Design For 3D Printing | Fusion 360 Masterclass

1. Introduction: Hello and welcome to the Fusion 360 masterclass. My name is Steven and I'm the course instructor and I'm very excited to have you in this course. So this course is very comprehensive and you'll get as much out of the course as you're able to put into it. So there's a lot of really small lessons where I go through all of the different features in fusion. 360 will almost all of the features. And yeah, so I recommend going through all of those lessons first and then approaching the projects that way you have a very solid foundation. Yeah. So once again, I'm very happy that you signed up and I'm glad you're here. And this is a very good skill set to have in life. It's very applicable for a lot of things. If you want, if you want to make anything yourself, or create products, or just fun things than having the ability to 3D model and 3D print something is definitely necessary for that. Once again, my name is Steven, and I'm glad you're here. And I know that you'll learn a lot. 2. 101 What is Fusion 360: In this video, I'll be giving you a brief overview of Fusion 360. Fusion 360 is a very powerful and easy to use CAD or 3D modelling software that allows you to essentially design almost anything. So here is a marble machine that I designed. I could rotate around it. I could change a bunch of the features of it. And you can see here from a list of my projects, I've designed numerous different things. You could really pretty much design anything in Fusion 360. The only constraint is if you have a very complicated design, a could start to lag if your computer is not powerful enough. But I love using Fusion 360. It's a really great program. Very powerful, very easy to use. So I'm looking forward to teaching you all about it. And I hope you're excited to learn because this is really a great program and I highly recommend it. 3. 102 How to Install Fusion 360: In this video, I'll show you how to download the free version of Fusion 360 for personal use. Go to the Fusion 360 page at Autodesk.com. Go to download free trial. And here you'll see the option for Fusion 360 for personal or hobby use. Click Get Started. And it'll probably ask you to sign in. I've already signed in, but you'll need to sign in or create an account. And then you'll probably have to kit, click, get started again. And this will lead you to the download page. Sometimes it changes a little bit depending on how you get to the page or where you're coming from. But that's the basic way to download the free version of Fusion 360. 4. 103 Project and Saving Files: In this video, I'll show you how to save your project in Fusion 360. So when you first open up Fusion 360 for the first time, you'll have an untitled design. To save the design. Click the Save button on the top left. Fusion 360 saves all of the designs inside of the cloud. You can name the project. Actually, I'll call it design because technically it's a design. And you can choose the location of that design. Click the drop-down arrow here, and you can choose a project to save your design it. I think by default, it should have just the admin project. To add a new project, just click New Project and you can name it whatever you want. And inside of the project, you could add new folders and save your design into a new folder just like that. So I have my Fusion 360 lesson's project, and I have my folders inside of there. So I'll save this in my getting started folder. And I'll just call it design 0, 1. And then just click Save. That's how you save designs in Fusion 360. 5. 104 User Interface: In this video, I'll be giving you a very quick overview of Fusion 360 user interface. So the main portion of the screen is the viewport. And this is where your design is located. On the top, we have all the different tools and different tabs for other tools as well. We have a browser with a different workspaces. We have a timeline on the bottom, and different navigation tools. I'll be going over everything in detail later on in this course. But that's a brief overview of Fusion 360 user interface. 6. 105 Document Settings : Units: In this video, I'll show you how to change your document settings and the units for your project. In Fusion 360. The document settings are found in the browser, and you can click the drop-down arrow to open up the units. Click Change active units. And here you can switch between different unit types. Centimeter, millimeter, meter, inch, or foot. And that's how you change the units in Fusion 360. 7. 201 Example Workflow (Brief Overview): In this video, I'll give you a very quick example workflow. It's going to be a brief overview of how I typically approach a project. In Fusion 360, There's a thing called sketches. And I'll be going over these things a lot more in detail later in the course. But that'll be a good idea to show you just a very quick overview of the basic process in how Fusion 360 is used. So I'll click sketch. I'll click one of these planes. And I'll draw a quick sketch. Show you what everything is doing later on in the course. But there's my basic 2D sketch. I'll click Finish Sketch. And I'll extrude that sketch. And that'll give me a solid body. If I want to move one of the faces, I just right-click on the face and go to this quick shortcut here it says move and copy. And I can move the face like so. I could also create a box on this top face. And if I pull this down, it'll cut this box shape out of the solid object. So this here is considered a body. It is found underneath this body drop-down. And I could rename it shape. I can round off the corners. And with just that there, you could already make a lot of cool things. But I'm gonna go into all the different settings. That way you'll have all the tools you need to make whatever you want and know how to use Fusion 360 to the best, fullest extent possible. 8. 202 Timeline : Parametric Modeling: In this video, I'll introduce you to the timeline functionality of Fusion 360 as well as parametric modelling. These are two of the best features and to the coolest features in Fusion 360. So starting off with the timeline, here on the bottom is my timeline. I could go back anywhere in history and see where I was at that current stage of the project. You could skip forward as well. Let's go all the way back to the very beginning. And you give it a click Play. You can see the entire process of how the shape was created. Now, the cool thing about parametric modeling means that say, I want to make a small design or small change to the design in the future because something has changed. I have a different consideration or something like that. And let's say instead of having this cut into the shape, maybe I want this, this rectangular shape to stick out. So I could double-click on this extrude. And I can actually change the distance r. Actually I clicked the wrong one. It's actually, it was this box shape here. Instead of having it go down, I could just let's see, if I do type five. And I don't want it to cut anymore, I could click Join. Now, the rectangular shape is sticking up. And you can see now I've added that rounded curve there. So I could change anything in the past, like even go back and change the sketch. Let's say I want this corner to be in a little bit like that. I've now changed the sketch, click Finish Sketch. And it'll go all the way back to the current spot in the timeline. With that correction. You just want to be careful if I, let's say I made a change like this, the rectangles here, so it'll mess up that rectangle shape that I added. I'll show you. Well, actually it was pretty smart and it didn't really mess it up. Sometimes you'll get an error, but other times the program is smart. So that's really cool thing about the Timeline feature. I'll correct that really quick. I just go back and correct it. And the whole model is correct. It just like that. Like even change the fill it size. Let's say I didn't want it to be as rounded, like just change it to two and have a smaller Philip. So that's parametric modelling and the Timeline feature in Fusion 360. 9. 300 Data Panel: In this video, I'll give you a quick overview of the data panel in Fusion 360. To access the data panel, click Show Data panel by clicking the button on the top left of the screen. Here you'll see all of your projects. I think when you first start Fusion 360, you will only have default in admin. But I don't quite remember. If you want to add a new project, just click New Project. And you can name your project wherever you want inside of a project. So let's go to my Fusion 360 lessons. You can create folders. And inside of the folders, you could access your saved files. So as a quick overview of the data panel in Fusion 360. 10. 300b EditableDocuments: In this video, I'll be showing you one update that fusion 360 has made to its data panel. And this is new for the end of 2020 and 2021. So now you can only have 10 editable documents. You can still access all of your old designs, but you can have only 10 active files open at one time. Well, you could actually open more than 10 files, but after 10, they are only read only. And if you run out of space in your editable documents folder, all you have to do is click on this button here, and he could switch over that design to be read-only. It'll give you this warning here. At anytime you could actually make the file editable again. So it's not very much of a big deal to make it read-only. So now I have seven active designs and I could easily switch between these and continue working on them without having to make them editable again. So that's a new feature that fusion 360 has added for 2021 now. And it's not too much of a big deal. You just have to switch between editable and read only depending on which product you're working on. And you can access that folder here in the all projects section of the data panel. And you just click on the My editable documents here and here's all of your recent editable documents. If you're out of space, once again, just click read only. And if it's a read-only project, let's say I go back into here. This one is read-only, are actually, here's this one here. I can switch it back to editable. And it's really easy and it's not a big deal at all. So that's a new change to Fusion 360, editable and read only documents. 11. 301 Navigation: In this video, I'll show you how to navigate around the viewport and Fusion 360. It's important to have a mouse with the middle mouse button because you'll be using it a lot. It's not necessary, but it really helps to have the middle mouse button to pan side-to-side. Click and hold the middle mouse button to rotate around your object. Hold Shift, and hold down the middle mouse button. There are two different types of orbits. In Fusion 360. You could orbit with constrained orbit, which is set as default. Or we could use free orbit. Free orbit does not feel as controlled, and I prefer to use constrained orbit. If you don't have a mouse, you could pan by clicking the pan button on the bottom. You can zoom in and out with the mouse wheel. If you don't have the mouse wheel, you can zoom in and out with the zoom button on the bottom of the screen. You could also click Fit to fit the object in the viewport. 12. 302 View Cube: In this video, I'll be going over the view cube. In Fusion 360. The view cube is a helpful tool that lets you rotate the camera two different orientations. So right now, if I orbit around in my scene, you can see the view cube will also orbit. If I want to look at my object from the front view, all I have to do is click front on the view cube. I could go and look at any side of my object. I can move the camera to look at the back, the left, Front, the right. And it helps you just look directly in that direction. So this is directly looking at the front view of the object. You could also click and drag on the view cube to orbit. And he could also look at you can switch the view to an angled view. So here's the angle between front and right. You could also look at your object from a corner perspective. This helps you quickly change your view precisely. 13. 303 Orbit: In this video, I'll show you how to orbit around the viewport and Fusion 360. Like I mentioned in the navigation and view cube tutorials, you could orbit by holding Shift and the center mouse button. There are two different types of orbit and Fusion 360. There's constraint orbit, which orbits in a more controlled manner. And there's free orbit, which allows you to orbit around in a little bit less controlled manner. I prefer to use constrained orbit. If you don't have a mouse at the center button, with the middle mouse button. Just click on the orbit button on the bottom to orbit and press Escape. To exit that command. You could also orbit by clicking and holding the view cube. 14. 304 Look At: In this video, I'll show you how to use the lookup function in Fusion 360. Let's say I have a fairly complicated model and I want to look at one of the faces directly into the face. All I have to do is click, look at and select the face that I want to look directly towards. This is helpful if you have an object that has many different angles. And you can't really use the view cube because maybe this face here doesn't align with any of these sides of the view cube. Just click at the lookout button and have the face selected and I'll look at it. So you can see there's two ways of doing it. Either you select the face, then click look at, or you could click look at it then select the face. That's a quick overview of the lookout command and Fusion 360. 15. 305 Display Settings: In this video, I'll be going over the display settings in Fusion 360. First, there's the visual style. You can look at your object in a shaded view. Shading with hidden edges or shaded with visible edges, or different variations of wireframe. I prefer to use shaded with visible edges only. However, sometimes I like to use shaded with hidden edges. This allows you to see through the object and it has a dashed line for all the edges that are behind these faces. Another interesting visual style is wireframe, as well as wireframe with visible edges only. Sometimes I use this if I want to get a quick line drawing of my object, I'll just take a screenshot of the current viewport like that to get a line drawing of my object. Next, there's mesh display. I rarely use this setting. Another setting that I like to use is the environment setting. Let me switch back to shaded with visible edges only. Environment you have dark sky gray room photo booth, tranquility, blue in infinity pool. Most of the time I used the default photo booth setting. I'll show you some of them. There's the dark sky. It's kind of a moody, dark version, sometimes a little difficult to see. There's also gray room, tranquility blue. I'm not sure why you would use this one. And infinity pool, which is not bad, also, kinda has a nice look to it. And it has a nice reflection on the floor. However, most of the time I just use photo booth. There's also the different effects. Right now I have all the effects turned on. If you're worried about performance and it starts lagging a little bit, you could turn some of these effects settings off, like anti-aliasing or ambient occlusion objects shadow in ground, reflection. These will speed up the program a lot. Because sometimes Fusion 360, if you have a complicated model, it does start to lag down a lot. So a quick fix to that is just go to your effects here and start turning off different settings there. Next we have object visibility. You could turn off different object, things like that. And another one that's pretty important is the camera. You can switch to perspective or orthographic. When I'm doing design, I usually stick with orthographic. It means there's no perspective. And objects that are far away are the exact same size as objects that are close up. See how the object looks skewed in this picture, it's more accurate to real life, but when you're designing and you need to see the dimensions of different parts of your model. And it's hard to tell what sizes are, what and how to compare the sizes to each other when you're in perspective mode. So typically, I'll do all my modelling in orthographic mode. There's also ground plane offset. I very rarely use that setting as well. The three that are used the most are visual style. And use that a ton, environment. And use Effects little bit. If I'm worried about performance and the camera setting. Orthographic and perspective. 16. 306 Grid Settings: In this video, I'll be going over the grid settings in Fusion 360. Click the grid and snaps button on the bottom of the screen. You can turn on the grid by checking the layout grid box. You can snap to grid, as well as use in current incremental move. I'll show you how this works now. Incremental move allows you when you move a face, to move that face in increments. So you can see it's snapping to the grid. In those increments. If I want to change the grid settings, click Grid settings. Change it from adaptive to fixed. And I could change my minor sub-divisions. I'll set it to 50. You can see it working here. This is a nice feature and allows you to easily change the shape your model very accurately. 17. 307 Solid: In this video, I'll be giving you a brief overview of the solid tap tools in Fusion 360. Now in Fusion 360, you'll mostly be using solid bodies. There are also surfaces and forms, sheet metal tools. But most of the time you'll be using solids. So with a solid, you could create different solids like boxes, cylinders, spheres, Taurus. You could also do other functions that I'll get to later on in the course. You can modify those objects and you could assemble them two moving parts. So you can make mechanisms inside a Fusion 360 that'll work just like mechanisms in real life. You can make construction planes, which I'll also get into later on in the course. As well as insert photos and other things, reference materials like that. So the solid tab, you'll be in the solid tab most of the time when you're designing your object in Fusion 360. 18. 308 Surface: In this video, I'll be giving you a quick overview of the surface tools. In Fusion 360. I actually rarely use the surface tools, if ever actually. And basically I'll give you a quick example of a use case for the surface tool. Now my kid extrude these edges here. Just like this. And you can see a surface is actually not a solid body. So it's just a, essentially a two-dimensional surface. And one thing you could do with this is I could actually, let's see where it is here. I could create a, I get thicken it like this. And I'll select the surfaces that I want to thicken. So it's actually, I'll select all of the surfaces here. And I could type in negative two. And now I have a solid body from those surfaces. That's a quick use case for surfaces. And I won't be going too much into detail for surfaces. And it shares a lot of the same functionality as a solid. But I find the solid tools to be much more useful. So that's a quick overview of the surface tools in Fusion 360. 19. 309 Sheet Metal: Fusion 360 also has some pretty cool features for sheet metal design. However, in this course, I won't be going into those features at all because this course is geared towards 3D printing. 20. 310 Tools: In this video, I'll be giving you a brief overview of the tools tab and Fusion 360. So there's a lot of cool features in the Tools tab. But in this course we'll be looking at the add-ins, measure and section analysis. Those are the most applicable for 3D printing. Add-ins. That's where we'll be making gears and different mechanical things. Measure obviously means measuring between two points. So you can measure between Two faces or even between edges. And then section analysis is a good feature. It allows you to cut into the shape along this plane and you can look at a section of your object. So that's a brief overview of the tools tab in Fusion 360. 21. 311 Create: In this video, I'll be going over the Create tab inside of the solid section. The Create tab is a very, very important tab in Fusion 360. You'll spend a lot of time in it. And it has a lot of really powerful features such as extrude, which we'll use that a lot. As well as the basic fundamental shapes, as well as patterns. Where he could create an array of a body as well as mere thick in a lot of great things. So I'll be going into each one of those later on in this course. That's a quick overview of the Create tab in Fusion 360. 22. 312 Modify: In this video, I'll be going over the Modify tab in Fusion 360. So after you create your base shape, a lot of times you'll need to modify it. And what that means is you could add like an affiliate to it, or you can add a chamfer or a good cut out the center of it or combine or subtract different objects. So the Modify section tab is also a very important tab because after you create your base shapes, typically what you'll do is you'll modify them. And that's where you'll combine different fundamental shapes or chamfers, fillets. You can even do press pull, which is where I could like pull it out like this. A lot of good features and modify. Not quite as important as create, but definitely a very important section. And we'll also be using it a lot in the future lessons. So stay tuned. And that's a quick overview of the Modified tab in Fusion 360. 23. 313 Assemble: In this video, I'll be giving you a brief overview of the assembled tab in Fusion 360. Now the assembled tab is not the easiest tab to use, but it's very powerful. This is where you get assemble different components and actually make the move. And you can make all different types of really cool mechanical things and test it out in the computer, which is really great for prototyping and things like that. So for example, I can create a joint for this gear here. So I could select this and also select that. Set the motion to Revolve. Click Okay, and I'll be going into all of this into detail in later lessons. So you can learn how to do it, but really powerful and you can see how quickly I was able to make a gear that spins and I can make this gear spin and other gear, move a lever. All different types of things. Extremely powerful and also really cool once you know how to use it. So I'm looking forward to teaching those lessons. So stay tuned. And that's a quick overview of the assembled tab. Basically, it's where you assemble components to make all different types of mechanical contraptions and things like that. 24. 314 Construct: In this video, I'll introduce you to construction planes. So in Fusion 360, one of the main things that you do to create a new body is you use what's called a sketch. So a sketch can be created on any plane. So I could choose a plane from the object here, or it could choose one of the planes from the world origin. But what if I don't want to use any of those planes? And let me just do an example of a sketch to a body really quick. So I clicked on the plane on top of this rectangular prism. And let's say I just want to make a random shape, maybe something like that, kind of a trapezoid shape. So I created a sketch on the plane and then I can extrude that sketch just like this. All right, so now I have another body on top of that buddy. But let's say I don't want to create the sketch on that plane or on any of the world origin planes. What you can do is we create a construction plane. And so I'll do an example of an offset plane first. So I could click on a face and I can offset a plane just like this. And now I could do a sketch on that plane. So let's do suit different. Let's just make a circle. And I'll finish the sketch. Now I have a circle sketch floating in mid air. And you can see here, here's the construction drop-down, and there's the plane there. I could turn it off so you can't see it. And then I could take this sketch here and I can extrude a cylinder out of it. And that's how you could create an object offset anywhere from any plane. And there's a whole bunch of really cool, really powerful, different construction planes that you could do. And I'll be getting into those in future lessons in this course. So stay tuned. And that's a general overview of construction planes. 25. 315 Inspect: In this video, I'll give you a quick overview of the Inspect Dropdown. So the only two things we'll look at in the Inspect Dropdown, our measure and section analysis. So it measures pretty self-explanatory. You can measure different points on a object like that. However, I'm not sure why you would want to do that really, because if you look down here on the bottom right corner, I'm actually will, well, if I hold Shift, it will actually tell me two vertices. Min distance is that. And I can also do faces. So if I select one face, rotate around and select another face, it'll actually tell me the distance between those faces. The other cool thing in Inspect is section analysis. I did mention that in the other lesson as well. But I'll show you it again. So basically a section analysis allows you to take a view the inside of an object. So if I click this face here and I pull it in like this, you could take a section of the object. And here you can see I actually hid some text inside of my shape. So that's actually as a whole, like it's hidden the words inside of the shape basically. And I can see it when I'm doing the section analysis. So that's a cool way. I like to add a watermark to some of my designs. I'll actually embed my logo inside of the print. So that way, if anyone prints it when printing, you can see it's from 3D printer academy. Just a cool Easter egg type of thing like that. So that's a section analysis allows you to see the inside of your object. And that's a quick overview of the Inspect Dropdown. 26. 316 Insert: In this video, I'll give you a quick overview of the Insert drop-down. The two most important things in the Insert drop-down, RD CAL and Canvas. In this course, we'll probably only look at Canvas. And I'll give an example of what insert Canvas is. Basically, you could insert a picture into your drawing. So if you click canvas here, I can insert a photo from my computer and I'll just pick a random photo here. This is just a screenshot from my Instagram. And you could add that image anywhere in your scene here, in the viewport. But you have to pick a plane. So usually you'll probably pick one in the world origin planes like that and you can move it around. So let's just put it here and I'll scale it up like this. And the reason you'd want to do this is let's say I want to trace this shape here for that marble machine. I could actually create a sketch on the same plane. And then basically what you could do is trace out that object. Like so obviously much better than that, but this is just a general idea of how it works. And then after you trace your object, you can extrude it. And then you have the object traced. And you could turn off the canvas, turn off the reference. And that's the cool thing about canvases. And other interesting thing is you could actually put the canvas on to one of your objects. So let's just do it again. I'll just use the old thumbnail from a Kickstarter project and I'll add it to the face there. I can rotate it around like that. And okay. And there I have a photo on that shape just like that. And I mean, you could do that for a lot of different reasons. Most of the time would be for reference. But I guess you could technically make it like a texture or something, but it's made basically to be, to add reference drawings in to Fusion 360. So that's a, that's a quick introduction to the Insert drop-down in Fusion 360. 27. 