going to be drawing this is within the center point of this bottom circle, and we'll just click on that datum. Create a 60 mil circle and then extrude it by 50 mil. So now we need to once again replicate this part. And like I mentioned before, we're going to be using the mirror tool because we don't want to have to redraw and extrude all of this again. This would just be for a much quicker creation of the part. So to begin with, we're going to have to create a plane to mirror from, and we're going to use a mid plane. Since we know this feature of the model wants to begin here, we need to find the midpoint between here and other parts. So that'll be these two faces. And now that we have the plane in place. I can select my miratal and select the feature that I want to use. Right, click. Now that I'm selecting the mirror plane, I will select the mirror plane I mentioned before and press Okay. So now that's there, nice and quick, nice and easy. I'm going to right click and press V to make that plane invisible. So now that we've finished this feature, we need to move on to the next part, moving over to the right, and that is 80 millimeter diameter circle at 40 mil, which is something that we've already done over here. So you could draw it again, but this will be ever so slightly faster. So I'll just mirror that. And you'll see that I've created a plane from this face and this face because that is the end of the feature we're trying to copy, and this is the start of where we want it to be. So I'll select my miratal and once again, just duplicate this feature the same way I did before. And there we go. That's the next part done. As you'll come to find out there is a lot of copying and pasting in this one. Now we have actually reached a part which looks the same when you look at it from this view. But if you take a look at our three D view right here, it's actually upside down. So the way that we're going to be doing this is, of course, just by copying and pasting it. That way we don't have to redraw the whole thing again. So I'll open up the sketch that I did before and just copy it, and then I'll begin my new sketch on this face and paste. Now, you'll see that it is actually the correct way up. You know, the bigger side is on the top, whereas we want it on the bottom. So we're going to take our rotate tool, highlight everything, and then select our center point right here. Yes. And then you could try to do your mouse, but it's a lot easier just to come into your input here and change it to 180 degrees. And now that's been flipped all the way around. We can use the extrude tool. And once again, we have our part, and I know that it wants to be 15 mil and there it is. So now to our next part, it is another 60 mill circle. And once again, this is just going to be the same process as before. We're going to project the geometry so that we can get our center point here, and then we're going to create our 60 mill circle on that center point and extrude it by a total of 50 mil. So now you see we're starting to get somewhere, and we actually have all the parts B one last piece to just mirror the rest of it. So looking at our model, we've got two up, two down, two more down, two up. So once again, of course, I'm just going to mirror my parts, and I'm not going to be explaining this so much because we've already done it two or three times, and we're going to be doing it a few more times. Taking a look at our three D model again, we have the same feature again after this 80 mill diameter circle. Now, once again, you could mirror it or you could just draw it in, ensure that if you do draw it in that you project the central point here, and that way, we can ensure that when we draw in our 80 mile circle, it is actually central. So like I mentioned before, we've got two more the point down. So what I'll do is pull out the mirrtal. And what I'm going to do select these two faces that being this one and this one to get the center point of the feature we just created because we want to duplicate this part right here over onto the other side of our shaft here. So ensure that you're selecting all the parts that you want to mirror, continue, select your plane, and then make it visible once you're done. So now we're moving, and we get in there quickly. Lastly, we've got two more the point up after another 18 mil shaft. So I know that my chef wants to be here, and that one that we're trying to copy finishes there. So we'll come between the two of them, get a mirror plane in the center, and then we're just going to mirror it and make our plan invisible. Now, I don't feel the need to mirror everything. Although it is a lot faster, if you take the time and learn to sketch all of these different parts, then you're only going to be building that muscle and getting better at creating your own sketches. Nonetheless, mirroring is ten times faster, and I do recommend doing every chance anyway, we got our last two that want to point up. And what we'll do is take a plane, and here's two that are pointing up. We want to come from the end of that point to the start of where it's going to be, and then we're just going to mirror all the parts that are necessary. And make it invisible. And I understand that I'm repeating myself quite a lot here, but this part is a lot of repeating itself. So now we're at a point where we have all of this here, and we just need to finish off by creating this final part. And as you can see in the isometric view right here, it is once again another 80 mill shaft at 40 mil long. And then we have our big 180 mil disc on the end in order to mount the crank shaft. So firstly, let's get that 80 mil shaft in there. You see the problem here is that if I try to mirror a part that was already mirrored, it's going to actually mirror both the part that you selected, as well as the part that it was originally mirrored from. So if you run into this problem, it might actually be more helpful to just draw it in as I did with the previous one. And like I said before, pull out your project geometry tool and get that center line, that central shaft in order to get your center point. 80 mile circle, 40 mil long. And that leads us on to the final part, which is this mounting disc at the end. And as you can expect, that is central to the center point. So I'll pull up the project geometry tool, project that geometry, and then draw a circle at 180. I'm going to extrude this, ensuring that I select all of the relevant faces, and I know that this wants to be 15 mil, so ensure that you change that correctly. And lastly, we need to put in the holes around the edge, and this will be a little bit more different from what we've been doing so far. And with these holes, we can see that this one here in particular is 65 mil away from the center point, and it is a 15 mil hole. So I'll start my sketch on here, project my geometry. And then I'm just going to put in a 15 mil hole and use my constraints. I'll use my horizontal constraint between the two center points to ensure that it remains horizontal and then my dimension to to ensure that it is a 65 millimeter gap between the two centers as shown on the drawing. Lastly, we need to create multiple of these. So I do suggest coming in and just counting how many