317 Right Click Short Cuts: In this video, I'll introduce you to the right-click shortcuts. The right-click shortcuts are very convenient. Basically, all you have to do is you right-click and it opens up this, I guess, dialog box here. And it has a lot of your recent things that you've done as well as some things that you often want to do. So, for instance, one of the things I do a lot is I would move and copy. I probably use the right-click shortcut for that the most. And the second thing I would use it for is setting the orbit center. And that basically is the point that camera orbits around. And I think I'll go into that later. I'm not sure, but it just sets the, I'll just show you an example. I can set the center of the orbit to say here. And now when I rotate around, it rotates around that point. So kind of a nice thing to know about. But as far as moving copy, a lot of the time, you'll use this a lot. So I'll do a quick example of this as well. Let's say I want to move this face here. Actually, I need to select the face first and I'll right-click move and copy. And now I can move this face and you can even rotate the face like that. I can rotate it. Well, I can't rotate that way because it just doesn't make sense to twist it like that. But I can move it in this direction, and I could also do in this direction or whatever. But that's a very common thing to do is to move or rotate something, as well as move the entire body. So I slept the whole body and I can move the entire body. A very normal thing that you'd be doing all of the time, as well as the copy feature. So I select the body, right-click and copy. You just click, Create a Copy, select that box. And now when you move it, have a copy of the box. So the right-click shortcut is a very important thing in Fusion 360. I use it all the time. It's very convenient because wherever I am, wherever the mouse is in the viewport, I just right-click. And here's a lot of very convenient quick things. I think he even just right-click and drag like this. So see that I just right clicked and dragged and it will it like highlights that easy, like that pie shaped thing there. And so it makes it very quick to do things. So that's the right-click shortcuts in Fusion 360. 28. 401 Sketches Overview: In this video, I'll introduce you to sketches in Fusion 360. Sketches are extremely important in Fusion 360 and it's one of the main tools that you'll use to create whatever object that you're trying to create. So the way a sketch works is you have a lot of different options for shapes or lines that you can draw. And basically a sketch is a 2D drawing. And you can make a 3D object out of that 2D drawing. So for instance, let's say, I don't know, I'll create, I'll just do an example of something that you would create. Maybe it's like a slot type of thing like this. So I could create two circles and a couple of lines like this. And there's my sketch. And now that I've finished my sketch, I can select these faces here and extrude that. And I have my Custom, my custom shaped 3D solid object. Now you may have noticed when I was drawing this sketch here, that the lines are blue. And one thing that's really cool about fusion 360 is it has a thing called constraints. So if I go back into my, I can right-click on the timeline down here and edit that action that I did. So I could go to Edit Sketch. So here I'm back into my sketch again and you can see the lines are blue. What that means is those lines are not constrained. So I could actually grab one and move it around and see how it's adjusting the sketch. And it's kind of unpredictable right now. And that's because I didn't put any planning into how I drew it at all. So you can see this thing here, that little circle, that's a tangent constraint. And what that means is this line here will always be tangent with this circle's edge here. So you can see it's never going to be a different angle from this line like this. See how this one has an angle here. There's the circle and angles, there's a sharp corner here. This will never have a sharp corner except for this side here. So it's always going to be in line with the circle. So it automatically adds some constraints. But all of the other things are not constraints. So let me delete everything. Now I'll give you an example. Fully constrained sketch. So for instance, if I draw a line starting from the origin, it will constrain that first to the origin. I get control the length and the angle. So see how it's a dark black line now. Same with here, actually not that one. Let me do it again. I'll start from beginning and you actually want to type the dimension. So I'll actually type 10 millimeters and 90. And for this one here I'll type in 1090. See now it has these dimensions here. Those are the constraints. So that means this line here has to be 10 millimeters. And I could go into this constraint and change it. And that'll adjust my drawing. So it's a very powerful feature. So like here I have a triangle shape. Maybe I want it to be this side here to be smaller. I could just change it like that. And when all the lines are black, that means your sketch is fully constrained. And you can see all the constraints up here. I'll be going into each one of them in detail so you can learn all about these tools here and how to create really cool sketches that will save you. It's a little bit more work up front to make your sketch fully constrained. But it'll save you a lot of time down the road. Let's say when you're prototyping something and you need to change it, instead of redrawing everything, all you have to do is just change one-dimension and your entire object will modify itself to update itself to that new dimension there like that. So in the next couple of lessons, actually I have quite a few lessons coming up here. I'll be going into each part of a sketch in detail. So you could get all of the tools you need to make whatever you want to make. Sketches are very important. That's where I'll be spending a lot of time. I think I've probably, I don't know, 10 or 20, 10 or 20 videos coming up here, 15 videos, I think. Now know a lot of videos coming up where I'll be going into all the different things you could do with sketches. Very important and very cool feature of Fusion 360. So that's a quick overview of sketches in Fusion 360. 29. 402 Lines: One of the most important things in a sketch is a line. And it sounds very simple. But there's some things that you could do with a line that aren't the most intuitive. So select the Line Tool. You can also press L on the keyboard. And we want to have some sort of anchor point for our sketch. So I'll just use the world origin. I'll give it a dimension so that way it's constrained. And now you can see I have a basic line and it has a dimension. And I could change that dimension like that. I could also. So I'll draw another line. This time. I'll specify an angle for this line. So to access the angle textbox, you want to press tab on the keyboard. And now you can type in any custom angle, so I'll just type in 40 degrees. And if I move my mouse around, you can see that it's 40 degrees from different origins. So I can move it over here down anywhere like that, still 40 degrees, but it's basing the origin off of a different point. And you can also see that I can still adjust the length. So if I press tab again, I can add a dimension there. And now it stays solidified as that length of a line at that angle. And if I click the mouse button, it'll confirm that line. It'll have me draw another line if I want, but I'll just press Escape. And it'll clear that. And so you can now you see I have a fully constrained line path here. And the last thing you do with a line, notice there's a curve here. You can actually make curves with your line. To do that. Not the most intuitive thing in the world, but what you do is you click and hold from an existing endpoint of a line. So if I click and hold and drag the mouse, it creates a curve like this. Now, the weird thing is you can't really constrain it at this point. So if I let go the mouse, it'll be click this arrow here. Or I could press Escape to confirm that our arch. So the weird thing is not constrained. And that's because I can still move this point here. So if I had a way to tell Fusion 360 what this dimension is here, then it will constrain this line and it'll be black and not this light blue color. Because best practices are fully constraining your sketches. Unless you're doing something really quick, but usually long-term, it's best to constrain your sketches. So to add a dimension constraint. I'll click this dimension button here, sketch dimension. And I'll click this point. And I guess it's already, they've already had that point selected, but I could set this dimension here, and let's just set it to three. Now you can see the sketch is fully constrained. So everything is locked in place. The only thing that can move is this dot here. I could change the length of that arch like that. So that's the basic line tool and that's what you could do with it. You could also close your sketch. Let's say when I close this here, you can see that line is also not, it's not black because it doesn't have a constraint on it. So I could add a constraint there by clicking on the line at the dimension tool and just clicking Enter. So now it's fully constrained, like a change, this like that. And you can see it's going to keep this arch here. So that's why if I change this value, it moves it in that direction unless they added a different constraints somewhere else. But That's the basic functionality of the line tool for sketches. You get to create either a straight line or we can make arches. And it's important to remember to always fully constrain your sketches because you will, you'll regret it in the future if you don't, when you wanna go back and make a little change and everything gets messed up. Because you can't simply just go in and just type in 4.5 and have it automatically adjust. All nice like that. So that's the basic line tool in Fusion 360. 30. 403 Rectangles: The next tool we have in sketches and fusion 360 is the rectangle tool. This is the basic rectangle tool here. But if we click Create, we can see more options for different types of rectangles that we could create. So by default, fusion 360 has a two-point rectangle where you can select basically the origin point and the opposite corner. And if you type in your dimensions five, I'll hit tab. And that will go to the other, the length of the rectangle. And I get a maybe seven there. If I click the mouse button, I have a fully constrained rectangle. Just like that. I could easily go in and change the dimensions. Super easy. So that's a two-point rectangle in Fusion 360. Fusion 360 also has this one's very useful. And then skip the three-point for now and go to the center rectangle because this one is way more useful. It basically creates the origin of the rectangle at the center. Like that. That's very useful. It makes it much quicker to center a rectangle inside of a different object. And you can also just type in the dimension for that side. Press tab and press it dimension for the other side. And if you press Enter, you have your basic rectangle shape there. And you can easily change the lengths of the sides. And notice on the center rectangle, if I change the length of a side, it's mirrored along the center point. So very, very convenient for a lot of things. And now the last rectangle tool we have is the three-point rectangle. Basically, what you do is you essentially just create three points and let me do that again. So go to the rectangle, I'll click this point here. Click this point here. And I could pull it out. And basically, I guess the point of this is you could change the direction or the angle of the rectangle. But I, I don't think I've ever used the three-point rectangle tool. I definitely have a lot more use cases where I use the two-point rectangle and the center rectangle. And most of the time it's just the two-point rectangle. So that's the rectangle tool in Fusion 360. 31. 404 Circles: So the next tool we have in Fusion 360 for sketches is the circle tool. The default circle tool is very basic. You basically just determine what diameter you want for the circle. And you can easily change it after the fact if you want. And that's the basic circle function. But there is also a two-point circle. And this would be useful for a situation like this. Let's say I want a circle centered between these two lines here. I can just click there and there. And now I have a circle that is perfectly centered between those two lines. So there's also a, let's go to the next one, the three-point circle. And that's very similar. I can click here, here, and here. And now I have a circle right there. Kind of pushed up against this edge here just like that. Now they're useful circle and having these extra circle tools or functions, I guess. Just make it easier for certain situations like having it pushed up against this edge here, the three-point circle made that very easy and very quick. So knowing about the special circle functions really kid, improve the speed of your design process. Okay, We also have the two tangent circle. Let's say we want a circle here. I can just click on this line and this line. And it'll create a circle just like that with the edges connected to those two lines like that. Another very convenient circle creation tool. And the last one is the three tangent circle. Or I can click on three lines. And it'll create a circle perfectly in the middle. And you can see that one's fully constrained because each one of these points is connected to those lines like that. Whereas this circle here, I guess, still change the size of it. So if I gave it a diameter like that, Let's just give it five. You can see that's also a fully constrained now, just like that. So that's the circle tool in sketches in Fusion 360. 32. 405 Arcs: So now we're getting into more of the specialized tools for sketches and Fusion 360. And this tool is the arc tool. And there are three different options here. You could do a simple three-point arc, and I'll show you an example of that. Say Do this center point to this center point, to this center point. And here we have a arc based off of those points there. And I can make maybe a shape like that if I wanted to. Such a use case for that arc. Another one that we have is the the center point arc. So basically you select the center point and then you select two other points like that. And it creates an arc around the center point just like that. And the last one is the tangent arc. Basically what that one does is it creates a line that's tangent or creates an arc that's tangent to the line that you start from. So just like that you can see it's, no matter where I go, it's still tangent with the origin line just like that. And I guess actually with that one, you could do some pretty interesting curves like that very easily. And it's all tangent to itself. So those are arcs. It's a, another good tool in Fusion 360. And you could create a lot more variations with your sketches like that. And they all have a constant radius sets. That's what an arc is in Fusion 360. You could also do splines, but a spline has a continually changing radius. So this is basically just a segment of a circle. So that's how you make arcs in Fusion 360. 33. 406 Polygon: Next I'll show you how to use the polygon tool for sketches in Fusion 360. For this example, I'll be creating my sketch on the top face of the cylinder. So I'll select the top of the face. I'll click Create Sketch. And now what I'm going do is I'll build a, I'll create a smaller circle, an eight millimeter circle, just like that. And now I'm going to go to the polygon tool. And you can see there's three options. For this example. I'm gonna do the inscribed polygon. So I'll select inscribed polygon. I'll click the center point and then drag out to the edge. And you get determined the radius, as well as the number of edges that the polygon has. So right now I have a six-sided polygon and I could change that with the Tab button. Well, I can't have a two sided polygon, like a triangle, square and just like that all the way up. So for this example, I thought would be interesting to do a hexagon. Because you could like make an indent into a shape for, let's say, nuts and bolts to hold the head of the bolt. So I'll create the inscribed polygon just like that. Now finish the sketch. I'll select the hexagon like that. And I'll extrude it down negative 10, or just go negative four just like that. So now I have this polygon cut out of this cylinder. So I know I haven't really gotten into extrude yet. But it's a little sneak peek into that future. And with the tools you know already, you should be able to do a lot already. But I recommend continuing to go through all of these lessons here because it'll give you a really strong foundation and it will really help your design skills. So I highly recommend going through each one of these lessons because I'll be going through every single tool. And you will have a lot more skills if you're able to, to know each tool and what exactly it does, and it'll just make you a much better designer. So that's the polygon tool away. I didn't go through the other. Let me show you the other versions of the polygon tool as well. They're fairly similar. So let's quickly go through these. We have edge polygon and circumscribed. So that's essentially the same thing. However, it goes on the outside of the circle like that. And then the other one is the edge polygon. So I could select two points here. And it'll create a polygon based on that edge just like that. So that's the polygon tool in Fusion 360. 34. 407 Ellipse: Next I'll show you how to use the Ellipse tool for sketches and Fusion 360. The Ellipse tool is fairly simple and there's only one option. You basically pick the center point and the first dimension, and then the second dimension. And that's essentially all it is for the ellipse tool. So that's the Ellipse tool in Fusion 360. 35. 408 Slots: In this video, I'll show you how to use slots in sketches in Fusion 360. Go to Create, down to slot. And you have a few different options here. We have center to center slot. So I can select this point here and this point here. And those two points will be the center of the circles on the ends of the slot. So you can see just like that. And there we have our slot there and we can extrude it up or down if you wanted to. But I'm going to keep going and show you the other versions of the slot functions. Slot function. We have an overall slot. So I could do something like this from this point here, this point here and there. So there's my slot inside of that rectangle. You could also do a three-point arc slot. This one's pretty interesting as well. Let's say I wanted to go from this point to this point. Actually, I don't wanna do that. Let's do one more time. I wanna do this point, this point. And that point, I could create an arc like that. So that's a pretty interesting one. And the last one is my favorite slot function here, or slot tool. It's the center point, our slot. And basically all you need to do is select the center point and then select the starting point of the arc and the ending point of the arc. Let's go to there. And then you just pull out the width like that. And then for example, if I finish the sketch like a selected this area, and I can extrude it in like this. And now I have this very nice cutout slot inside of my shape just like that. So very convenient feature. That is the slot tool in Fusion 360. 36. 409 Spline: The next tool in sketches for fusion 360 is the spline tool. Now when you first start a Fusion 360 Project, you usually happen up a blank screen like this. And usually what I do is I create a sketch and I just pick one of the planes on the origin. So I've skipped that step on all the other sketches, videos. So I thought I should show that just to show you where I was getting started. So the spline tool is very nice because it lets you make very customized curves. I'm basically any curve that you want. So to use the spline tool, you basically could just select area. You create points just like this. And then to end, you want to click on this check mark here just like that. So the spline has a bunch of nodes that you could, you could click on and you can move those kind of handles just like that. And you could change the shape of your spline. So it's a very convenient tool for making very customized curved shapes just like this. I can offset the spline, connected the edges and then extruded. And there's my custom shape that are designed with the spline sets. I use blinds in Fusion 360. 37. 410 Conic Curves: So this tool is a little bit obscure and I'm not exactly sure what use cases it has, but I'll still show it anyways. It's the conic curve. And there's a lot of, I guess, theory behind it I'm not too familiar with, but it has to do something with a second order linear partial, partial differential equations or something. But it's been a long time since I've taken differential equations, so I don't remember any of that. But basically, you can create different parabolic, hyperbolic or elliptic lines just like that. I'm not sure exactly what the use case is for this, but you can make these shapes if you want to. So that's the conic curve tool in Fusion 360. 38. 411 Point: The next tool I haven't used that much either, so I'm gonna go pretty quickly through it. It's the point tool. And essentially you could create points and you can connect the points with lines. And I'm not exactly sure what the use cases for this because I could just take a line and do the exact same thing. But that's the point tool in Fusion 360. 39. 412 Text: In this video, I'll show you how to use the text tool for sketches in Fusion 360. The Text Tool is a very nice tool and it's very useful. And it's also a very fun tool because you can personalize all your work with this tool. So I'll create a sketch on this face here. And I don't know why it rotated it around like that, but I'll just rotate it back to normal. And I'll just click Create and text. So there's two options here. You can click text on path, which means maybe I could put it on this path here. It even looks like it goes through the object I can line it up with. And that line on the back of the object that I want to do text anywhere on my plane here. So I'll do just the basic text tool. And I'll select the bounding box here for my text. And click OK. And you can see the text is very large. So what I'll do is I'll change the height of the text. I'll make it 2.5. Let's go for Nope, do three. So three works like that. I'll center space it and center it in the middle. Like that. I'll type in 3D printer academy. Just like that, but with the three, and I'll make it bold. And what you could also do is you could also change the font. So I like to use Avenir. Next. Just like that, I'll probably make it just a little bit smaller to 0.7, maybe 2.5. There we go. So that's how you create text and then what you could do with the text. And also has a character spacing tool, which is nice. So I can space it out a little bit. Let's do 10, okay? And then I can click Okay and Finish Sketch. So with this, what I could do is select the text and now I can extrude it. And let's say I wanted to make a stamp. You can very easily make your own custom stamps this way. Or if I wanted to make just a custom little label thing here with my name on it. I could cut inside of the shape like that. And now I have a little block with 3D printer Academy written on it. And I could 3D print that and put it on my desk or anything like that. So the Text tool is very useful. You can customize all of your 3D prints or all of your designs. You can put your name or your logo, anything like that. So that's the text tool in Fusion 360. 40. 413 Mirror: So this next tool is very useful and I use it all the time. It's the mirror tool. So to use the mirror tool, Let's say I have my own line drawing here. Just something random like this. And so let's say I want to mirror this onto that side. So Fusion 360 makes it very easy. What I could do is I could create a construction line, so I'll create a normal line. Just like this. I'll select this line. And I'll change the line type to construction. Just like that. So now it's a dashed line. So it's actually not a line, it's just a, basically a reference line. And now to mere this, all I need do is click the mirror button here. And I'll select my lines that I want to mirror. Just like this. So I have my 10 lines here selected, and I'll click the mirror line, I'll select that, and I'll do this construction line here. And now you can see my custom line drawing has been mirrored to the side. And that's very convenient. I use the mirror function a ton. So that's how you do mirrors for your sketches in Fusion 360. 41. 414 Circular Pattern: In this video, I'll show you how to use the circular pattern tool for sketches in Fusion 360. The circular pattern tool is very powerful and very useful. And I use it a lot in my designs. So go to Create. And so actually before we do the circular pattern, we'll need something to rotate in a circular pattern. So what I'll do is I'll create a circle on the end of this line, maybe just a five millimeter circle, just like that. And I want this to repeat in a circular pattern around like this. So I'll select my circle and I'll go to circular pattern. You'll need to select the center point. And then you can choose how many times you want it to be repeated. So I'll just increase this till I get a good amount. And so it's evenly spaced, just like that. And click, Okay, I'll click Finish Sketch. So now what I could do is I could select all of these areas here. And what I could do is extrude it maybe five. And now I have these evenly spaced cylinders and the perfect circular pattern. So that's the circular pattern tool in Fusion 360. 42. 415 Rectangular Pattern: Next I'll show you how to use the rectangular pattern tool in Fusion 360. So I have this circle shape here that I want to repeat in rows and columns. To do this, I'll use the rectangular pattern tool. Now there's two different types of distance types here. There's extent and spacing. So first I need to select my object. I'll change my distance to, let's say 30. And I could increase the quantity. Let's do just do six of them. And then I could do that also for the rows. So I'll do six and I'll change the distance to 30. And I could change the direction. Let's see if I could do negative 30. Yes, I get a negative 30 to get it to go down. And now I have my circle repeating in a rectangular pattern. I could also make it go in both directions like that. Or I could use spacing. So for the spacing, it automatically converted it to six millimeters. But now let's say what if I do 0, it stacked on top of each other, 15. So if I do five because that's the diameter. So it's from center point, the center point it looks like. And I did get UPS quantity 26 and distance negative five. And they should all be touching and just like that in a rectangular pattern. So that's how you use the rectangular pattern tool in Fusion 360. 43. 416 Fillet: In this video, I'll show you how to use the affiliate tool in Fusion 360. The fill tool is really important because in the real-world, corners are not infinitely sharp, like they are in the computer. It's very difficult to get a perfectly sharp corner. And actually you never really want a perfectly sharp corner in your design because it'll either be very uncomfortable to hold or it won't look that great. Even objects in the real world that look like they have sharp corners are actually slightly rounded and have a slight fill it on them. Just because That's how it works in reality versus on the computer. So to use to use the fill tool, just click the Philip button and you can either select two lines or you can select the corner point, just like this. And if you select multiple corners, you could change the radius of all of them. Just like that. It's a very convenient tool. And I highly recommend using fillets in your design because it'll make the designs look. Whoops, what did I do there? It'll make the designs look much more professional and much more polished. So that's the Philip tool in Fusion 360. It's a very nice tool. And it really improves, improves the quality of your designs and really makes it look extra good. So I highly recommend the fill tool. It's very convenient. I use it all the time in almost all of my designs. You can even do it on a solid body and ran off the top like that. So it's a very nice tool in Fusion 360. That's the filler tool in Fusion 360. 44. 417 Trim: In this video, I'll show you how to use the trim tool in Fusion 360 for modifying your sketches. The trim tool is this scissors icon here. You can also access it by pressing T on the keyboard. And basically what the trim tool does is it will trim a line or a curve to any line that intersects it. So I can trim off this portion of the circle like that or a kid trim align just like this. And it's pretty self-explanatory. Most of the time it will remove your constraints. So if I trim this line here, you see it'll break a lot of constraints. And that's what this warning is down here in the bottom. So you'll have to read constrain your sketch. But that's how the trim tool works in Fusion 360. 45. 418 Extend: In this video, I'll show you how to use the extend tool in Fusion 360. You could access the extend tool by going to the modified drop-down and clicking on extend. And actually basically before I do that, let me trim off this line here. Ok, and now I'll extend that line back to the slide. So all extend does is it basically, if you hover over an existing line, it'll predict the length it needs to go until it reaches the next line. And if there is no line, like you can see in this situation here, I'm not sure what defines that distance, but it doesn't know exactly where to go. So in this case it I think it kind of gets a little bit confused, but if there's a clear line in the same direction as the line, then it will extend a line just like that. It also, if you remember, we trimmed the circle here. It'll actually basically untrimmed, or I guess extend that arc of the circle back to how we had it before we trend it, trimmed it. So that's a, that's how they extend tool works in Fusion 360. 46. 419 Break: In this video, I'll show you what the break tool does in Fusion 360. To access the break tool, go to modify and click break. So what break does is actually before I click that, I'll hover over this line here you can see this line goes across this entire distance here. So if I select this line and click Delete, then it deletes that entire line. So what break does? I could get that line to come back. There it is. So what break does is it'll essentially break a line where any other line intersects it. And if you hover over the line, you see gives you a preview of where it'll break that line. So let's say break justice line here. You can see now that line has been split into two. And this line here still hasn't been split into twos. Phi break that line. Now, each of these lines here are split into two, just like that sets the break tool in Fusion 360. 47. 420 Sketch Scale: You could easily change the scale of your sketch by using the sketch scale tool. It's found underneath the modified drop-down. So basically you'll have to select any of the entities that you want to scale. So I'll actually select all of it and I'll pick a point from where I want it to scale from. So I'll have it scale from my origin point here. And now I can type in a number for the scale factor. So let's say we want to make it twice as big. I'll just type in two. And I can see my sketch is now scaled twice as large as it was before. It's a pretty neat feature, it's pretty useful. So that's the sketch scale tool in Fusion 360. 48. 421 Offset: In this video, I will introduce you to the offset tool in Fusion 360. The offset tool is very useful and I use it quite often. To access the offset tool. Click this button here in the Modify section of this top toolbar. Select the line that you'd like to offset. And you see that it will actually select tangent or it'll have a chain of selection is what they call it here. So if I have this checkbox selected here, chain selection, it will select all of the lines that are chained together. If I uncheck this box here, it will only select just the line that I am hovering over. So for this example, I'll turn on chain selection. I'll click on this line here. And I'll select a dimension for the offset. So that's how I use the offset tool in Fusion 360. 49. 422 Move : Copy: In this video, I will show you how to use the move and copy tool in Fusion 360 for sketches. There are a couple of different ways to access the move and copy tool in Fusion 360, the most convenient way is to right-click and drag your mouse down to the bottom left. The other way you could access it is in the Modify section of the toolbar. You can also press M on the keyboard. For this example, I will right-click and go to move and copy. Next, you will need to select the objects that you'd like to move or copy. So the first example I'll show you will just be a basic move. I can select all the objects that I want to move. And it automatically sets a pivot point here with some arrows that I can click and hold. So actually that didn't work. Let me try to set the pivot here. So I'll click set pivot. And let's click this point here and be sure to click the check mark either here or over here. And now I should be able to move. Okay, So the reason we can't move this object is because it's constrained to the origin. So if I hover my mouse over here, you can see these three constraints. So I haven't really gotten into constraints that much, but this will be a little bit of a preview. And it's a good time to show you actually. So if I hover my mouse over this point here, you can see three constraints. I could actually select each one of them. And if I hold the Shift key down, I can select all three constraints. If I press Delete, it will delete those constraints. And now my sketch has turned to blue, which means it's no longer constrained to the origin point. And now I should be free to move it. So if I somehow press M on my keyboard. So now by pressing M on the keyboard, I've opened up the move and copy panel here. Out drag and select the entire sketch. And now when I pull on this arrow here, it'll move the sketch. You can also determine where you want the pivot to be located. By clicking Set pivot. And let's move the pivot to this point here. Be sure to click done. And now you can move your sketch from that pivot. And that's useful if you want to rotate your sketch just like that. So the other thing you could do is you could create a copy and move the copy to do that or you have to do is click Create copy. Just click on this check box here. And now when you move, you're actually moving a copy of the sketch. So let's say I wanted to rotate this 180. Just like that. I now have a copy of this sketch rotated 180 and press Okay. To confirm. So that's how you use the move and copy tool in Fusion 360. 50. 423 Sketch Pallette: In this video, I will show you the different settings in the sketch palette. For Fusion 360. The sketch palette is located on the right side of the viewport. When you're in sketch mode. You can see there's different options here. And you can select different checkboxes to change at different options for the sketch. We've used this before for the construction line type. So I can click on a line, let's say this line here. And if I press on it, construction, It'll make that line a construction line. So it's no longer a solid line, it's just basically a reference line. Another good feature is the look at option. So let's say I'm not looking directly perpendicular to the sketch. Let's say I'm at an angle like this. If I want to get back to the original view perpendicular to the plane of the sketch. All you have to do is click this button here, look at and it'll point you backup. Looking directly at the sketch. You could also turn it off and on, on and off the sketch grid. Snapping. I actually am not quite sure what the slice option is here. You could show the profile. So that's the highlighted profile there. It'll show you the areas, as well as points, dimensions, constraints, and projected geometries. So what projected geometries is, is it's, let's say had a cube behind this. So I could probably do that really quickly. Actually. Let's just put a cube. I'll put a box and I'll put it underneath the sketch here. I'll just make it random dimensions and I'll just move it down like this. And let's say I move this here and pull it in like that. And if I want to create a sketch on this plane here, if I create a line, it'll let me snap to the lines on the, on that shape that I just created. But it's actually projecting that line through the shape. So if I rotate here, you can see there's actually, there's no line to snap to here, but it wants to snap to this line here because it's projecting this bottom line here up through the body or the object to this top surface here. So I'll click look at and go to the top of it. And if I click on this spot here, and here, you can see now it's showing this purple line here, which means it has snapped to a projected geometry. And you could turn that on and off just like that. So it's nice if you have a certain shape just like this. And I wanted to make this line go. This point here be directly on top of this line. It will automatically snap to that projected geometry. And the last thing in the sketch palette is 3D sketch. So if I select this, I can now sketch in three dimensions, which is a pretty neat feature. So it's also a little tricky to use. But now you can see I have the three directions here. So if I click this origin point here and I drag up, you can see it snaps to the z axis here. Or you can snap to the x or the y just like that. So if I wanted to make a line going out of the plane, I could click just like this. And now you can see I have a line. So now my sketch is actually in three-dimensions. So that is the sketch palette in Fusion 360. And that helps a lot with, maybe, if I click look at it again, actually, I'll go back into the original sketch here. So if your sketches getting a little bit messy like this, it's really nice to be able to turn off dimensions every once in a while. Or if you don't really want to see the constraints at the moment, you can make your sketch very clear and easy to look at. And what you want to turn those options back on. It's very easy just to click of the button just like that. So that is the sketch palette in Fusion 360. 51. 501 Sketch Constraints Overview: In this video, I will give you a quick overview of sketch constraints and why they're so important and why they're so powerful. So let's say I have a basic objects like this and it has some holes in it just like that. Now let's say I've just finished designing this part here. And it actually turns out it's not quite the right dimensions. And maybe these two holes here are too close together and maybe I want to make this whole shape a lot longer. Now without constraints and without parametric modelling, I'd have to recreate this entire object. And that would be a big hassle and I will take a long time. But what the power of constraints and the power of parametric modelling, it's very easy to change your design at any stage of the process. So I'll go down here to my sketch, I'll right-click it and go to Edit Sketch. And here you see I have a sketch here that's fully constrained. So like I was saying, maybe I want to make the shape a lot longer and less, less of a square shape. So all I have to do is go to this constraint here. And let's make it 25 set of 15. And notice what happens. This whole automatically moves were exposed to. These lines. All move when they're supposed to. And everything just does exactly what it's supposed to all automatically. Now if I click Finish Sketch, you can see I have a finished part that has been stretched to how I want it to be now. And let's say maybe these holes are also too big. I can go back into my sketch. And I have all of the holes, all of the circles here are constrained and they're all. And dimension to this dimension here, two millimeters in diameter. So instead of having to go through all three of them, I could just change this here to, let's go to 1.5. And you can see all three holes change to automatically. It's not the biggest deal when you just have three holes. But let's say you had nine holes or 12 holes. And it'd be a lot of work to go through each one and change it. But this way you can quickly change anything. And maybe these corners here. I wanted it to match the same dimensions as this. Maybe I don't know. Let's make it 1.5. And you can see everything has automatically adjusted and the circles are even connected to the center point of this arc here. So if I may make this four, you can see the circles move just like that. And I could change this dimension here to maybe four. I don't know. But it makes it very easy to quickly change the design of your part. Same at this circle here, the circle is in a more random spot compared to these two which are just on the corners. Let's say I want this circle to be a little bit closer here. Just change the dimension. And you can see how easy it is to change any part of your sketch. And by changing your sketch, you actually change the entire part. And you could do any modification in the past, and it will apply all the changes to the future items on the timeline. It's very, very nice feature, one of the best features in Fusion 360. So I highly recommend using constraints and fully dimensioning your sketches. So that way, if you want to make a change in the future, it's very easy and everything updates automatically. Very nice feature. That is a quick overview of sketch constraints in Fusion 360. 52. 502 Horizontal : Vertical: In this video, I will show you how the horizontal and vertical constraint works in sketches for Fusion 360. This is the horizontal, vertical constraint button here. And what it does is let's say a draw, two lines here and there, slightly crooked, just like that. To make them perfectly perpendicular or actually just vertical and horizontal. It doesn't have to be perpendicular to this line here. All you need to do is click on the horizontal, vertical constraint. And you can see it automatically adjusts the lines here to always remain vertical or horizontal. And because they're still blue, I can still move them just like that. So you actually see I can move it in both directions like it pulled up and out, just like that. But no matter where I move in, even if I drag the line, it's still remains horizontal and vertical. So that's the horizontal and vertical constraint for sketches and Fusion 360. 53. 503 Coincident: In this video, I will show you how to use the coincident constraint in Fusion 360. The coincident constraints very useful. Let's say I have a line just like this. And you can actually see here jumping back little bit to the last lesson on horizontal and vertical constraints. It automatically has added the vertical constraint if I'm close to vertical or close to horizontal. So let's add a line here. And now let's say I want this point here to connect to this line here. All you have to do is click the coincident constraint. Click on the point, and then click on the line. And now you can see that this line is always connected to this point here, just like that. And there is the constraint here. If you want to delete it, you can just click it and press Delete. And now it's no longer stuck to that line. I can re-add it back just like this. And now no matter how I move this line, that point will always stay connected to this line just like that. And that is the coincident constraint in Fusion 360. 54. 504 Tangent: In this video, I will show you how to use the tangent constraint in Fusion 360. Let's say I want to draw a line here that connects these two circles. Let's say we want to create a slot. So what I could do, I'll zoom in here and go towards these circles here. To make my slot, I could click on, actually, let's use the coincident constraint as well. So I'll just create an arbitrary line here that has no constraints at all. It's just floating on the plane. Just like that. I'll create two of these lines with no constraints at all. I'll use the coincident constraint here and I'll connect this point to the circle and this other point to this circle. And I'll do the same for the two points on the other line. Okay? So now to use the tangent constraint, this tangent constraint will basically align these lines here to be tangent with the circle. And if I make it tangent with both circles, I'll get a perfect custom slot. So let's click on tangent here. All I have to do is select the line, click the circle, select the line again, and I'll click the other circle. Now you can see it's actually fully constrained. And I'll do the same thing with the second line, just like that. So now we have perfect slot by using the tangent function or the tangent tool. And let's see, actually I'm curious if I adjust this. If it'll adjust the slot perfectly, Let's say I want to move it really far. Yep. So that's the beauty of constraints. It adjusted all of my lines perfectly. No need to go back into it and do anything manually. Like even stretched out even further. Or let's say I wanted it really close to the wall back where it was before. That is how that works basically. So that is the tangent tool in Fusion 360 sketches. 55. 505 Equal: In this video, I'll show you how to use the equal constraint in Fusion 360. So let's say I wanted to create a circle on this point here. And I want this circle to be the same size as all the other circles. So I'll just click an arbitrary diameter here. And you can see it's not constrained yet because there's no set diameter. I could change it to any diameter that I want, but it's not an exact value. So to make it be the same as the other circles, all I have to use is the equal constraint. So just click on the equal button here. And I'll select on already selected on the circle. And I'll select the circle I want it to be equal to, just like that. So now if I change this circle, it'll change all of my circles, including the one I just added, to be the same diameter as this circle here. So that's how you use the equal tool in Fusion 360. It also works for lines as well. So let's say I have a line center point and it's for, and I create another line on this center point. I don't give it a length. I can also see right now I could still move it here. It's showing as being fully constrained, but I'm not sure how it is if I can move this like this, but let's say I wanted to be the same length as this one here. All I have to do is click equal. This line here, it in the line I want it to be equal to. So now if I change this line to a three, it'll automatically adjust that line. So that's the equal constraint in Fusion 360. 56. 506Parallel: In this video, I'll show you how to use the parallel constraint in Fusion 360. So let's say I have two lines that are going across my part just like this. And I want these lines to always be parallel with each other. All I have to do is use the parallel constraint button here. Select the first line that I want, the other line to be parallel with. The second line. And now you can see my two lines are automatically parallel. And if I move this line like this, you can see the other line will always remain parallel. And it actually works for move the other line as well. So you can see both my lines are always parallel. So that's the parallel constraint in Fusion 360. 57. 507 Perpendicular: In this video, I will show you how to use the perpendicular constraint in Fusion 360 sketches. So the first thing I wanted to do before I used the perpendicular constraint is constrained in these two lines here. And I can set the angle here by selecting these two lines just like this. And I can click this sketch dimension tool here. And that'll let me set the angle between these two lines so I'll pick 120. The next thing I'll do is determine the distance between these two parallel lines. And I'll do it just like this. And maybe there are 1.5, just like that. Now to make a line perpendicular to these lines, I'll just create a line here. And I could use the perpendicular constraint. I'll click the starting line first and the second line. And now I have this line perpendicular to my parallel lines here, just like that. I think it will also automatically make it perpendicular. Yeah. So if you see that square at the corner there, that means it's 90 degrees and perpendicular to that line. So it's two ways of doing it. And if you do the automatic way, or he could force it to be perpendicular by creating a line, an arbitrary angle, and then clicking the perpendicular button. And it will make that line perpendicular. So that's how you use the perpendicular constraint in Fusion 360 sketches. 58. 508 Fix : Unfix: In this video, I'll introduce you to the fixed unfixed constraint in Fusion 360 sketches. The fixed unfixed constraint essentially will lock the item of your sketch. So let's say I want to keep these two parallel lines here locked. All need to do is click this lock button and select the two lines. And now if I try to change this dimension here and let's say I wanna make it three. It won't let me, because these two lines are fixed in that position there, so there are essentially locked. So that is the fixed unfixed constraint in Fusion 360. 59. 509 Midpoint: In this video, I'll show you how to use the midpoint constraint in Fusion 360. This triangle up here represents midpoint. And you'll see that when you create a line or any shape, if you go to the midpoint of a line, you see that triangle pop-up. That means that is the midpoint of a line. So let's say I create a line here and I'll make it just a non-constraint, just a random line sitting just like this. Let's say we want to make it parallel to this line and have it be connected to the midpoint. So what I'll do is actually I think I said parallel by meant perpendicular and make it perpendicular by using the perpendicular constraint. And now I want to set it to the midpoint. So I'll click on the triangle and midpoint button up here. Select that point of the line, and then select the line that I want it to connect to the midpoint of. And it will automatically snap the line to the midpoint of the other line. And I'll do it again here. Let's create another line. Let's just put it here just like this. Let's see if it'll work, even if it's not connected to this point here. And I'll click the line that I wanted to snap to the midpoint. And you can see it automatically moves to the midpoint of that line. So that's the midpoint constraint in Fusion 360. 60. 510 Concentric: In this video, I'll show you how to use the concentric constraint in the Fusion 360 sketches. Let's say I have a circle. And it is a five millimeter. Actually, I'll do a four millimeter. I'll do a three millimeter diameter circle. And let's say I want this circle, the midpoint of this circle, to be directly on top of the midpoint of this circle here. To do that, I'll use the concentric constraint. And I'll select the midpoint of this. Actually, I'll select the circle that I want to line up with the other circle. And then I'll select the other circle. And that will move my three millimeter diameter circle directly to the same position as the destination circle. And I'll do that one more time. If I want to move this circle here to the same point here, I just use concentric. I'll click the big circle and then the small circle. And now I have my two circles with the same origin point. So that's the concentric constraint in Fusion 360. 61. 511 Colinear: In this video, I will show you how to use the code linear constraint in the Fusion 360. Let's say I have a rectangle here. And I want this side of the rectangle to be directly on top of this line. To do that, I could use the co-linear constraint. I'll select the starting line, and then I will select the destination line. And it will automatically move that rectangle to share this same line here, just like that. And it still contains that line. But that line is overlapping, this longer line underneath. So that is the co-linear constraint in Fusion 360. 62. 512 Symmetry: In this video, I will show you how to use the symmetry constraint in the Fusion 360. So let's say I have these two lines here and I want them to be symmetrical. I can click the symmetry constraint, select two objects. So for this instance, I'll select these two lines here. And I'll select the cemetery line just like this. And now you can see if I move this line here, it'll make them both symmetrical. So I can move the other point as well. And they always essentially mirror each other. But it essentially just makes it symmetrical. So anything I do this point here and this line, it will essentially mirrored to that line. So that is the symmetry constraint in Fusion 360. 63. 513 Curvature: In this video, I'll show you how to use the curvature constraint in Fusion 360. Let's say I have two splines. I'll create one spline like this, and the other spline will have a sharp angle just like this. So if I want to have a force it to always have a smooth transition between these two lines, I could use the curvature constraint. So I'll select the first spline and then the second line. And you can see it automatically smooths out that corner. And because of the positions of my splines, it didn't really do the most intuitive thing because they're a little bit too close. Let me do another situation here. Or the second spline is more in this direction like that. So now to smooth this corner here, I'll use the curvature constraint. Select both splines. And I can see it has smooth that out. If I wanted to be a little bit more like the original shape here, I can just move these lines a little bit. Actually this is locked here, so I'll have to actually zoom in and move the lines like this. So actually I could grab either handle. So if I, if I click on this point here and actually selecting both points for both splines. And if I move this handle here, it'll move the other handle as well to maintain this smooth transition between the two splines. So that is the curvature constraint in Fusion 360. 64. 601 Construct Overview: In this video, I'll be giving you a quick overview of construction planes in Fusion 360. Construction planes are very important because fusion 360 heavily, heavily focuses on sketches for creating objects and bodies. So when I create a sketch, I have to click on a plane to draw the sketch on. So I could use one of the origin planes here. Or I can select a plane on a body. However, what if I want to create a sketch not on an existing plane? Well, I'll need a construction. I'll need to build myself a construction plane. So I can go up to here. And the main construction plane is the offset plane. So this allows me to select a face and offset a construction plane from that face. And this will allow me to do things like this. Let's say I create a circle sketch just like this. Now the circle sketches offset from this plane here. And for instance, I could do a sweep command or a loft. I mean a loft command between these two sketches. That's one practical application of using a offset plane. Now there's many other different types of construction planes. Some of them you will rarely use, but some of them are very useful. The top three out say, are the offset plane, a mid-plane, and plane along a path. And I'll be going through each one of these in the next couple of lessons here. So that's construction planes and Fusion 360. 65. 602 Plane at Angle: The next construction plane we have is the plane at an angle. Now I've actually rarely had a time. I don't know if I've ever actually used this construction plane, but there may be a certain instance when you will need it. So the tool is there and it basically allows you to create a construction plane at a specific angle along any edge of your bodies. So that is the plane at angle construction plane option in Fusion 360. 66. 603 Tangent Plane: Next we have the tangent construction plane. This one is useful for making tangential planes along the face of a round or cylindrical object. I could specify where I want the plane that to be placed, but it will always be tangential to the cylinder. So that's the tangent construction plane and Fusion 360. 67. 