are necessary, one, two, three, four, five, six, seven, eight. That's eight holes, and now we're going to be using the circular pattern command. We're going to select our geometry, and then our axis will be the outer edge. We're then going to change the amount of copies to eight, and that will give us eight circles evenly spaced around it. Lastly, we're going to take out the extrude tool, click on all our circles. And then change the direction so that we're taking away material, and that way we have all our holes in it. So that is basically the part complaint. The only difference is we need to add in all our fillets along our shaft. And the way we're going to do that is just by one fillet tool, we had a five millimeter fillet and we're just going to run through. And on all of these circular shaft parts, we're just going to add in our fillets. And now that all the fillets are in there, it's looking very good, and that actually concludes our crankshaft, ensure that you save it in a folder with the rest of your parts. That way, when it comes to assembling all the parts, it is a lot easier. Nonetheless, I won't be saving this because I've already done it. But if you join me in the next lesson, we'll be putting together all of the parts that we've made for the four stroke engine and putting it together to create an assembly much like this one. I'll see you there. 46. 12.5 Four Stroke Engine Assembly: Hello, and welcome back to the final portion of the four stroke engine assembly. This portion of the course obviously goes through the modeling of all of the parts that you can see here. And in this portion, what we're going to be doing is taking all of them and putting together our assembly, just like the one you can see right in front of you right now. So to begin with come to the home and start up a new project, and that is going to be assembly file. So create that with millimeters, and then you can go to the top left here and place, and we're going to start placing in all of our parts. So we're going to want to use four of these connector rods. So place in four. That way, we're not. We don't need to come back and do that again. And then we need four of the piston heads as well, make sure that they're orientated correctly with the pin facing the same way as the holes in the top of these rods, and then we're going to want to place in a crankshaft. As always, you can right click and rotate your X Y or Z axis. And this way, you can place it in the correct orientation and it saves you a lot of time. So now we have all of our parts in here. What we're going to start with is by grounding this crankshaft, and we're just going to build everything off of that. So, to begin with, I'm going to constrain the centers of all of our holes in our rods here to the crankshaft shafts. And we're just going to be doing that by pressing C and using the make constraint, taking the center axis of these and just doing it straight onto there, like so. I'm going to do that for all of the connector rods on all of the shaft placements. Now that they're on there, you can see they're not exactly aligned. So I'm going to take the edge of our connector rod and just butt that up to the wall either side of it. And that way, since this has been designed in such a way, they will fit in there nice and flush. So I'm just going to do that for all of them. And now we've got them in there. We just need to put in our piston heads with exactly the same methodology, and we're just going to be doing that all four of them once again. But the problem, I'm sure you can see already, is that these parts are not sitting central to our connector rods. And the way that we're going to fix this is actually by opening up both of these parts. And now that we have them open, I'm going to get to my origin plane, and I'm going to make it visible. The origin plane that you need to select is the one that cuts through the center of this pin. And then the same in regards to this connector rod, it needs to cut through the center. And that way, now that we come back into our model or our assembly, you can see that the planes are now visible. And what we're going to do is take our constraint, our flush constraint, and I'm just going to flush up all of our different planes here. And that way, as you'll see, once I'm done here, all of them now sit Central, which is obviously the look that we're going for. So now that I've done with these origin planes, I'm just going to make them invisible again. That way, they're not showing up in my assembly, and that is basically the part finished. But you probably want it to spin much like my other model here. But right now that's just not going to happen because the crankshaft is grounded. If I unground it and try and spin it, it just moves the whole part. So in order for me to get the spinning motion to happen, what we're going to be doing is, first off, we're going to be taking a look at my other model and just showing that it's not just the spinning. We're actually keeping these piston heads all in the same line, because if we don't do that, then it would just stay above it, and they'd be moving side to side, which isn't how an engine works. So let me just show you how to maintain these in the position. So moving back over to our model that we're doing now. What I'm going to do is use a axe on the center line of all of our piston heads here, so I'll just do that for all four of them. And then I'm just going to ground all of them. That way, when these pistons move, the axes won't move with them, so they'll just move up and down along that axis. I'm also going to make these invisible for the time being because there's no reason for me to see them. So now that we have the piston heads constrained to the axi, we're going to do the same for the center of our crankshaft here. The same thing goes, we're just going to ground it and make it invisible. So now the model should be able to spin quite freely. So now that we've added in all our axes and grounded them, the parts are free to move around them, but the axes themselves cannot move. So if I just make all of these visible real quick. You'll see them all in action. There they are, and all of our parts are happy to move along the axis, but the axes themselves will not move from where they are positioned, allowing us for a nice rotating effect. So that is the end of our model. That is your very own model. And if you would like to get some nice views of this, then I would recommend going into view, choosing a realistic style turning on perspective, and this makes it look a bit more real. Make sure you turn off all the things that aren't in the real world such as these axes. And then what I'm going to do is I'll turn on shallows and reflections and then ray tracing. And what ray tracing does is actually simulates the rays of light. And that way, it gives you a very nice looking final image, as you can see, right there, looking very good. Thank you very much for taking part in my course. And I hope that you've learned something from it. If you found it good, then please feel free to leave a review. It goes a very long way for me, and I do very much appreciate it. But yeah, thank you very much for taking part in the course, and I'll see you in the next form.