604 Midplane: In this lesson, I'll be going over the mid plane, construction plane option. The mid plane is very commonly used construction plane tool. It'll basically allows you to build a construction plane at the midpoint between two faces as shown here. Just like this. This one's very common and I do use this one. Probably maybe the most out of all of the different construction plane options. Maybe besides plane along path, I do use plain along path a lot. I'll be getting into that one in a couple lessons here. But this is the mid plane construction tool. It's very useful and allows you to build a construction plane anywhere between two planes. 68. 605 Plane Through Two Edges: Next we have the construction plane through two edges. I have rarely, if ever, but it is there if you need it. Once again, it allows you to create a plane between two edges. So if I select these two edges on this rectangular prism, you can see I have a new construction plane that is inline with those two edges. I could also click on this go to plane through two edges. If the two edges are already on the same plane, it essentially just picks the face between the two edges. So that is the construction plane through two edges. 69. 606 Plane Through Three Points: Next we have the construction plane through three points. And I have used this one a couple of times, so it's not completely uncommon, but basically it allows you to select three points. And it'll create a plane between those three points. And it's actually very useful sometimes, especially when you're creating a more complex shape. Side is the construction plane through three points in Fusion 360. 70. 607 Plane Tangnet To Face At Point: In this video, we'll be going over plane tangent to face at point. And now I can see some interesting use cases for this construction plane. A tool such as the following. Let's say I have a cylinder here and I want to create a plane that is tangent to basically this edge here. So I'll select this face, and I'll select this point here. And now I have a construction plane that's tangent to this edge here. So I could actually, unless do a sketch on this plane. And I will create just a simple rectangle just like this. And click Finish Sketch. So now what I could actually do is I can extrude this rectangle here that I created. I'll go negative two. I will join it. Okay, so now you can see that I have this rectangle and it's perfectly tangential to this face here on the cylinder. So that's a pretty cool use case for this construction plane tool. It's the plane tangent to face at point construction plane tool and Fusion 360. 71. 608 Plane Along A Path: Now we're moving on to one of my favorite construction plane options. And this is the plane along a path. And I've used this one a lot and I think it's very useful for a lot of different circumstances. Let's just say I create myself a basic spline here like this. And I want to create an object that essentially sweeps along that path. So I'll show you what I mean here and I'll finish the sketch. And I'll go to construction plane and plane along a path. And all you have to do is select the path that you want the plane to go along. And legacy this plane here follows this path. And it's always orthogonal to the path. So what I could do is I actually set the distance to 0 and it'll place at the very end point here, just like this. I can go into that plane now. I'll create my sketch. It could be any shape that I want. Essentially. As long as that shape won't intersect itself going along the path. And I'll show you what I mean here. So now I have this sketch here and it's perfectly perpendicular to the, to the, to the spline. And I could sweep. I use the sweep command and I'll sweep it along that path. Okay, so here I have the air that I was talking about earlier. The body would intersect itself. That essentially means that maybe this corner here is too sharp and dull actually intersect itself. So what I'll do is I'll hop back into this sketch here. And I'll modify it just to make it a little bit smaller. I could also modify the spline as well. That'll be another option to solving this issue. And let's see if this will fix that issue. Select the path, and there you go. So there's my special shape that I have swept along the path. Very useful tool in Fusion 360. And here you can see this is the corner where it was getting pinched on the still a little tight but it's not overlapping itself so it doesn't throw an error at us. So that is the construction plane along a path. I really like this tool in Fusion 360 and I do use it a lot. 72. 609 Axis: Fusion 360 allows you to construct an axis. And I'll show you what this means here. Basically, I can create an axis through a cylinder perpendicular to a point, through two points or through two planes and through two points through an edge and perpendicular to face at point. And I'll just quickly go through these here. I'm, here's a use case for an axis through the center of the cylinder here. So click on the face here, the cylinder. Okay? And now I have the axis here, just like that. So let's say I wanted to repeat this thing, this shape here around the cylinder. I'll go to my circular pattern. And now I can select, select the axis that I just created. Just like that. And now you can see I have it repeated along that axis just like that. I could also do it for other things as well. So let's say I wanted to create an axis here along this edge. Now the only thing I don't quite understand about creating an axis is let's, let's go back. Actually. If I wanted to do the same thing here, I can remove the axis and I can actually go into that circular pattern again. And fusion 360 is smart enough. I'll go to bodies, I'll select this body. It is smart enough to know to create an axis on its own. So you can see I can just select the cylinder on its own just like that. And it'll automatically create the axis for to go around. And this is why I'm not sure exactly why they have this feature, which is why I only have a one lesson covering all of them. But there may be some circumstances where this could be useful and that's why I decided to cover it. So that's creating an axis in Fusion 360. 73. 610 Vertex : Point: And now even more unusual than the axis is we have the points. And now I've never actually used a point in Fusion 360 to not exactly sure why you would want to, because most of the time a point is already created or you'd create the point while you're creating a sketch. So it is there if you want to use it. However, I've never actually used it before and never found it to be useful. Because I can create a point like this. But I'm not exactly sure why I'd want to. Well, actually I just thought of one use case. I could do the tangent to phase out point. So maybe I've selected that point for a certain reason. And now I have selected this face and that point. So now I have this plane here, and that's tangential to this face and it intersects that point. So that is a use case. So a could be useful actually for that reason right there. And, but I have very rarely used it. So that is creating a point or vertex. In Fusion 360. 74. 701 Solid Bodies Overview: In the next few lessons, I'll be showing you all of the different ways you can create a solid body in Fusion 360. Now, most of the time in Fusion 360, you'll be using bodies. And if you're not using a body would be using a component which consists of bodies. So basically use sketches to initiate the shape of the bi that you want to create. And it can do other functions from that sketch. So you could extrude, revolve, sweep, loft. And then there's a couple other ones here, rib weapon and boss, which are less common, but extruded probably the most common. Second up to sweep and loft, as well as the basic shapes that you can create here, the box cylinder, sphere, taurus coil and the pipe. Then you can manipulate those bodies with a pattern or a mirror. So I'll be going through each one of these in the next few lessons, showing you what you could do with each one of them, such that you create solid bodies in Fusion 360. 75. 702 Extrude: So probably the most common solid body tool that you can use to create a solid body is the extrude function. And you can get to it by either clicking the shortcut up here or by pressing E, or by clicking on it here in the drop-down. So basically let's say I wanted to create a simple bolt and I want to create the head for the bolt. So what I'll do is I have this sketch here of this hexagon and the circle. And I can extrude these down here, so I'll select both of them by clicking on the faces when they're highlighted. And I can hold Shift to select both of them. I could press E to extrude. Let's extrude it negative 5 actually, let's do negative 10. Negative 20 millimeters here. Just like that. And you can see when I finish using the extrude function, the sketch disappears. However, I don't really want to sketch this appear yet, so I'll go into my sketches dropped down and I'll turn it back on. And now extrude the threaded part of the bolt. I can just select the circle alone, press E to extrude. And let's say I wanted to go up to a 100 millimeters, just like this. Okay, and now I could select a different operation here. I could join a cut, intersect, or create a new body. In what I wanna do, I wanna correct. I'm going to click on it join because I want this cylinder to be connected to this, the head of the bolt there, just like that. So I'll click, Okay. And Agassi, from that one sketch, I now have this basic bolt shape. I could turn off the sketch now because I don't need to be looking at that. And then what I could do with that. And so I could actually create a thread on this bolts here just by clicking thread and going to the face here just like this. And if you want the thread to be actually modeled, you just select the modeled button here like this. And I'm going to go to a basic metric. I'll do the isometric profile like I have here. Select the diameter and the pitch. And this one would be the best thread for 3D printing. And I'll get into, most likely I'll get into some better designs for some threads for 3D printing. Just because this one is a very small thread which would be difficult to 3D print inhabit work very well, but I can just click, Okay. And now you can see I have a basic bolt designed. And since I'm this far along in this lesson, I might as well finish up the ball here and make it look a lot better and a lot more realistic. So let's select all the faces here. And i'll, I'll give you a little sneak preview of some of the other things. We'll learn. The fill command here for faces. And I'll do a five millimeter film, which is like this. In Agassi. My bolt doesn't have such sharp edges and it's a lot more realistic to a real bolt and real-life. And actually since, since we're on, since we're doing this, I might as well show you how you can create a, a hole for a hex wrench. So let's create a sketch from this face here. And what I could do is since I already have this hexagon shape, I could just create a offset here. And I'll offset this line and do negative five, negative 15, maybe even negative 20 depending on the size of your hex wrench. 17 like this. And I'll do an extrude again. And I can do negative five, Nobel be more negative 15. There we go. Now we have a spot for a hex wrench. So we have our accustom bolts in Fusion 360. And I mainly used the extrude function to create this bolt. So you'll be using the extrude function a lot in Fusion 360, It's one of the most common tools and one of the most powerful tools in Fusion 360. 76. 703 Revolve: So next we have the Revolve tool in Fusion 360. So let's create a sketch first, and I'll create my sketch on this plane here. And let's say we wanted to create a, I don't know, some sort of container, sawdust. I'll make it maybe kinda like a vase. I'll do this. And it'll be pretty basic. C, I want this here, and I want these two lines to be parallel. So I'll select both of them and I'll select on the parallel options. So now they're parallel, just like that. And maybe I wanted to have a bottom like this. You can see what I did there. I dried my pointer to that dot and if you pull it down, it will give you this guideline. It just like this. Okay? And I'll create one more line going up here. And this will be my construction line. So when I revolve this profile here, it'll revolve around this axis here. So let's finish that sketch and I'll show you how the Revolve tool works. So I could select this profile actually. Okay, So actually what I'll need to do is because I made this a construction line. It's not a closed profile, so I'll go back into it by right-clicking on the timeline. And I'll actually, I'll do is I'll delete this line and I won't use a construction line. Let's make it a normal line. That's fine. Okay. And it's now selected the profile. And we'll click the Revolve button. And basically without, it'll revolve that face along an axis. So I'll select this axis here. Now you can see I have this basic shape. Still pretty neat tool in Fusion 360. I do use it a lot as well and you probably will too in some of your designs, It's very easy to use and you can make a lot of really nice custom shapes, such the Revolve tool in Fusion 360. 77. 704 Sweep: Next I'll show you how to use the sweep function to create a body along a path. So I'll finish this sketch is just a basic spline that I just created. I'll go to construct and I'll do plane along a path. I'll select on this line here. Now, drag the plane all the way down to the bottom. Or I could select on, or I could type in 0 here for the distance. Click OK. I'll go into that plane. And let's say I want to create, let's make it a, I do a center rectangle on the origin point of the line. And I'll create maybe a long skinny rectangle like that. Okay, So I'm a little mixed up here, my orientation, so let me rotate around. Okay, so now I have this sketch here on the bottom of that line. And I can sweep that rectangle up the line. And you see there's different types. You're not be going into the different types of sweeps. And in a lot of things you could do with a sweep. So I'll select on the path. And here you can see that rectangle is now sweep along the path. So right away there's a couple of things you could do. You can select the distance of the sweep. And that is the unit distance. So it's, let's say about 49 percent along the path. And one would be a 100 percent of the path, and so on and so forth. You could also choose a taper angle. So let's say I wanted to have it taper, I can select one degree. It will basically mean that that rectangle will get larger as it goes along the path. Or I can make it smaller. Negative two actually makes it disappear along the path. Negative one, Let's see what that does. It's still disappears along the path because eventually it gets to 0. You could also apply a twist angle. Let's do 90 degrees. So now you can see I have my rectangle along the path and it goes along and it twists and tapers. So you can really make a lot of custom shapes this way. You can also decide if you wanted to be perpendicular or parallel. So you can see parallel is not quite working. I'm assuming because it overlaps itself here along this turn. Most of the time I use perpendicular. Anyways, I'm I guess See, I could definitely see a lot of situations where you would use the parallel version for the orientation. So already with those few things there, There's a lot of things you could do with a sweep, but it gets even more complicated and even more powerful as well. Because you can see here we have a guide rail and a guide service, and I'm only going to go into the guide rail here. So let me cancel this sweep here. I'm going to go back into my sketch for the spline. And I'll create what's called a guide rail. And this will allow me to basically customize the taper of that shape. So let's say I make it go wide there in that portion and narrow and the other portions, I'll finish the sketch. So now if I go into my sweep, I'll select this profile. I'll click sweep. And now, well, I may have made a mistake. We'll see if this works. I'll do a guide rail. I'll select my path and I'll select the guide rail. Okay. So it worked just fine. And I guess it looks like a stomach. So I guess if you're trying to model the stomach, then that's a very good way of modeling a stomach. I was not going for that look, but that's kind of what it looks like anyways. But you can see here, it makes my profile as wide or narrow. It can basically I could control the taper of the profile with my guide rail. So here you can see really guide rail goes further apart from my line. The profile gets much larger. And I think I could do a couple of other things. Yeah, I could I could scale or I could stretch it. So here, if I just do stretch, it only stretches along that portion there. But if I do scale, then adjust the scale as well. Another cool feature. You can also see, let me go into my sketch here. Actually, I think I can edit it without going into the sketch. If I create a three-dimensional thing now, sketch. I'll move these out here. Okay? And now when it follows the guide rail, it will actually twist as well as taper. So let me select this profile. I'll go into sweep, select my path. I need the guide rail, select the path and my profile. Let me de-select. It sounds like to me getting my profiles here. My path is here, and my guide rail is here. Okay, So now you see it looks really funky. Probably because it's scaling too much. Let's see if I could change that profile. I'll just do stretch for now. So I'll make it look a little bit better. But because it goes so far out, it looks kind of strange. I'll select that and what I'll do is I'll actually go back into my sketch after the fact. And I'll actually move these to make them a little bit smaller since I don't want to be so extreme. And you can see it will adjust itself automatically, which is a really cool feature of Fusion 360 as well. And it is kind of a very ugly shape right now. But there is a lot of things that you could do with it really allows you to make a lot of cool custom. I guess I don't know, I'll call this, but a lot of custom, interesting custom shapes. So it's a little bit longer lesson. But there was a lot of things to go over. And it is a very powerful tool. And I do think it's a very neat tool in Fusion 360. So that's the sweep tool in Fusion 360. 78. 705 Loft: A loft and fusion 360 will essentially allow you to interpolate between two different profiles. And I'll show you what I mean by that. So let's say I have this basic very short cylinder, maybe a disk. I create my offset plane. And let's go pretty high. Maybe 150 is fine. And let's say I want to interpolate between a circle and a square shape. So I'll create a new sketch on my offset plane. And maybe I'll do a, I'll do a still a center rectangle like this. Okay? And now with the loft tool, I can interpolate between this circle and this rectangle is go to Create loft. And there you can see the loft has been created. It's good for transitioning between different shapes. So that's the loft tool in Fusion 360. 79. 706 Ribs (Advanced): In this lesson, I'll be going over ribs in Fusion 360. Now, this is a fairly advanced lesson for this course. And I do go into a little bit of injection molding design. So I mean, because that's mainly what ribbing is for, is for adding strength, two parts for injection molding. So let's say here, I have a section of my mold. So this gray object here is the the tool or the mold for the injection mold. And I'm holding this orange part here. So let me pull this part out of the mold. So you can see I've already added some what they call draft angles here to the sides In that helps the piece not bind to the mold. So you can see as it's releasing from the mold, it has some extra space here so it could easily pop out of the mold. And this is used for high volume manufacturing for injection molded parts. So let's say I remove the part here from my mold. Okay, and let's turn off this section analysis, which I haven't gone over yet. But there is a tool called a section analysis where you can go to Inspect section analysis and you could essentially click on a face. And he could to cut into your body. The body is like this and see the cutaway. Basically. I'll turn off the analysis. And you can see I have basically I'll turn off the, the mold as well. So basically I have this orange box I want to create here. But let's say that these edges are a little bit too flimsy for what we're trying to make this part four. So what we could do is we could actually add what's called a, a rib. And a rib will add some strength to these long sides here of this box part that we have. Okay, so I'll need to create a curve. So to do that, Let's say we want the rib right and middle here. I'll do a mid-plane, saw construct a mid-plane. I'll select these two. Now I have my plane in the middle. Actually, I want to select these to construct mid plane. So now I have my construction plane right in the middle. And I'll need to draw essentially the shape of the rib. So I'll go into my sketch. And for this I'll actually turn on shaded with hidden edges because I do want to see that inside shape there. And let's draw the line for our rib. I don't want them to go all the way up. So I'll start the line from here. And I go to maybe here enable us to a 45 degree angle like this. And the last thing I'll do is a constraint for the sketch. And I'll make it connect to this line here just like that. Okay, so there's our basic ribbed shaped actually. Let's see. Can I move that up? Yes, I can. So there's our basic rib shape. I'll click Finish Sketch. I'll rotate around here. Okay, and the purple means that. So in my sketch here, when it's purple, that means it's showing. Let's go back into the sketch and I'll show you exactly what that means. The purple is a projected geometry. So it projected the geometry that I snapped to essentially. So it's snapped to this line, which is a projected geometry. See this line here is the projection of this line there. Okay? And so that's create the rib. I'll go into rib. I'll select on this curve and what it does. It basically fills in the area underneath that curve like this, and it will give you a symmetrical distance just like that. Okay, I'll select two millimeters, which that's good for this part. And I'll click. Okay. And now we have a rib here that's holding up this wall and it still allows the part to be thin and injection moldable. So that's the purpose of the rib because with injection molding, you need to have the wall thickness as uniform as possible. Otherwise you'll get uneven shrinkage of the part and lt cause a lot of issues with your part design. So I know this a little bit of an advanced lesson. I do go into a lot of the basics of injection molding design, but that is what ribbing is four. So that is ribbing in Fusion 360. 80. 707 Webbing (Advanced): In this video, I'll show you how to add a web to your parts in Fusion 360, a web essentially allows your part to become much stronger without adding the need for much more plastic in the design. And this is good because we want to have even wall thicknesses, especially if you're designing for injection molding. And I know that is out of the scope for this course. However, I will be touching it a little bit. Just because fusion 360 has a lot of tools that are geared towards injection molding and design. And a lot of the same principles that apply to injection molding also apply to 3D printing. So let's designate the basic shape for the web here. I'll go to the top view and I'll add, I'll kind of eyeball it to where I think the part will need additional strength. So I'll create two lines here like that. Okay, That's going to further this example. And what I'll do is I'll select both of these lines. I go to create web and Agassi, it, it creates this internal web here at a specified thickness. And I'll click, Okay. So now the part, it will be much stronger. And it basically is, can be injection molded very easily and it has an even part thickness. Now the last thing I'll do if I was designing for injection molding is out at a draft to each one of these sides here. So to do that, I'll go to Modify, Draft. Select the pole angle, sets the the pole direction that the part will be released from the injection mold. And I'll click on the faces here. That will have the draft. And it looks like I can only click on those for now. So I'll do an angle of one degree, which is not very much. It's kinda pushing it for injection molding design. I'll select that again, select this face one degree case. Now this section here is good. I'll add a draft to this section as well. See how many faces allows me. I can only select that one face, so I have to do it a couple more times here. And okay. Just that one again, I'm not sure why it limits me. But you just have to do it to each of these vertical faces here. Same with this one. Again, the draft allows the part to be released from the mold because if the sides were completely perpendicular, if they could get stuck in the mold and it won't release very easily. And that's exactly what you don't want in injection molding. Because injection molding you're trying to produce parts really high volume. And you really want to get the cycle time down for each part. So that's why you need to add a draft to all of the sides. A little, little bit of work. But I mean, the draft tool makes it very, very easy. It would be a lot more work if the draft tool was not built into the program. See what I did here. Draft, select the face. And one more. Okay, and now if I do a section analysis of this part here, I'll just click this face here. You can see now I have a slight draft angle here that'll allow the part to be released from the mold. And actually let's why not just let's just finish this part here just for fun. I'll do a part that could actually be injection molded. So I'll turn off the analysis. And let's just create the mold. So I'll create a box here on this bottom face here. And this won't be completely accurate, but I mean, you'll have an idea of how injection molds are designed. Okay. So that is one part of the mold is going to be a new body. Okay. And now the second part of the body, Let's see, I want to extrude up to above this here. So select this here. And let's add five millimeters. It's not completely accurate to traditional design, but it, it'll give you an idea. Okay, So now if we do our section analysis along this plane here, we can now see, turn that on. And let me do the analysis section a little bit more at, at that and I can just slide it down like this. Let's go to here so we can see it. You're doing the web. Okay? And now take off this lower this plate here. That's fine. And I'll show you the part. I'm actually I do need to cut that part out of the mold. Let's go. This body in our cut, this part out here. I'll keep the tool. Okay? And now you can see change this just to visible edges only. I'll pull the part out of the injection mold. So that's how the part would be released like that. So that's how you add a web to your part. In Fusion 360, it adds strength to your part without needing to add a lot more plastic. It wasn't advanced lesson. So hopefully you learned a couple of interesting things. If you do want to get into high volume production, this is how you will have to design your parts. Yep. Sets, webbing in Fusion 360. 81. 708 Emboss: In this video, I'll show you how to use the emboss tool in Fusion 360. So let's say I have a disc or a cylinder here just like this. And I want to end boss some text into this curved surface here. So I could do is I go to construct and I'll do a plane, tangent xy plane, which one is tangent plane here? And I'll select this face and 0 degrees is fine. So now what I'll do is I'll type out my text here with a sketch. So I'm going to sketch, I'll create a text object. Here. There we go. And I'll just write 3D printer academy, just like that. And maybe I'll make it just a little bit smaller so it's on one line. Okay. I'll move the text right here to the center. I'll click Finish Sketch. And now I can emboss this text here onto this curved surface. So just go to create emboss. And I'll select, I need to select the sketch profiles first. So I'll select my sketch here, the text, and now select the face of the object I want it to emboss on. And now we could choose the depth. So I'm going to do negative one millimeter. I'll click. Okay. And now you can see I have my text recessed into this curved face, just like that. Really neat feature in Fusion 360. That is how you emboss a curved face with some text in Fusion 360. 82. 709 Holes: In this lesson, I'll show you how to make a customer hole in Fusion 360. So I have to do is go to Create and go to hole. And you want to select the face where you want to create the whole. Ok. And now it has a predetermined hole size here. And you could choose a couple of the parameters here. So let's do that depth first, I'll do a 10 millimeter depth. 118 is fine, and I want the diameter to be 10 millimeters also. And you can also change the whole type. So I can have a counterbore hole. I could have a counter sunk hole. And you could also have different whole tap types. And this is not very applicable for 3D printing. It's more for machining your parts. So I won't go too much into detail about these settings here. Probably. And usually I don't even use the whole function that usually what I'll do is just create a cylinder if I want to create a whole. But this does give you some extra parameters that you could choose from. And it is a kind of nice feature, mostly for CNC work and not for 3D printing. But if you are planning on doing some CNC work with some standard machine screws and things like that, then this would be a very convenient feature because you could choose the thread types, the thread size and direction, and a lot of extra parameters. So that's how you create a custom hole in Fusion 360. 83. 710 Threads: In this video, I'll show you how to make a custom thread in Fusion 360. So here we have, let's just consider this to be the head of a bolt that I'm making. So I'm making a custom embossed 3D printer Academy bolts. So what I'll do is I'll create a cylinder first. And this is going to be a very large bolt. That's okay. I do 95. And then all your to do to create a thread is you go to this thread tool here and you select the surface where we want the thread go onto. And they wanna make sure that you click on modeled. If you're planning on 3D printing this. If you're not planning on 3D printing it and you just wanted to be a reference and you don't need to click modeled. And it'll save you a lot of processing power. Because I'll just show you basically a representation of the thread versus the actual modeled thread with all the calculated shadows and everything like that. So you could choose the thread type. There's a whole bunch of predetermined thread types here. For lunch of different purposes. You choose the size and different parameters and each thread type has its own perimeter. So you could do standard, um, I guess M 40 by three, the thread there if you want to, and you could choose the direction of the thread. So that's essentially how you add a thread to the outside of a cylinder. And what you could also do now is you could create, let's say we wanted to create something that it, it threads into. So I'll create a circle or a cylinder. Actually, let's create a, a box. Actually will create the cylinder. And let's say it's a 100 millimeters. Okay, so here's a glitch that I keep having with Fusion 360. If you have the Mac version, you might run into this glitch and I'm not sure why it does that. But it does get a little frustrating sometimes, but it's not too bad. You just have to keep trying. So there we go. Now it worked. So sometimes it just creates a circle and not the cylinder. And what I found is if you don't specify a diameter. So I just chose a random diameter first, then I decide the diameter then most of the time it works. Yes, let's make this 40 millimeters tall. It'll be a new body. Okay? And now what I'll do is I'll create another cylinder. So I need to cut out a hole in the middle of it, and it'll be the same size as my thread. Now when I extrude this down, or I could do is I could actually select on this face here and it'll snap it to that face. So for the whole depth of this part, okay? And now we can make an internal thread. Click on thread, and I can click on the internal face here. I'll make sure I click on modeled again. And the size. It should remember the size from the last time that you created a thread. Even if you don't click on remember size, it's still seems to remember the last setting that you had for your thread. Okay? And so now I have two parts and they can interface with each other. So I have this threaded part here and the bolt there that could be threaded into it. Now if your 3D printing these threads are a little bit tighten a little small. So there is a chance that these won't print out precise enough to actually function. So I do want to make another video on how to make your own custom thread that has a higher chance of success for 3D printing. But this is how the default standard thread function works in Fusion 360. 84. 711 Box Cylinder Sphere: In this lesson, I'll show you how to create the most basic shapes in Fusion 360. And this will be very quick because it's fairly straightforward. But a lot of times you'll want to create a box, cylinder or sphere it with these three shapes, you can really create a lot of interesting and cool objects, just really with these shapes alone. So to create a box, you'll click on the box and select which face you want to create the profile of the box. So I'll select here, you can choose your dimensions. I'll do 65 by 65, and then you'll choose your height, maybe 10. And you could also choose who wanted to join an existing body, cut into an existing body, or intersect a body. So here I'll just do new body because the only body in my scene right now. And let's say I want to cut a cylinder out of it. And you create a cylinder in the middle here. And when I'm creating the cylinder, I could pull down. It'll automatically switched the operation to cut and it will cut a hole in that box that I created earlier. I could also join it, intersect. What it does is it takes the, the intersection of the two bodies and creates a new body from that. But for here I'll do a cut. And the last one is a sphere. Also fairly straight forward. You basically select which plan you want the center point of the sphere to go to. And you could determine what you want for the diameter of your sphere. And for this, I'll just do 50 millimeters. So those are the three most fundamental shapes and Fusion 360. And with those three alone, by combining them, cutting and joining them in different ways, you could actually create a lot of really cool and interesting things. You can also manipulate the shape. So let's say I wanted to go into here, I could actually right-click and click Move Copy. And I actually, I can skew the cut-out here like this, or I can even move it like that. So you could actually modify a lot of things after the fact. Same with the sides of the box here. I can right-click it and I can move it and I can angle this in like this and move it down here like that. And now I have a pretty unique custom shape just from a box and just from a cylinder. So they're actually really powerful even though they're fairly straightforward. And you can really make a lot of interesting unique shapes from just a box, a cylinder, and a sphere. 85. 714 Torus: In this video, I'll show you how to make a torus and Fusion 360. A torus is essentially a doughnut shape. So I can select tours here, choose the plane where I wanted to create the origin on. And now you'll, you'll, you'll choose the initial diameter for the torus. So I'll do a 100 millimeters. And then now you choose the, the diameter of the cross-section profile. So I can make it a thin ring or I can make it more of a doughnut shape. Just like that. You could also choose to go on to one side or on-center or outside of that initial line there. So if I do on the center, and you can see the profile is centered around that initial circle. Inside goes inside and outside basis the profile onto the outside edge of that circle just like that. So for this I'll do on-center and I'll click. Okay, so that's how you create a torus and Fusion 360. 86. 715 Coil: In this video, I'll show you how to make a coil in Fusion 360. So I'll go to Create and coil. And the first dimension you'll choose is the diameter of the actual coil itself, and this will be the center of the profile. So here it has some predetermined dimensions that it comes with. And there's a couple of interesting parameters that you could change. So you could change the amount of times that actually revolved around itself. So five is actually too many and started overlapping itself. So I could do up to four with this current profile diameter. I could change the height of the coil. So if I add a few more millimeters to the height here, I could actually maybe double. I can't quite double the number of revolutions. And you can also change the angle of the coil. So what this does is it basically stretches or skews the top or bottom of the coil depending on if it's positive or negative. So you can see I can make an interesting spiral shape just like this. You could change the section here. So right now it's a circle. I could also make it a square or a triangle. And you can already see here if I do a triangle external and I change the angle to negative or just angled to 0. Now I have kind of a thread type of look here. So actually what you could do is you could create your own custom threads this way. And I can change the size of the section, so maybe 25 is too big. I can make it 10, and I could change the number of revolutions to, I could double it. I could even probably I could even get to 20 here. So now, that is a way you can make your own custom thread. And by doing that, it'll actually allow you to create your own custom threads for 3D printing. So this overhang here is a little much the little sharp here. So you can actually click on this line. And I can add a fill it to it. And let's do, let's try two millimeters first and see how that looks. Okay, so that's looking good. So I have my custom larger thread shape here. And obviously what I wanna do is I want to fill in the inside as well. So I'll create a cylinder. And I'll also base it on the origin point here. And I forget what I did for I do 45, I feel exactly what I did for the diameter of that, the coil, but I think I got it right. And I'll join it. Okay? And so that looks correct here. Another thing I wanna do is I want to not have this piece overhanging here. So I'll create another cylinder. And this cylinder will chop off this excess thread piece here. So I'll extend it past and I'll pull it down just like this, okay? And now you can see the thread ends correctly how it should. If I wanted to, I could even take this little piece here and angle it this way. Just so that it's easier to thread in to whatever you're trying to turn it into. So that's a way you can make your own custom thread in Fusion 360 using a coil. It's not the only use case for the coil. Of course. There's a lot of other things you can do with the coil. I've used it to make lifting mechanisms for my Marvel machines. But there's really a lot of things you can make springs, coils a pretty powerful tool and it is very useful. So that's how you make a coil and a semi custom thread in Fusion 360. 87. 716 Pipe: In this video, I'll show you how to use the pipe command in Fusion 360. First, we'll need to create a line or a curve. And for this I'll just create a simple spline. And it'll do, I don't know, some random shape here. I don't know why not like this, S shape like this. Okay? And I'll click Finish Sketch. And now if we want to make this a actual body would I could use, I could use the pipe function. And so I already had the line selected. And you can see it's created a very small pipe, but I could increase the section size not to a 100 to 10. There we go. So now I have this curved pipe here, and I can also change the section to a circle, square or triangle. And I could choose a distance. I want it to go on as well. And once again, this is a percentage of the total length, the unit length. And I could also make it hollow as well. So that's an interesting feature. So it's actually a hollow pipe just like that. And it's very similar to the sweep function, but it's a little bit more automatic. You don't have to go through the stage of actually creating the section. If you just want a circular, square or triangular section, It's very easy and automatic. You don't have to create an extra construction plane and then a profile. You just go directly to the pipe stage. So that's how you use the pipe function in Fusion 360. 88. 717 Rectangular Pattern: In this video, I'll show you how to use the rectangular pattern in Fusion 360. So let's say I have a box here just like this. And I want to cut in a bunch of, I guess, slots here for some square pegs. So I'll show you what I mean by that. I can create a box here on this corner, and I'll create a five-by-five blocks and it'll go down, let's say just do negative five and it'll be a new body. Okay, so I want to repeat this pattern across the entire box, kinda of like a checkerboard. So I could do is I go on to rectangular pattern. I can click on this box. You have different types here. I could do face bodies, features or components. I want to click on bodies. Now select the object. Okay? And now I want to select the directions. So what I'll do is I'll just select this edge here on this box. So actually I want the directions to be the opposite way here. So let's, let's see. There we go, Just like that. Now we have this direction and that direction. Okay? And so now there's two different distance types. You could separate them by spacing or extent, somebody who's extent. And I'll make the distance since my base here is one hundred and twenty one hundred minus five. Okay, there we go. And for the second direction, I'll do a distance of 100 minus 5 as well. And I can see it's already repeating. But I want to increase the quantities. Let's do 10. And I'll do 10 here as well. And I guess I have all of the boxes there in perfectly even pattern across the base, I'll click. Okay. And so now what I'll do is I'll actually subtract all those boxes from the base. So I'll select my base, go all the way down to the bottom. There's quite a lot of boxes. I'll hold Shift and click the last one, and I'll do a combined function. And I'll actually use the cut operation. And I won't keep the tools because I don't want to have all those extra bodies in my design. Click Okay. And now you see I have a lot of holes cut into this piece here. So if I was making some sort of modular mounting board on this could be a cool way of doing that, where I have some standard size pegs I could just fit into here. So that's a fairly simple use case for the rectangular pattern tool in Fusion 360. 89. 718 Circular Pattern: In this video, I'll introduce you to the circular pattern tool in Fusion 360. So let's say I wanted to create a classic pinwheel, kinda like something you'd see in a Leonardo da Vinci invention. So I have my base disk here. And let's say I create a cylinder here on the edge of my pins. So I have a five millimeter pin. And let's make it exactly five. And let's say it goes to a height of 10. So there's my pin. I'll join it. Actually, no, I'll create a new body. Click. Okay. And now I could use circular pattern to repeat that along the entire surface of the disk here. So I've got a pattern and circular pattern. Okay, the type is selected two bodies perfect. I have my body selected. I select the axis, which I'll just use the outside ring here. And now I can change the quantity. So let's say I want 30 pins, maybe 25 pins. I'll click. Okay. And now you see I have a classic old school, Leonardo da Vinci pinwheel. In the last step, I'll just join everything together just like this. So that's a use case for the circular pattern in, in Fusion 360. 90. 719 Pattern On Path: In this video, I'll show you how to use the pattern along a path function in Fusion 360. So let's say I have a box here. And I create my box just like this. The full extent of the object and I create a new body. Okay, now I want to have this repeat along this path. So I could do is I could select that body, go to create pattern and pattern on path. I'll select the path here. So now I want to do the entire distance. So what I could do is it doesn't look like it has extent. Okay, I'll do a distance of 100. Let's see if I get the distance of the entire path first. Yeah, so I get the length here, 201.849. Select my body and the path. And the distance of 201.849. That's the entire length. And actually I think a little bit smaller because I don't want it to overhang here on the end. So I'll just do a 195, 187. Let's just get it close to the end here. 199 imperfect. And I'll increase the quantity. Let's do a lots, do 20, okay? And I can make the orientation, I can have it be parallel to the original or I guess haven't followed the path direction. Just like that. And because mine is already at an angle here, each one of them is still at that same angle along the path. But for this, I just want to keep it identical and have it be vertical. I can click, Okay. And I can see a couple of issues here because it's not actually going down into the, into the object here. So all I have to do is I can go back on my timeline here before I did that. And I can actually adjust this body here. So what I'll do is I'll just drag this part of the body down and look a little bit further just to be safe. Okay, and now if I go turn that back on and go to the move my timeline here to the end. You can see now all of them are intersecting correctly. And the last step is, I'll just join everything together just like this. So that's a use case for the path function or the pattern along a path function in Fusion 360. 91. 720 Mirror: Let's say I want to mirror this object. I want it to be symmetrical along this plane here. Instead of trying to recreate it exactly how I did it, there's a very convenient mirror tool. So I just go to mirror. And you want to select the type so it set it to face, which I don't really want. I want to be selected onto bodies. I'll click this body here and I'll select the mirror plane. Now you can see my custom part here is now mirrored and it's symmetrical and like either join it or create a new body. And for this I'll just do join, just like that. So the mirror functions very convenient. I use it a lot in Fusion 360. And I'm sure you will too in some of your own designs. So that's basically just, it's pretty self-explanatory, but that's how you use the mirror function in Fusion 360. 92. 721 Thicken: In this video, I'll show you how to use the thickened function in Fusion 360. So for this one, I've moved over to the surface tab here. And I'm just going to create a basic surface from a spline. So create my spline shape here and I'll connect it to itself. And then what I'll do is I'll click Finish Sketch. And I'll actually take this line and do an extrude. But this time I'm only extruding the line and so it's just going to be creating a surface. So you see that that's actually not a body that is just a infinitely thin surface. So I could do is I could actually go to solid and you create a hero to thicken. And I actually thicken this surface just like this. So you create your flat surface initially and then choose which thickness that you would like to have the shape actually be. And he could choose to have it one-sided or symmetric, just like that. And I'm going to create a new body and click Okay, so that's a good take a flat surface and you could thicken it to make it a three-dimensional body. 93. 722 Forms: In Fusion 360, you have the ability to also create forms. And what a form is, it allows you to create a more organic shape, kind of like if you imagine a body panel on a car. So you go to create, and I can create a form here. And it's similar to how you would create a body in create a solid body. So what I'll do is I'll create the form just like this. And you can see already, it's a lot different. So what you do with the form is you actually, it's a lot more organic of a tool. So I'm not actually creating surfaces, I'm creating a form where everything and is automatically rounded. And you'll see here if I move it, I want to move just a failure. So do modify. And I could edit the form. So I could do is I click on this panel here and move it up. And you can see it modifies the entire form. So if we're looking at making more organic shapes or some smoother, rounded objects, this is a way to go. And so you can see here, if I go to my body, It's not an actual body, but it's a form. And I do believe I could convert it. So let's see, I could convert T Splines to be rep, okay? And so now I've converted my form into a body. And at this stage, it'll be fairly difficult to actually manipulate the body. Let's see what happens here. Yeah, so it's an unable to manipulate the faces on the form now. But what I can do is I can combine it with other objects now. So let's say I have a box here and I don't know, I just wanted this box for some reason to be connected here or maybe I wanted to cut it out. Make more sense. I want to cut out this box here from the form. It's now we could actually cut it out since it is a body. And there's really a lot you could do with forms, but I'm not gonna go too deep into form because that's a little out of the scope for this lesson. So that's an intro I would recommend if you want to explore some of the other features that you could do with forms on a lot of similar things, but a lot more, a lot more organic and rounded. So that's forms in Fusion 360. 94. 801 Introduction: In this next section, I'll be going over all the different ways that you can modify a solid body in Fusion 360, There's a lot of neat features here and a lot of very useful ones that you'll be using a lot in your design process. So I highly suggest watching each one of these videos because of a really add to your skills. And it will give you a lot of useful tools to use in your design process. So these next few lessons will be a quick overview of how to modify solid bodies in Fusion 360. 95. 802 Press Pull: So the first tool we have in the modify solid bodies drop-down list here is the press pull function, and I'll show you what this is useful for. So basically, what it'll do is it will kinda what the name says. It'll press or pull a face. And this is useful when you have a circular cutout or cylindrical cut out just like this. So I could select this face here. And you can see this has a 10 millimeter radius. And let's say I want to add, I'm a little bit of extra space to add some tolerances for 3D printing so that I could do is I could just type in negative 0.4 because I want to do a 0.4 millimeter extra space for the tolerances for 3D printing. And basically just will keep it on automatic offset and select OK. And now you can see I have a radius of 10 and 0.4 millimeters. So now if I had a, another cylinder, maybe this was a sleeve or a washer type of thing. Now there's that extra space there. So let's say I have my 20 millimeter diameter piece like this. Now. Now I'm able to have that small gap here. Just so it's loose in a slide or rotate freely. You can also press and pull a flat side or face. Actually let me get out of that selection there and click on this face here. If I go to press pull, you could also press and pull a face like so. However, there's no need to really do that with a normal flat face. I could just right-click and select, move and copy and essentially do the same exact function. So it's really mostly useful when you have shapes like this. I can even make this wider here. So I could press and pull and let's say I just want to visually do it. You can see out literally just it's, it's smart and it knows how to expand that feature. Whereas if I did a move and copy, it would not know what to do with it. It would actually just slide it like this, such Say, a quick overview of the press and pull function in Fusion 360. 96. 803 Fillet: So this next function is very useful and I use it all the time. And so this is the Philip tool and basically a fill it and Chamfer are fairly similar. However, different people have different opinions about which one is better for certain circumstances. A fill it may not be very practical for real-life manufacturing in some cases. And same with the chamfer. It just depends on the application and if the part is going to be 3D printed, C-H and C-D. So there's a lot of different variables that would determine whether you choose a fill it or a chamfer. So let's look at fill it first. So a fill it will basically round off the edge like so. And you can either select an edge, how I did here, or you can select the entire face like this. And it'll automatically add a fill it to all of the edges. And you can see how it actually doesn't round off the corners because I didn't have that edge or face selected. So if I wanted the whole thing to be slightly rounded out, how to select on every single face of this cube here. Click fill it. And I'll say we want to add a two millimeter fill it just to give it around slightly smoother. Look. A lot of objects just appear and feel a lot more finished when you add a fill it to the edges. So if you want to make, you're going to add that extra polish to your models. I highly recommend adding a fill it to them. I could also do it for curved edges like this. No issue at all. And I can even add it to the inside edge here as well. Another thing you could do is you can select multiple edges at the same time. So maybe I want to add a two millimeter fill it too. Most of the edges on the model. So I just select each edge and hold Shift to select multiple edges, go to fill it and press two for two millimeter fill it. And if you ever want to change your the amount, the value of the fill it, you go down to the timeline here. And let's say I wanted to make this square a little bit, have a little bit sharper edges. So let's do a one millimeter fill it. You just go down to the timeline and you can edit that feature and click Okay. And it'll automatically go back in time and add that, fill it there just like that. So this is the affiliate tool in Fusion 360. 97. 804 Chamfer: Next we have the chamfer tool. And like I was saying in the Philip video, chamfers very similar and it's used for many of the same purposes. It basically just breaks that sharp corner. So let's go on to chamfer and we'll see how it looks, that difference between the chamfer and the fillets. So let's say I want to add a chamfer to all of the edges of this cube here. And let's add a two millimeter chamfer, just like this. So there's some practical applications for Philips and chamfers are actually many practical applications really. And one of them is breaking this bottom edge here. So specifically, if you're making something for 3D printing, let's say that this is the build plate here. I'll just make a quick flat surface here. So let's say that is the build plate. By adding this chamfer to the bottom here. First off, you're allowing the piece to not adhere to the build plate too much and also give you a space to actually the piece off of the build plate. Because if I didn't have that chamfer, so let me go down to the timeline and delete this chamfer. You can see it's going to do 90 degree connection to the build plate for your 3D printer here. And sometimes it can make it difficult to peel the part off of the build plate. I'm also a lot of times this bottom edge here, the first few layers we'll kind of have a thing that's called elephant's foot. And that basically means that the first few layers are kind of squished and it actually increases the dimension of that part. So I don't know. Let's see if I get it to a quick explanation of how that would look here. If I could add a, I'll do a side view sketch in and try to show you what the elephant's foot would look like. It would do a thing kind of like this, where it actually like makes this squashed piece on the bottom here. So this is just showing you what like the elephant's foot is. So sometimes you can have this piece on the bottom here when you are 3D printing, where that first layer is just slightly wider. And a way to avoid that is if you add that chamfer to the bottom edge. So there's this chamfer here on the bottom edge will keep you from having that issue. So that's a practical application for 3D printing. And it also just breaks the corners and makes the object a lot more realistic. And it'll make it look a lot better. And I'll accent these edges instead of just being a sharp, very sharpened, uncomfortable feeling. And it almost looks like if you don't add a chamfer or fill it, it looks like he didn't really spend as much time designing your part. So that's a quick overview as well as some practical applications for the chamfer tool in Fusion 360. 98. 805 Shell: The next tool look at is the shell tool. This is a very useful tool and it'll save you a lot of time for certain circumstances. So basically the shell tool will hollow out a solid body and give you a consistent wall thickness. So let's say I wanted to save on some plastic here and I didn't want this to be and you wanted to print solid for whatever reason. So I could add a shell and basically I can click on this top surface here and tell the program what thickness I want it to be hauled out to or what wall thickness I want. And let's say I want a 1.5 millimeter wall thickness, which is good for 3D printing. I just type in 1.5 and I could see if I select the bottom surface and the bottom here, it's 1.5, and the walls are also 1.5. I could also do that for this cylinder shape here. So I need to do is click on the shell tool, select this top surface and tell the program what thickness I want. In there we have it and it is hollowed out just like that and very easy to use. It's a lot easier than creating a new square and extruding it to the right depth. It's very quick, very practical. So that's the shell tool in Fusion 360. 99. 806 Combine: The next tool that we'll be looking at is the combined tool. And this tool, the name of it is a little bit misleading because not only can you combine objects, you could also cut objects, and you could also find the intersect of objects. So basically, let's say I wanted to add, I don't know, l small shelf or foot to this object here. I can click here. What I'll do is I'll just create a separate shape just like this. And so now it's a separate body. So we have this body and this body here. So let's move the most recent body and I'll have it so it's just touching this shape here. And the way I could do that is I could actually change the pivot point. So over here on this panel here, I can select set pivot, and I could choose this face here. And I'll click this green checkmark for w1. And I can drag it. If I just start dragging it here, it will now highlight this blue arrow. And I could select this face here, so it'll automatically move it to that face just like that. Very convenience now it's exactly in line with that face. Now I could use the combined tool and select this body and this body. And I'll choose joined for now. So now these two bodies here are joint. So let's say I change the color of it too. I don't know. And abs white, you can see it is one body just like that. And so, like I was saying, it's called combine. However, it's really a Boolean modifier. So Boolean basically means you can add or subtract something. So let's do this subtract function here. So let's create a cylinder. And I don't want him to join, because when you create a cylinder on a face, it'll automatically want to join it. I'll do a new body. Okay, and I'll move that body down. So let's say I'm trying to cut a hole out of this foot here. Now, another way I could do it is I could pre-select first the body that I want to cut from. And then I'll select on the tool body. In the tool bodies the one word that's actually the tool. So imagine like the tools like a drill bit, it'll cut out from the body, the original target body. So you have first you select on your object you want to cut, then you select the cutter. So I'll go to combine. And I'll go to cut. And I could see it turns red here and it shows the cut, a preview of the cut. And what you could do is you could choose to either keep the tool or not keep the tool. And let's say for some reason I wanted to keep the tool. I'll click on this check box here and click Okay. So now you can see I have the object cutting through it. And maybe I want to add that tolerance here. So I'll go back to the present pool function and maybe give a little bit of space like this snag, you see it indeed was cut. And the last thing you do is the intersect tool. This one is a little less common. And I'll show you kind of how it works. Let's say I have two boxes. Box here and maybe not even a box maybe let's do, I don't know, they will do a cylinder. I'll create a cylinder kind of on the corner here like this. And I'll make it a new body. Okay. I'll just bring this up here just for demonstration purposes. And I'll also quickly just change the color of it to this white plastic so you can see they are two separate objects. So the last thing you could do is they intersect. So I can select both of them here, go to the combined tool, and go to intersect. That will actually find the intersection of those two pieces. And I'm not going to keep the tool this time. You click Okay, and there is the intersection of those two parts. A quick overview of the Combine tool in Fusion 360, extremely useful. I use it all the time. And they, they basically tried to have the most useful, most used tools up here in the easy access area. And then there's more of a specialty items in the drop-down. But these tools up here are used a lot, very common tool. So that's why they are, they have the, the quick access buttons available just like that. So that's a quick overview of the combined tool in Fusion 360. 100. 807 Split Body: In this video, I'll be going over the split body tool in Fusion 360, the Split Body tools very useful. So in the previous lessons here I, I combine these two objects here. So I'll turn it off and on. So that's the object I'm talking about there. And let's say I wanted to detach this foot here. Well, Fusion 360 makes it very easy to do. And I can get with the split body tool. Essentially, I'll just select on the body I want to split. Then I'll select the splitting tool. So I could select a face as the tool, and it'll automatically extend that base as well. So if I select on this face here you can see now it has extended it. So basically slice these two pieces and cut them apart from each other. I'll click. Okay. And it did give me an error and I'm not sure why. So let me try it again here. Do the split tool, select on this tool there, and I'll click on, Okay. Okay, third time's the charm. Let's select on this face. There we go. I'm not sure why the other face wasn't working. But when I selected this face, it eventually worked. Now I'm sometimes Fusion 360 does glitch a little bit. I'm not sure if that was a glitch or if that was something that I missed. But I'll leave it in there. So you guys can see that sometimes fusion 360 is not perfect. It does some weird things, but now you can see that the two bodies are now split. So besides the slight hiccup Fusion 360 makes it very easy to split a body along a face just like that. As a quick overview of the split body tool in Fusion 360. 101. 808 Move Copy: In this lesson, I'll be going over the move and copy tool in Fusion 360. So I've already done, I've already used this tool a lot in previous lessons, but in this one I'll officially introduce you to the move and copy tool. There's a few different ways that you could access this tool. How I like to do it, I like to use the right-click button here, and it gives us this little panel here that's very quick to access. So he go, just move down and to the left to go to move and copy. So that's one way to get to move and copy. Another way is you can click on this button up here. Or another way I like to do it is just right-click on the body and select Move and coffee to move a body. So in Fusion 360, you can move bodies, you can move faces, you can move edges. You can essentially move any feature. And you can not only move them, they can also rotate them as well. So let's say I wanted to change the shape of this container here. I can right-click on this face and go to move and copy. And so here you can see there's different objects. You can live, components, bodies, faces, sketch objects. And for this one, I'll click on face, since I want to move this face. And it automatically selects the pivot point to where you clicked on the object. So if I rotate this piece, it rotates it along that point there. Okay, and if I wanted to change the pivot position and I could go to set pivot. And let's say I wanted to set it on this corner here. I could do that just like this. And now when I rotate it, or first you have to confirm it. So click on the green arrow here or here to confirm, to confirm the new pivot. And now I can move and rotate it. So here I'll rotate it 15 degrees, and I'll also move it as well. Let's move it five millimeters. So you may have also noticed that there's a couple other things you could do as well. So let's go to this body here and click Move Copy. There's a couple different types that you could do. Usually I'll do the free move. There's also translate, which will only allow you to translate the object. Basically move it in space. There's the rotate option. And here's an interesting one here it's point to point. So let's say I wanted to align this corner with this corner. I could select on the point-to-point move, select the origin point, and then select the destination point. And that's a really easy way to align objects in your scene. So another thing you could do is you could also create copies. So the move tool is also the copy tool as well. So let's say I wanted to create a copy of this, this object here, the hole on it I could select on this object, click move and copy. Click on the Copy button. And maybe I want to go back to the Free move. Maybe I want it to be right next to this one, lined up with it. I'll select the pivot position to this side here. I'll click on Create a copy and I can drag it. Oh, first you have to confirm. Don't forget to click on the green arrow first. Confirm that new pivot point and create copy is selected. And now I could drag it and just select on this face and it'll automatically align it just like that. I'll click, Okay. And it actually has created a new object. And maybe I want them to be combined. I can just click, Combine and go to join. And I'll click. Okay. So that's a quick overview of the move and copy tool in Fusion 360. Again, he could access it with a right-click, which I like to do the most. Or we can access it by clicking, right-clicking on one of the objects here, one of your bodies. And you can click, move and copy. Or he could click it up here to access it. That way. It's a very useful tool. You'll probably use it. You might use it the most out of any tool in Fusion 360. So that's a quick overview of the move and copy tool of Infusion 360. 102. 809 Draft: In this lesson, I'll be going over the draft tool in Fusion 360. Now the draft tool is not the most useful tool for 3D printing now, and it's mainly in Fusion 360 for designing for injection molded parts. So basically what a draft does is instead of having your walls, the internal walls be 90 degrees, like so completely vertical. And I'll actually, I'll explain why you do this. So let's say I have a this is going to be a pin if that makes sense. So I have a pin like this. And let's say if I'm injection molding this part here, I need this part to be able to pop off of this pin easily. Like this. It's going to be pushed out like this and I'll have that hole in it like that. So basically an easy way for the piece to be able to release from this pin here is to add a slight angle to the walls and that's what the draft is. So I click on draft, you select on the face that the object will be pulled from the pole direction. So my part will be pulled down essentially like I was showing earlier. And I could click on the faces that I want to add the draft to. Just like so. And I could choose the angle for the draft. And I'll do a really, really small angle, maybe 1%. So you can see here, and now it has angled all of these faces out a little bit that way it's not completely perpendicular to the pole direction. This allowed the piece to be released from the mold or the tooling a little bit easier. So this is kind of an advanced lesson that not really geared towards 3D printing, but I thought I would include any ways for educational purposes. Hips, that is the draft tool in Fusion 360. You will not use it for 3D printing. If you do happen to get into more advanced design for Fusion 360, it will be a very useful tool. 103. 810 Scale: In this video, I'll be introducing you to this scale function in a Fusion 360. Now the scale function is fairly straightforward. It allows you to scale an object proportionally. And you could also do non-proportional scaling as well as well. So let's say one of the scale is part here. I can click on this entity and I could just scale it down like so. Very simple. However, what if I wanted to not do a uniform scale? I can go to the scale type here and go to non uniform. And this allows me to select a scale amount for each direction in space. So I get squish it or scale it in this direction. Any of the three directions essentially. So that is the scale tool in Fusion 360. 104. 811 Offset Face: In this video, I'll be going over the offset face tool in Fusion 360. Now the offset based tool is very similar to the press pull function and very similar to the move function. So I'll do some examples here. I could offset this face and maybe you want to go five millimeters, or I could offset this face here. So it almost does the exact same function as the press and pull feature. However, it is a little simpler, I suppose, not really too much though. It does simplify the move tool. So instead of moving this thing here and we're maybe you could accidentally move it in the wrong direction or something. You could just simply offset that face by going to the offset face tool and choose the exact number that you want to offset that face. 105. 812 Replace Face: In this video, I'll be showing you an example of the Replace Face Tool in Fusion 360. Now it's, it's kind of a interesting tool in Fusion 360. I could actually replace a face, let's say this face here with my own custom face. So for this, I'll go actually to surface. I'll create a sketch on this face here. And I'll just make a simple wave shape like so. And I'll click Finish Sketch. And I'll extrude this line to create a face. And I'll select on this back face here. Click, Okay. So now I can replace this top face with this face here. So I'll go back to solid to modify, and I'll go to Replace Face. I'll select on the source phase. And I'll click on tangent faces here. Or target faces, not tangent. And there we go. So now you can see that top face has been replaced by this new custom wave shaped face, just like that. And all I need to do is either turn this off or simply remove that object from the scene. And then you can see I have my custom wavy days here for my object. Pretty cool function. I can see some use cases for it. Satisfies the Replace Face Tool in Fusion 360. 106. 813 Split Face: In this video, I'll show you an example of the split face tool in Fusion 360. So let's say I have this object here and this wavy plane. And I want to extrude just the bottom portion underneath this line here. So what I could do is I could use the Split Face Tool. Go to Modify Split Face. Click on the face that I want to split this one here. I'll select on my splitting tool. I'll click, Okay. I can hide the splitting tool and now you can see there's a line here. So this face here has been split or divide it into two parts. And I could click on this face here and extrude it like so. So that's an example of the split face tool in Fusion 360. 107. 814 Silhouette Split: In this video, I'll be showing you how the silhouette split works and Fusion 360. Now basically the silhouette split allows you to split an object in half. So I go to modify and silhouettes split here. You see it's asking for the view direction. And basically, let's say I want to split it in this direction here. Along the y-axis, I would select actually this line here that's in the same direction as the x-axis, so it'll split in half on either side of this line. So I'll show you by the example here. If I select the target body here, and click, Split solid body, and click, Okay, you can see it's split in the middle of that line there. So now I actually have two bodies. And it has been split perfectly in half. So that's how you use the silhouette split into Fusion 360. 108. 815 Align: In this video, I'll show you how to use the Align feature in Fusion 360. So very nice tool in Fusion 360. Say if these two parts here, and obviously they aren't aligned in any way right now. Well, except for the bottom plane here. So let's say I wanted to align them in this direction. I can go to Modify, click a line. And I can select this edge here. And I want to align this edge with this edge here. If I just click on. Okay, so first I need to make sure yet bodies, okay, I want to go to this line there. Boom. So now these two lines are aligned. Okay, For the second example, I'll align two points. So I go to modify a line. I'll select on this point here. And I want this point to be aligned exactly with this point. It will essentially just move the body and it's not much different from the point-to-point move tool. So I'll click on the 1.2nd. Analogies. Two objects are aligned. These two points here are aligned to the exact same position in space. So that is the aligned tool in Fusion 360. 109. 901 Appearance Overview: In this video, I'll be showing you how to change the appearance of the solid bodies in Fusion 360. And this is really cool because it's not just the appearance on the screen while you are designing the part, but it's also the appearance of the finished render of your object. So fusion 360 has a really great built-in renderer for getting photorealistic renderings of your designs. So if you go to your bodies, you can select on whatever body you want to change the appearance, just right-click it and go to appearance. And in appearance. So you can see there's all different options here. Let me move this up here and expand it down. Actually, I'm not sure if I can expand that down. And he sees all of these built-in materials essentially. And so if I go to plastic, they, it's very convenient because they've already dialed in the exact look of all of these materials. So if I want my part to be an ABS plastic, I could just choose the ABS plastic material and move it here. And now inside of the design workspace, it just kind of looks like the material is basically a sample of how the material will look. And this will be more apparent when, let's say go to a metal and let's say you go to a bronze with the patina. So inside of the design renderer, it won't really look like the material that much. However, if I go into my renderer workspace and I go to sample, so I could do that in canvas render. And this will render the material in the candidates. So this is actually how it will look after it renders. And it'll be pretty slow depending on how fast your computer is. So you see if I move it, it will slowly increase the number of samples as I keep the viewport in the same spot. And you can see here it's actually continuing to render it. And so now it's done 26 samples. And I guess they consider around 32 samples to be an excellent quality, which I can say see even higher sampling would be better because fusion 360 does not have a built-in de-noise are so you can still see a little bit noise. 31 samples that I could actually, let's see if I get increases. Yes, I could increase this to the final quality. And it will continue to render the image and increase the number of samples until it gets to the final quality. And you can make your objects look really nice for your final renders. And they have a bunch of really cool built-in material. So let's go back into the appearance settings here. So there's the different metals, different plastics. And you could also change the color of each material. So if I double-click on this ABS plastic material, Let's say I want a I don't know, a bright orange plastic. I guess it's more of a muted well, it's pretty bright. Now I have this bright orange ABS plastic. If I go back into the render workspace. And I do in canvas render, you can see now it is rendering this plastic and you can see all the different colors because the light is refracting off a bunch of different things. So it even has like a translucent look subsurface scattering, I'm assuming. But they do really make it easy to get a very, very close to photorealistic render inside of Fusion 360, which is really a great tool. And you can see thirty-seconds in him about 40 samples. And my computer's not the fastest computer, but isn't a core. Has a core processor and a decent GPU. I'd say, well, fairly decent GPU for a laptop. So I'm at 50 seconds and you can see what the quality and looks like. A final render. If you go into the final Render Settings up here, could take anywhere from like two minutes up to 15, even an hour, depending on how high of a quality you want to render your objects, you see it actually does. It really looks like ABS plastic, like very, very close look to ABS plastic. So that is the appearance tools I think I touched on pretty much everything. Feel free to explore all of these fun materials. So some of them actually, let's see if I can find one. Let's go to would some of them actually have a texture? So if I go into let's go to Pine, all right, drag it onto my body here. So it actually has an image texture. And I go to Advanced. And so here's the image texture that it has for the material. So there's the image would pine color JPEG. I'm not sure how they wrap the material. So it's actually, let's try this pine color. Cancel. Okay, so it's pine right now. Okay, and I'll go into the renderer and let's just see how it, how it looks. And I'll go to in canvas render. It should look okay, but I'm not sure what the scale of the image texture will be on my model. So depending on how big or how small it is, it may look more or less realistic just because it's an image texture and it's not a procedural texture. So you may have to tweak the image textures to make them look a little bit more realistic depending on the scale of your design and other factors. But it's really great. I mean, there's a few of them aren't pre-downloaded, so you may have to download those textures. Show yes, it has a spot here says Show downloadable materials and has a lot of great built-in materials. I usually designed things in plastic, so I'll usually use a abs white. The abs y has a little bit of a weird blue translucence to it. So sometimes I'll switch it over to the acetal resin material. If I'm looking at rendering a white object. But a lot of really great things. So when you're designing, you could actually get the final look. And you could render out a final high-quality image of your design, right in Fusion 360. 110. 1001 Introduction: In this next section, I'll be going over rendering and Fusion 360. I touched on rendering a little bit in the last section, the appearance section. So if you want to get to the render workspace, click this button up here and go to Render. And here you can render your objects to make them look close to photorealistic. So right now this is just the preview. If I go to in canvas render, I'll get the actual final renders a look. And you can see it's loading down here. And I went over a lot of that in the last Lesson. Bobby going into more detail on how to render, how to change the settings, how to output and save your renders to your computer, how to add decals, and had to modify the texture map of your 3D model. So it's pretty cool section, and you can really make some really good-looking renders of these objects. So this is going to be the render section for Fusion 360. 111. 1002 Scene Settings: In this video, I'll be going over this scene settings for Fusion 360. So you could access this scene settings by clicking the Settings button in the top toolbar. And here we have a lot of things that we can control with the scene. So right away, you can see that there is the environment, the ground, and the camera. And we're actually getting to a couple of fundamental and camera topics as well, or photography topics. You can see here, I haven't switched to orthographic. I'll go back to perspective view. And there it is, it's updating now. I also have my Canvas Renderer on. So you can see it's automatically rendering my object here. Now if I move this over, you can see how many iterations it's gone through how many samples. So right now, it's only at like ten samples, but once it gets up to about 30 to 60 samples, you get a pretty high-quality image. Okay, so let's go through some of the settings here. You can change the background color with this button here. And this is just a solid background color. There's also some different locks you the background color will remain the background color and I don't think the lighting is too much. I'm not I don't have this confirmed, but I don't think that background has that much control over reflective lighting onto the object. Maybe a little bit, but I know that you can go into your environment lighting here and choose some different HDR images. So this will affect the color and the light refract reflecting off of your object. So if I go into plaza here, I've already downloaded the plaza background. So if I double-click that and I move my picture here, you can see now that because the plaza has certain colors in the scene, those colors will be reflected onto my object. And it's pretty subtle. But maybe if I go to download field, you'll be able to tell that there should be some green light reflected onto our object. So click into the green, the field HDR. Yeah, and you can see already there's that green light that has been scattered and reflected off of the scene onto the object. So that's what's called an HDR image. It basically renders the image as if this object was in this scene. So my background is still gray. However, the green from the plants and the brown from the road are being reflected onto my object and that just gives it a realistic lighting. So if you want your object to look like, to look even more real, I suggest using a HDR image for your lighting. Or you can use more of a studio lighting like these here. And if I go into one of those, you'll see that it won't actually reflect too much color onto the object. So it's just essentially, it's similar to the HDR image, I guess. However, it's more of a a setup scene with some lights in. Yeah, some sunlight's essentially. So you can choose warm, soft, sharp highlights, different images for your environment. And ELA basically just changed the lighting of the object in the scene. Such the environment, Environment Library, the HDR is are very nice. That's a cool feature. And let's go back into the settings here and tweak some more of the setting so you can choose to have reflections turned on and the ground plane turned on. And you can see my object is being reflected here just a little bit. You could adjust the roughness. So if the floor is more rough, has more roughness, then it will reflect less. If I go down to no roughness at all, you can see it's really reflecting a lot of my object onto the floor. Okay, now let's go to the camera. With the camera, you can change between perspective and orthographic mode. So perspective is essentially what we see in real life. So when object is far away, that object, it looks smaller. Even though it's not smaller, it's just far away. And objects that are close are bigger. If I switch to orthographic, you can see now my shape, the back of my shape is the same size as the front. Or things further in the distance don't actually get smaller. They stay the same size. And they kind of give a little bit of a cartoony tilted look or maybe like a isometric video game. So this line here, even though it's closer to us, is the same length in the image as this line here. If I go back to perspective mode, you can see this line here will be a little bit longer than that line, because this line is further back in the distance. Let me go back to orthographic just because I think it's kind of a fun look. I'll go maybe like this. And another thing we have is the exposure. I'm not going to touch watch. I can't touch the exposure. I'll just go to if I go to 12, it gets dark. If I go to or yeah, So 0, actually not sure what number this is right now. That might be 0, since there's nothing typed into that field. If I go to four. And you can see it is still bright because I guess for is close to 0. And it looks like the ranges from 25 to negative 15. So I go to 25, it's completely dark. If I go to negative 15 is very, very bright. So let me go back to the automatic exposure which was 9.5. And now we have depth of field. And basically that will make a certain plane of the image in focus, in anything in front of that plane or behind that plane will be out-of-focus. So I could select on the point of my model that I want to be in focus. So let's select here. Actually you click on this button and I can move it to here. So now this plane here should be in-focus and you can see it more if I increase the blur, which it would be like increasing the f-stop on your camera. So let me do that. I'll move it so it refreshes itself. And it should, it should add a blur unless it only does this on perspective mode. So let me go back to perspective. Yeah, So it looks like it only adds depth of field if you're in perspective mode. And right now I have a ton of blur. So if I decrease the depth of field, well, I can make the depth of field smaller or larger. And that's basically kind of what the blur is doing to some degree. So let's get a good amount of blur here. So you can see this point here should be in-focus. It's little hard because it's loading so much. Because see this corner here because in line is in focus. And everything else. Things closer and things further away are out-of-focus. And let's see if I could. Actually, I'll move it to this angle here and I'll move the center of focus right to this point here. So now that point should be in-focus and everything else behind it will be out-of-focus. Or I can move the point to the back of my model. And you can see now that the back of my model is in focus and the front is out-of-focus. Okay, you could also change the aspect ratio. So right now it's using the viewport. You could change it to anything 16 by 9, four by 31 by one. For this render, I'm going to turn off depth of field. And let's just do an orthographic render. Okay? And now if you want to actually have a new perspective, but what I'm gonna do, actually something that I think that I skipped on was the focal length. So you could change your lens essentially or the focal length. Length. So I could go right now I'm using a 16 millimeter lens. It's kind of a wide angle, not actually. It's kind of a standard lens. If I go down to like an 18 millimeter, 14 millimeters UCI beginning a really a fisheye look. So like a GoPro camera will have a really small focal length and it's a really wide angle lens. So it's really good for like really large landscapes. But for an object will probably want to have maybe a 50 millimeter lens that's fairly standard. Or maybe in this case, I go down to a 24 millimeter lens just so we get a little bit more of that perspective. Look. Ok, now, I'm going to switch my aspect ratio to a one-by-one square. And you can see it, it changes there so I can see where it actually is. I'll move this tool panel over. I'll place my object right in the middle of the scene. Okay? And in this teapot image here, that's the Render button. So I click Render. Okay, so it says I need to save my design. So I'll just save it really quick. And I'll just do tutorial. I'll do render tutorial. Render tutorial, click Save. Okay, my editable Fusion 360 document limit has been reached. Okay, I'll go to Render. And now we have some of the Render Settings. So I have my aspect ratio exposure. Basically I set up all of those things. Now, what I'll do actually, actually I'll leave the width and height are the same. And I'll do a final quality render. So I'll click Render. And now that will actually take quite a while probably to render. So I won't I won't keep the video going that entire time. But you can see from the sample render here, it should look really nice and it should look just like this, but higher-quality. So that's the scenes settings and how to render in Fusion 360. 112. 1003 Decals: In this video, I'll show you how to add a decal to your rendered object. So basically you just have to go to the Dekalb button on the top toolbar. And you want to select an image. Typically I would select a PNG image. So I'll go to my 3D printer Academy folder. And I have my website files. And I have this, my logo mark here. So I use my logo mark and I'll select. Okay, So I have my object split right now. They're, so I'll do is I'll use this face to put the decals on. Okay? And I'll rotate the object 90 degrees and click. Okay. Now the only issue here is my, it looks like the image does not have a transparent background, which I would like my image to have a transparent background. So let's go back into DKL from my computer. In it now remembers my spot here. It looks like this image here has a transparent background. So I'll use that one. And it's the logo with my name on it. 3d printer academy. Okay. I'll select this face here. Once again, I'll rotate it. Since I went that direction, I'll have to rotate it to 70. And I'll actually scaled up a little bit. I'll scale it to, and it's going a little bit slow right now just because I have the in Canvas Renderer on. So it's trying to render as I am moving my object around the scene. Some of it five, I'm going to get 3.5. Click OK. And now I'll let it load for a little bit and increase the number of samples for the preview. And you can see how you could easily add your own logo or your own decals to your 3D renders. So that's a quick overview of decals and Fusion 360. 113. 1004 Texture Map Controls: In this video, I'll show you how to modify your image textures in Fusion 360. So you can see here I could add many different appearances and different actually change the material of my object in Fusion 360. So a plastic color is very simple because it's a procedurally generated texture, which means is computed by the computer, the shaders computed by the computer essentially. So if I want to use a walnut texture, it's actually going to take an image of a piece of someone took a picture of walnut and will actually be wrapping our shape with this walnut image kinda of like how you would wrap a car with like a I don't know. Like the wraps that people do for their cars, for maybe their advertisements and things like that. So if I go into my advanced settings here, you can see that this image here has been wrapped around this shape. And it's doing it all automatically. However, because my image is so small, the wood grain is very, very large. So that I could do is I could actually go into here and I could change the scale of the image. So Ci could drop it down. And now it's actually starting to look like a wooden material. So the thing with using an image texture is there's no way of actually wrapping and a 2D image over a 3D object without either having to have cuts in the image or without warping or scaling the image in weird ways. So right now if fusion 360 is doing its best to automatically wrap that image around. But you can see here if I zoom in this face here, the wood grain is actually going in a different direction than this face here. And so I'll show you how to adjust that to try to hide any seams or any stretching of the image texture. So I go into render, move my object this way. Okay, I get it lined up like that. And if I go to texture map controls here, I could select on this image here and I could change the projection type. So right now it's set to automatic. And you can see how the grain is going in different directions. And we could just try out a couple of different ones. Maybe box might work. So boxes, okay. Maybe our box literally has wood seems. And you just kinda have to go through each one and try to find one that looks the best for your object. And for me, I think I might actually go with box. We'll see how that looks. I'll render it and I'll do the same for the other one. So it's basically wrapping it as if it was a box. So it's literally taking this three-dimensional object and every single phase. It's unwrapping that three-dimensional object into a 2D image and placing the wood texture on top of that. It's kind of a advanced topic. So hopefully that kind of makes sense, but basically literally unwrapping each face of this three-dimensional object into two-dimensions and placing the wood image on top of that. That's a little bit of the theory behind it. Okay. And I'm gonna do the in canvas render just so it renders a little bit quicker and we can see how it looks. It looks, okay. The only thing I don't like about it is it does look like it's like a veneer on top of an object, like we put a sticker of that wood material on it. So I actually might go back into it and change it back to automatic and just kind of deal with the the fillets having a different orientation. And it's a little difficult to get a perfect UV unwrap of your or a texture wrap of a 3D model, especially with the fill it like this. And Fusion 360 doesn't really give you HE control doesn't give you that much control of UV unwrapping your object. So you kinda have to do the best that you can. In Fusion 360, other programs like Blender or 3ds Max, allow you complete freedom, which does greatly increased the complexity of adding a texture to your image. So Fusion 360 really makes it very, very easy to add realistic textures to your object, just like this. 114. 1005 In Canvas Render: In this video, I'll be showing you the in Canvas renderer, and I'll be going through some of the render settings. So here I have a brass cube object here, and I can sample how, how the render will look. And I did touch on this in the previous lessons as well. So I'll just make this very, very quick. This button here is the in canvas render button and allows you to see a preview of how your object will look. And here I have my object and it's fully rendered now at 42 samples. So it looks pretty clean and that's essentially how the final render will look. The final render we'll add a couple of other things. I think subsurface scattering, I think Fusion 360 does that. And maybe I'll change the environment to field. Okay, so here's a good example of how the HDR is work actually. So you can see my background is still this gray color, but the object is actually reflecting the field. Look. So that's a little bit awkward having the background but like that. And I think so I can't actually change, I could change the background to the environment background. I'll turn off the reflections. So now actually this kind of looks kind of cool. If you want to sell a random NFT because that's really popular right now. I'll just render this in a circle and saw that as an NFT and that'll probably do really well. I'm not sure how long enough TAs will be popular or, or what That's kind of a side topic. But this made me think of that because it's very surreal looking. So you could definitely see with a shiny object, the HDR image is directly reflecting off of your object. And I can go into my studio lights. And the studio. Let's see. Yep. You can actually see studio lights. So it's actually a built-in scene. You can, even there you can see the soft light reflection. So it actually has a very powerful built-in renderer, which is really nice. So this is more, more of the in Canvas Renderer in Fusion 360. 115. 1006 In Canvas Render Settings: In this video, I'll be going over the in Canvas Renderer settings. In Fusion 360. They are very, very minimal, but you can choose between a fast and advanced performance options. So you can limit the resolution as well as go to a faster render, which let's see how fast us compare the difference here. So if I rotate around here, okay? It kind of has a finished look around five seconds. If I go to this one here, it's still, you can see there's a lot more noise. Yan'an will take probably. I'm already at ten seconds noun. And it still has a lot of noise. So probably actually take over 20 seconds to kind of get the same to reduce the noise on the image. But it does look a lot more realistic. Sets the canvas render settings in Fusion 360. 116. 1007 Capture Image: In this video, I'll show you how to capture an image of your in canvas render. So all you have to do is essentially wait until whatever quality you would like. So right now, I'm at a 160 samples. So it's a very, very high-quality, almost, almost that final. So all you have to do is you go to this button here and I can click Capture Image, and it'll capture this current document window size. Click, Okay, I'd like to save it to my computer and I'll just save it to my desktop. I'll click Okay. And click Save. Okay. So now if I go into my desktop files here and you'll sort by date modified. You can see there is the outputted render and it looks decent. It's not super high res, but from this, from this scale here, it looks very decent and it's actually a very, very quick render. So that's how you, that's an easy way to export your renders a lot quicker than using the actual renderer. And that will be the next lesson. 117. 1008 Render: In this video, I'll show you how to render your object officially in Fusion 360. So to render your objects, I did touch on this already before, but I'll go through it again officially here. Click on the teapot button. And he could change all the different settings here. You can change the width and height, the file format. You can even make it have a transparent background, which is very nice feature. And you can choose between a standard quality and a final render quality. And then basically all you have to do is click Render. And now this renderable take quite a long time. It could take anywhere from two minutes to 20 minutes, maybe even up to an hour, depending on how fast your computer is. So that's how you render in Fusion 360. If you didn't watch my other videos in this section, I highly recommend going back to those because I, I do touch a lot more on how to render. You can really make your objects look really nice, almost photo-realistic, if not photorealistic. I've showed people some of my renders and they have thought that they were actually real 3D printed objects. And they thought, well, look how smooth you're able to 3D print this. But nope, they're actually just really high-quality renders. That Fusion 360 makes it very, very easy. So that's rendering and Fusion 360. 118. 1101 Section Analysis: In this video, I'll show you how to take a section analysis of your object. And this is a very neat feature. It allows you basically to slice and look at an object, essentially from that slice. So if I go to Inspect, you can go down to Section Analysis, select on a face. And that'll bell determine the direction of the plane. And now if I move the plane, you can see it's actually, we're actually looking inside of the part now. We're looking at a section view of the part, which is very nice if you're designing some complex shapes, you could easily break open the part like this. Maybe I only care about what's happening on this side of the object. If you click Okay, you can see that this analysis folder has showed up. And we could turn on and off the section. And maybe we wanted to modify this part of the shape one and move it up maybe five. And now if I turn off the section analysis, that has been mood and it was a little bit easier to see in a little bit easier to access. So that's the section analysis tool in Fusion 360. 119. 1102 Measure: In this video, I'll show you the different ways you can measure your object in Fusion 360. So I'll actually turn off my section analysis. And let's say I wanted to measure the distance between these two parts here. Well, the easiest way and the way I like to do it as you just click on this face, hold shift and click on this face. And you can see down here, we can see the minimum distance is 8.975. Or another way you could do it. And you can go to inspect and measure or click on the measure tool here. And then you could actually click on either two lines or two points or two faces. For this, I'll do the same two faces. This face and that face. And you can see now it actually gives you a little bit more information, which might be a little bit more helpful. It tells you the distance, the angle, area, the loop length. I'm a lot more detail and we can see actually two different sections here are selections. One should have a bigger area because I raised the floor up little bit. And the other one has a smaller area. So a lot of detail with the measure tool sets the measure tool in Fusion 360 and two different ways you could access it. Very useful tool and very helpful. And it's one thing that makes designing envision 360 a lot easier than other CAD programs. 120. 1201 Decal: In this video, I'll show you how to add a decal to your model. And we actually did go over this in the rendering videos, but there's another way you could access it. You could go to the Insert drop-down here and go to detail. And I'll go back to Insert from my computer and I'll go to my chart to find the transparent one. Not sure why that one is upside down, but a logo flipped. I'll do this logo here. And I'll select on this face, rotate it 90 degrees. I'll move it over. Maybe this one I want to be actually like in the bottom right corner. Just like that. I'll click. Okay, now you can see I've added a custom decal to my object. Let's say you add a decal to your object in Fusion 360. 121. 1202 Canvas: In this video, I'll show you how to add a canvas to your scene in Fusion 360. So basically what a canvas is, it's basically an image. And actually if you hover over Canvas here, in the Insert drop-down, you can see a good portrayal of what you could do with a canvas. You can basically plays an image and the background and you can model your object in front of that image. So the way to do that is you just click insert Canvas. I go to Insert from my computer. And maybe I'll just do my logo. And I'll select this face here. And now you can see that the canvas is now placed there. I could scale it up and click, Okay. Now I have my canvas. And if I go to, if I click, look at, look at this face here. Now if I was designing, I don't know, maybe I wanted to trace this. I could actually just go into it like this. And you get trace. This object. Obviously you'd not want to use straight lines like this, but that is how you can insert basically a reference image or a canvas into your model or your scene in Fusion 360. And you can see here it adds a Canvas folder. Here's my canvas is located. If I right-click it and go to Edit Canvas, you can change the opacity. And you can also move your image around and scale it as well. So that's how you add a reference image or a canvas to your, your viewport or your scene in a Fusion 360. 122. 1301 3D Printing Process Complete Overview: So if you're completely new to 3D printing, I thought would be a good idea to give you a big picture view of the entire process of how it works. So basically, you have your 3D models and they're in your design program. And this course, of course, is Fusion 360. So you have your 3D models. But how did we get the 3D models to actually print on your 3D printer? Well, to do that, we'll have to use a program called a slicer. And I like to use Cura. Cure is the slicing program. And what that means is it actually, it actually slices your model into layers. So that way the 3D printer can print each layer one by one. So I go into the preview here. We can see every single layer and every single path that the 3D printer will actually take. And I could actually go into the individual layer and see the actual path as well. So this is an actual complete simulation of what the 3D printer will do to print the model. So basically, if we have our CAD program, Fusion 360 and we have our models, are our 3D models. We have to export these models to what's called an STL file. And an STL file is what the slicers able to read. And the slicer slices that STL file. And it'll save that file into a, into what's called G-code. And G-code is basically the language of a 3D printer or CNC machines and other things like that. And the G code will tell the stepper motors what to do essentially. So it'll tell, it will tell the extruder where to move. As shown here. You can see the extruder moving. And that's because the slicer converts the STL file. So that's our 3D model. These pieces here. It converts them into a sliced version. And every single one of these lines here, Let's go into an individual Linus go to, Yeah, You can see right here, the G code essentially tells the nozzle to go from this point to this point at a certain speed. And slicers are really great programs because it does all of the hard work for us. Stat way. I've already actually slice to this file. So that way, it's very easy and pretty straightforward. So here's the model before I sliced it. If I go, just choose one of the default Print Settings and go to standard quality, you'll just click on the Slice button and it'll load. And that's basically converting it to the G-code. And we can click preview, and that's how I got to the individual layers. So what you'll do now is you can either connect your 3D printer to your computer with a USB cable, or would I like to do is just use the micro SD cards just because if your computer happens to turn off, it won't freeze your print mid sprint. So what you do now is use save the G code file to your SD card. So I don't have an SD card plugged in, so I'll just save it to my desktop for now. Just to show you what the code actually looks like. So I'll go into my files here. I'm actually going to open up the G-code with a text editor. So this is actually what the 3D printer is going to be reading. And this is the G code. And you can see it's essentially just coordinates. So it tells it. So g one is a Move command. It'll move to this coordinate x, y. Actually only x and y because it doesn't need to change the z, the height at all. And then E is the extruder. So it calculates all of this for us and it's very nice that it does that because having a type that by hand would be absolutely horrible. So that's why slicers are such a great program and really makes 3D printing possible. And you can see it's actually slowing down my computer. If we go back up to the top of the G-code file, you can see some some information. We have the G-code flavor Marlin, the time, the filament, the layer height. And anytime it has this semicolon, it means it's actually not going to, it's actually not part of the G-code. These are just notes for the human. So this is actually where the inner three custom start G code will actually start. And you can see here they have a semicolon here. And it kinda tells you what it's actually doing. So this here resets the extruder. This here, we'll home all the axes and then so on and so forth all the way down until your model is printed. So you don't really have to know what G-code is or how it works. But I thought it'd be interesting to actually dig in deep to what the 3D printers actually doing. So you have a little bit of some theoretical background. So this file you never actually have to never have to go into unless you actually want to manually adjust it, which you can, because it's literally just a text file with the dot g Code extension. But I'm not going to mess with that because you can potentially damage your 3D printer. If you tell it to go to a coordinate, maybe that's not possible for it. So it actually, it'll try to get to that position, but it won't be able to because of the dimensions of your 3D printer. So that's a big picture overview of the entire 3D printing process. So basically you build your model in a CAD program. And in this case we're using Fusion 360. You export the model to an STL format. You drag the STL file into your slicing program. Where that slicing program will convert the three-dimensional object into individual layers that the 3D printer can actually print. So that is how 3D printing works in a nutshell. 123. 1400 Introduction to First Project: All right, so we've made it to our first sample project. And in this project we'll be learning how to make this simple gear assembly. And we'll also learn how to simulate the motion of the gears in Fusion 360. So if you haven't gone through all of the previous lessons, I highly recommend going through those. Just because it'll give you a really solid foundation of all of the concepts of Fusion 360. If you, if you did skip those, that's okay. We'll be going over a lot of the things that I've touched on in previous lessons in this video. And this is basically the application of all the tools have we learned in the past? I don't know, 10 or more sections. So, yeah, I'm really excited. I hope you're excited to, for this sample project will be going from the complete idea stage all the way up to preparing it for 3D printing, slicing it, and finally, actually printing the object in testing out in the real-world. So this design is actually optimized for 3D printing. And there are certain design considerations that I made to make it easy to 3D print with no supports. Since I, I'm a big proponent of designing things that way. You don't need to support them because peeling off supports from a 3D print is just a really big hassle and it's not really any, any fun. It's really nice just to pop the piece right off the build plate of your 3D printer and put the pieces together and have it work perfectly. First try. So that's the goal for these next few lessons in this sample gear project. It's pretty fun. It's pretty simple, but you'll learn a lot. We'll go over pretty much all the other things that we learned coming up, going up to this stage here. And once again, if you didn't go through all of the previous videos, I highly recommend doing that because I'll just give you that really solid foundation. And you could even make any of your own tweaks or adjustments to the sample project and really make it your own if you want. So yeah, let's jump right in to the first sample project. 124. 1401 Spur Gears: In this video, I'll show you how to make a gear in Fusion 360. Now Fusion 360 makes this very easy, easy. Actually. Head over to Tools up on the top toolbar and go to Add-ins. Now you'll see a whole list of different add-ons that fusion 360 has. And we're actually going to go down to spur gear. So that's the type of gear will be creating a spur gear. Click on spur gear and click Run. And here's all of the parameters for your spur gear. So the most important thing is the module. Now the module is basically the size of the teeth of your gear. And so if you're designing a system that has a bunch of different gears in it, basically you want to keep the module value the same. That's basically the tooth size of your gear. And what I found with 3D printing that A-module between 12 is a good tooth size for your gears if your 3D printing them, I actually prefer 1.5. So some other important aspects of a gear. There's the pitch diameter. That's essentially the diameter of the gear. And you can see it is basically in the middle of the tooth. So when you line up two different gears with each other, you'd line up both gears with the pitch diameters of each of those gears. So for this example, I'm going to keep the pressure angle at 20 degrees. I'll set the module to 1.5, since I've found that to be a good tooth size for 3D printing, any, any larger and the tooth becomes very big and your gear would have to be very large. And for example, let's say that a module of 140 teeth, the pitch diameter will actually be 40 millimeters. That's because module is the pitch diameter divided by the number of teeth. So that would equal 40 millimeters. If I switched the module to, to, the tooth size would be bigger and the pitch diameter, the diameter of the gear will be twice as large. So you see we have 40 teeth, a module of two. So two times 40 is 80. And for this I'll do 1.5. So 1.5 times 40 is 60. And a 1.5 module works out very nicely. You'll have to change the route, Philip radius. I've already changed mine to 0.5 millimeters and that works out great. And for the thickness of my gear, I've found that a 55 millimeter gear is a a good thickness for the gear. I wouldn't suggest going any thinner than probably about three millimeters. And I have this designed for a standard skateboard bearing or a standard bearing. And the diameter of the bearing is 22 millimeters. And I'll probably build in a little bit of a tolerance in here. So I found that 0.4 millimeters is just a little extra dimension that you could add to your parts for 3D printing that way everything fits together nicely because often there'll be, if you, if you make a hole in your object, many times, that hole will be slightly smaller than when you actually tell it to be because of 3D printing. So I like to do is I just add 0.4 millimeters to any holes or any parts. That way it fits better. So if I click Okay, it'll load for a little bit and it'll create that gear. And it actually creates a new component. And if I open up the component, you can see there is the sketches and the bodies. So if I open up bodies, there's the gear body right here. Okay, if I go to the top view, so you can see this dashed green line, that's the pitch diameter. So let's say I wanted to create a mechanism. I get actually duplicate this spur gear. So I have my 40 tooth spur gear. I'll just collapse it. And I'll right-click it and go to Move Copy. I'm going to create a copy. Okay. And I'll move it. So remember, this gear has a pitch diameter of 60 millimeters. So I actually can move it over. Move this out of the way here. If I move it over negative 60, you can see that these two green dashed lines, circles perfectly line up. And that's good. But oftentimes, once again, for 3D printing, the tolerances aren't that precise. So i'll, I'll build in a little bit of an extra distance. So I'll probably subtract another half a millimeter just to be safe. And I can also rotate this. I'm just going to eyeball it for now. I'll do negative 4.5. And I'll click. Okay. So now you can see these two gears can interface with each other. So that is how you make a spur gear. In Fusion 360. In the upcoming sections, we'll be making some assemblies with some gears and so will actually be rotating them and seeing how that works. So this is how you make a spur gear in Fusion 360. 125. 1402 Design Thinking : Process1: All right, so now we're starting, starting to get into some of the advanced features here in Fusion 360. So we'll be making our first assembly. So this is pretty exciting. So right now we have the two spur gears from the last lesson. And we'll actually do is I'll probably just rotate these, these gears 90 degrees. Student negative 90. Okay, so there we have our gears rotated 90 degrees. So let's build something for them to spin on. Let's build a stand for these gears. So we have to think about how we want to approach this issue. And that's kind of when you start getting into more creating original designs, you'll have to think how do you want to approach your design process? So remember we have sketches and we could make those sketches into three-dimensional objects. Or we could start with combining different solid bodies. So for this design here, I think a good approach would be to start with a sketch. So I'll select a surface to build our sketch onto or a plane. So there's our plane that will put the sketch onto, got a solid. And let's create a sketch. Okay, so you see this dialog box pops up here and it says some components have been moved. So basically when we copied the geared, moved it over, we moved the gear to a new location and the program doesn't know if we're just testing out the assembly or if that's where we actually want the gear to be positioned. So we actually want that gear to be in that position. So we'll say capture position. Okay, so now we're creating a sketch on this plane. So we want to build a stand for these gears, so we'll need the center axle. So let's create a circle at the center point of the gears whole. And so you can see 22.4 is the value when we snapped to the circle. Let's go to 22. Okay, so I'm going to pause the video here for a second because after I printed it and I realized that gears are a little bit too tight on the axle, so it's a little bit hard to spend them. It does work. So typically, for 3D printing, 0.4 millimeters is a good amount of space to add to your parts to make them fit correctly. If you want them to be a little bit looser, you can go to half a millimeter or even 0.6 millimeters to get just a little bit of a looser fit, so things will spin a little bit easier. So maybe a good middle ground would be 0.5 millimeters for that extra space for loose fitting parts. So for this example, I in the video did 22 millimeters, but you might want to do 21.9 millimeters or even 21.8 millimeters would also work and just be a little bit looser. All right, so let's just jump right back into where we left off in this lesson. That way we have a little bit of a space between the axle and the gear. Okay, so there we have our 22 millimeter circle. We'll do the same thing over here. Create a 22 millimeter circle. Okay, so that's good. Now we need the actual stand as well. So let's see. We can make actually another circle a little bit bigger as kind of a backing for the gears. So let's do a 30 millimeter circle and a 30 millimeter circle as well. Okay, so I'm going to turn off the visibility of the two gear components by clicking the eyeball icons. Okay. Let me do that again. There we go. Okay, So I need to find the center point between these two gears. So what I'll do is I'll create a line from the center point to the center point of the circles. And I'll zoom in and I'll create a another line. And snap to the midpoint of the line. And you see this triangle. That little blue triangle means it's the center point of the line. So I'll drag this line down. And we just needed some clearance for the teeth. So this is going to be like a vertical orientation gear stand. And we want it to snap to 90. So you can see a little blue square on the corner means it's snap to 90, right there. So let's do 35 millimeters and click Enter. Okay, so there's the height of our stand. And now we need to create the width. So let's do a kinda wanted to taper up. So I'll do a I'll do 24 millimeters. And under the same for the other side. 24 millimeters. Okay, there we go. It's starting to take shape. And the next thing we should do is create a line from the bottom of the base up to this circle. And I want it to be tangential. Tangential, sorry, kinetic. Some reason I, I struggle with pronouncing that word, but we want it to be tangent with this circle. And you can see when this icon shows up, that means it's tangent. And now we'll keep it fully constrained. We always like our sketches to be fully constraint. Okay? And now we need one more line for the thickness of the base. In actually, I think what I'll do, yes, what I'll do, I'll offset this line. Hope we have the sometimes Fusion 360 decides to freak out a hand, do the spinning wheel of death. Okay, so there we go. Actually, I'm not going to offset it. I'll create a new line in the center point. And let's do a thickness of 3.5 for the base. Okay? And this line will also be 24 millimeters. We'll connect it up to there. So this is the thickness of the base. Okay? So there we have our, Actually there's one more line we need to draw. And this is the top line here. So what I'll do for this one is I'll just click anywhere on this circle and anywhere on this circle. And then we'll use the tangent constraint to constrain that line. So it's tangent with the two circles. So I'll do it to one side. And then we could do it to the other side. Now you can see all my lines are black, which means the sketches fully constrained. We actually don't need these lines to be lines. We could change these to construction lines, which basically just means they are reference, reference lines. Same with this line here. Okay, So now we have our sketch. Now we can extrude the sketch and create our gear stand. Okay, click Finish. Sketch will turn on the gears again so we can see them. Okay, so now you can see we have our sketch. It's all lined up with the gears. And Alice, first thing we do is create the axles. So select on these two surfaces and we'll extrude them. And our gear thickness, I believe, is five millimeters. So let's go negative six. X goes to negative 5.5. Okay? And now you can see our sketch turned off when you turn the sketch back on. And now let's extrude to the thickness of the stand. Now the only issue with choosing the gear as the surface to build the sketch on is it does. Remember that the line for the teeth. And so you'll have to select the surface and multiple spots to actually select that entire surface for the backing of the gearbox or the gear stand. Okay? We'll select this one as well. This circle and this circle. And there's this smaller ring that we should also click on. And we'll do the same for this side. Okay? And I believe that should be good. So we'll decide on what we want for the thickness for the stand. And I think 3.5 will be good as well. And let's do a new body for now. We'll combine all the bodies together at the end. So now you can see our gear stand is starting to take shape. Okay? But obviously we're going to need a foot. Otherwise it'll easily tip over. So let's click on this rectangle here, and we'll extrude it to negative 10, maybe even negative 15, just to make it a little bit more stable. Okay, there we go. That's looking nice. So at this point, we could turn off the sketch. All right, yeah, that's looking good. So another thing we could do is we could add a fill it to this line here. And that'll just increase the strength of this corner. Many times. You'll want to add a fill it to strengthen corners because if it's a sharp corner like this, it will actually cause what's called a stress concentration. And which basically means that part is more likely to break along this point here. So it's always a good idea to add a fill it for that reason. And will probably only be able to do a three or four millimeter fill in. But that'll be good. Okay. So let's open up our bodies. Click on the little arrow, and for some reason, it's struggling to click on that arrow. Let me try again. There we go. Okay. So our standard right now is broken up, it looks like into three different bodies. Let's select all three of them. Go to the Combine tool and we'll combine them or join them into one piece. There we have it. Perfect. And so another thing it's important to think about when designing a part for 3D printing is how are we actually going to be printing these components? And it's good to, or at least you don't have to. But I really like to avoid printing anything that has overhangs. Because anytime you have an overhang, that means you'll have to support that overhang. And peeling off supports is always a pain for, for 3D printing. So you'll see here, I'll show you. Um, I was also thinking about how it's going to print as I was designing this assembly. So if you take our gear stand and so we know it works in this orientation here, I will just arrange the parts, how they would be if I was 3D printing them. So I'll actually move this. And I designed it so that way it can be printed flat like this. So yeah, there's no overhangs anywhere. So that means it could easily print this without any supports. And same with the years. They're already flat so it makes it a lot easier. So I'll rotate them. It'll load for a little bit. And I'll actually set the pivot point to the bottom face here. That way I can align it with this base. Okay, move it down and then click on the back there. Now they're on the same plane. Then we can move them down to here. The other thing I'd probably want to do if Alice 3D printing these is I would want to separate the gears just a little bit. So there we have it. There's our assembly and that's how we would lay it onto the 3D printers build plate. And you can see that there are no overhangs. So it'd be a very easy assembly to 3D print and to slice and 3D print. So that's our first really simple assembly for, for 3D printing. In the next video, we'll be going over how to create a joint so you could test the assembly inside of Fusion 360. 126. 1403 Joints (As Built Joint): In this video, I'll be showing you how to test your assembly inside of Fusion 360. So we have our parts laid out for 3D printing. But let's actually go back on our timeline to before we move to the parts. And what we can actually delete this here, x, we won't be needing that feature. So just right-click on the Move and click on Delete all features after history marker. There we go. Okay, so now if we want to test these gears here and see how they work inside of Fusion 360 will need to create what's what's called a joint. So what you could do is you could create different types of joints, whether their rotational joints, sliders, and things like that. You can make those between different components. If your body is not a component. So let's say we have the stand Here. We should make that a component as well. So I'll call this stand and we can right-click on it and select create components from bodies. Now you see our stand is now a component. And you could open it up. And you can see there's the origin and the bodies, and it's just has one body, the stand. Okay, so now let's create a joint between this gear and the stand. And actually before that, I'll make the standard different color just so it stands out. No pun intended. So I'll just create a white ABS colors that way. There's some contrast between the stand and the gear. And maybe I'll make the other gear a different color as well. I can do. Let's just do a nylon material. I'll do this gear. Okay. So you can see actually there's something that I didn't go over yet. And that's the fact that these gears are actually connected because when I clicked Copy the gear, it linked the two gears together. So anytime you copy a component or a gear, it actually links them. So if I change this here, it will actually change the other gear. So like when I added the appearance options to the gear, the other gear changed automatically. So if I move this phase, you'll see it'll move the face of the other component. And so the way to create an a complete separate gear. Oops, I don't know why that is doing that. When you, if you want to create a complete separate gear, you'll actually want to right-click it and click on Copy. And then you'll right-click on your document and you'll do paste. Knew if I just did a normal paste, then it would, then it will create a linked copy the component that I want to paste a new component. Okay, So there it is. And I'll leave it. I think it actually have to move it over. We'll move it 60.5. Okay, another thing is, before we move it, Let's make sure our pivot is accurate. So I'll click on select Pivot. Okay. Let me go back to here. So let's go to move. We'll select the pivot we wanted to go along this axis here. Click Done. And let's move that 60.5. Okay? And we'll also have to rotate it again. So let's select the center point by clicking on the circle. And we can rotate it. Or first click on Done. Then we can rotate it negative 4.5 degrees, like we did in the last video. In the only reason I'm doing this is to show you how you could actually create two separate gears that aren't connected in any way. So that way, when you change one gear, it doesn't change the other gear. Okay. So now I get turn up, I can actually remove this gate. We don't need this anymore. Keep the new gear that is not linked. So now, if I go into appearance, we can select a different material. Let's do abs will remove the existing appearance and let's change the color. I'll know to perhaps this color here. And you can see the standards changing colors because the stand was already that abs white color. Let's do another. We'll add that will add the abs white back to the skier. Okay, so now you can see we have four different appearances in this design. And let's change this color here, maybe to a yellowish color. So now each one of our components has a different color and each one of the components is completely separate from the others. Okay, so now back to the joint. We wanted to make a joint between this gear and the stand. So what we'll do is we want this not to be selected. Okay, let's go to assemble on the top toolbar and we'll create an as-built joint. And the reason we want to do an as-built joint versus a normal joint is an as-built joint. We'll keep that components of current position. So actually before I do that, you'll see up here there's two icons. There's capture, position and revert. So when I moved to the second gear, we never captured its position. So if we click on this button here, it'll actually capture its position. And now they disappear. So everything is in its spot. So let's click on as-built joint. And once again, the reason for as-built joint is we don't have to align anything. It just it'll automatically be in the current position where it is. And this will make sense as we go through it. Okay, so first let's select on the spur gear and then second, we'll click on the stand. Okay. And now a joint has been created, but we need to make sure that the joint type is correct. Now, automatically, it assumed we wanted a rigid rigid joint. That's not correct. We want to do a revolute. So basically it'll revolve around the center point or the axis. Okay? All right. And now we want to click on the point for a to revolve around. So you can see here it's trying to figure out where we want it to actually revolve around. And since we're doing the yellow gear, we wanted it to be on this center point here, just like that. And you can see it gives us a 360 preview of the joint. Okay. And now we'll click, Okay. And now if you actually click on the gear, okay, So here's one more thing that I forgot to do. I'll do revert to go back to its original position. We need to ground the stamps that way. Because when I move it here, see how the stand moves with it. We don't want that. So let's go to stand and right-click it and click on ground. This will make it so the stand, it's essentially grounded and stuck in its position so it can't move at all. So click on ground. And now we can rotate our gear. So it's actually pretty easy. There's a lot of extra steps that we had an error just because I was showing you some other things like how components are linked unless you do a paste new. So that's when I right-clicked up here and it paste New to create a new gear. Otherwise, if you just copy and paste a component there, they're kind of linked. So now you can see that this is rotating around the axis, so that's cool, but it's not moving the other year. And that's because fusion 360, he doesn't really know what to do yet, to pretty much tell it to do. It's not really smart. It's just a tool essentially, we have to tell it what to do, it doesn't know. So in the next video, I'll show you how to link these two gears. So that way when we spin this gear, the other gear will spin. 127. 1404 Motion Link: In this lesson, we'll be making these two gears interface with each other. So first we'll have to create another as-built joint for the bluish green gear. So let's go to assemble. And we'll go to as-built joint. We'll select on the gear and then the stand. Okay. And now we'll select the center point. And you can see it's doing the sample rotation and that looks good. So we'll click, Okay. All right, so now we have two gears that could spin independently from each other. We'll need to do is we'll need to create a a motion link between the two of them. So let's go back to revert, to revert the two gears to their original positions. Now is the revert button up here in case you missed it. I went a little bit quick. Okay, so now let's go to assemble again. And we'll go to motion link here. Okay? We can select on a select on the first joint and then the second joint. Okay, now it's giving us a sample motion and we can see that it's not working. How two gears should work? Both gear should be spinning in opposite directions. So what we could do here, we can't really click Reverse wax should we can't actually, that's, that's the correct way to do it. I actually, I guess I thought was going to reverse both gears, but no, it makes it so both of them are spinning opposite directions. The other way could do it is to put a minus sign on the angle. That's how you do it manually. You can either do a negative 360 degrees or they have this nice built-in feature, reverse, and just click on that checkbox. And now the two gears will rotate how gears should. So let's click on, Okay. And now if we rotate the gears, you can see that they rotate exactly how they would in real life. It's pretty cool. 128. 1405 Enable Contact Sets: So there's also another way that you can make the two gears spin how they would in real life, or to simulate the motion of the gears. So let's go back in our timeline and let's remove the motion links now they're both spinning independently. Once again. I'll click reverts. They go back to their original positions or rotations. And let's go to assemble and click on Enable contact sets. And that essentially will turn on the physics for this assembly. And this will be very processor intensive because it will actually be calculating the physics for these fairly complex shapes. This is why using a motion link is much more efficient because it knows exactly what to do by enabling contact sets. It'll actually only, it only, it actually uses real physics essentially. So now if I rotate this gear, okay, let me try that again. Let's revert it. Let's go back to enable all contact. Okay? All right, so now it's working. And you can see how slow it is. Neither a fairly fast computer, not the, not the quickest computer. But it's okay and it really slows down. And you can see actually that these are actually touching each other. And that's what tells the gears to spin. So if I zoom out again and I'll try to rotate it again, but it's really going to lag a lot. You see that? So it's not ideal to enable the contact sets just because it's very processor heavy and it'll really slow down. And it's just not an efficient way to to simulate motion in Fusion 360. So what I'll do is I'll actually turn off the contact sets because you can see even now my computer is really struggling with the computations. So let's go to assemble and let's see how I do this. I think I would go down to here. There should be a button that says disable. Yeah, here we go. Disable a contact. Now. It's back to how it was. They are not linked and they rotate freely. So let's go back to our timeline. Actually, before I do that, let's revert the rotations of the gears. And let's turn on the motion link again just by moving this timeline bar to the furthest point. And so now that motion link is once again enabled. And now we can rotate the gears. And they rotate very quickly. And there's practically Laci, there's essentially no lag at all. And this is great for when your assembly, you start to get a little bit more complicated. So that the two different ways that you can simulate motion in Fusion 360, you can use emotion link or you can enable contact sets. And I highly recommend using a motion link. It's a little bit more work to set up, but it works a lot better. 129. 1406 Export to STL Method 1: Okay, So we've finished our design and we've tested out and we've simulated it inside a Fusion 360. So we know most likely it should work. It's time to now export the files for 3D printing. And we'll want to export the files to a STL file because that is the file type that slicing programs use to convert the 3D models and to G-code for the 3D printers to print. So if fusion 360 has two ways to export a 3D model to an STL file. And both the, both the ways have different pros and cons. I'll show you that the first way is the official way. I'm pretty sure it's the official way. And the main way of exporting a file to an STL format. However, actually like to use a different version, which I'll show you in the next lesson. Just because it's much quicker. Okay? So first we'll actually have to break the joints. So I'll just move the timeline back to before we had any of the joints. I'll select on both of the gears, right-click and go to Move Copy. And now what we wanna do is select the pivot point. And I'll just click on here. Just because I know that this plane is in the correct orientations. So that way we're not twisted or rotated. How we don't want it to be. Okay, so let's just first you always have to click on the green arrow here or up here to confirm that pivot point. Okay, so let's move these back here 90 degrees. That way they're laying flat. Click, Okay. And I'll also want to move this gear and separate it from the other gear. Let's just move it to here. That's fine. Okay. Now we need to rotate the stand sideways laying on its back, because that's the optimal orientation for 3D printing. Once again, I'll move the pivot point to a, either a corner or a face that I know is in the same way that the axis to be the same as the origin essentially. Okay, So let's rotate this thing back 90 degrees. Okay? That looks good. And I'll move it into a position where it's not colliding with anything else. We can even rotate it a little bit, perhaps, like this. Now the only thing is that they are still out of plane. So let's set the pivot point to the back of this component. Confirm. And then we'll move it up. And we could select on this face that way it aligns with that base click. Okay, so now the parts are arranged how they should be for 3D printing, there's no overhangs. So that's optimal. That's the optimal orientation for 3D printing. So now to export it, go up to file. This will be cut out here, but there's a file button. And we'll go to Export. Okay? And what we want to do is select on STL format. Okay? And it's giving me a warning because I haven't saved my document, so I'll have to save the document first. And I'll just call it sample gear lesson. Okay. Now that it's saved, we could export it. And it's always a good idea to save throughout your design process because it does autosave sometimes, but not all the time. So by not saving it, you are risking all of the work that you've done just being lost if the program crashes and it's not unusual for Fusion 360 to crash. Okay, so let's go to STL because that's the format that we'll want to save the file into. And for this, I'll just save it to my desktop. Okay, so now here's the downfall of using this method. It uses Fusion 360 cloud service or Autodesk flout Cloud service, which is extremely slow. And I kind of don't like that. That's how it works for this method. And this is the reason I don't use this method. And the reason I would use this method is because the other method only allows you to export one component at a time. So if you want to prearranged everything inside a Fusion 360, then this is the method to use because you get export the entire It's not assembled anymore, but essentially the entire all the components in the orientation that you set them too. So if I yeah. So if I want to have everything preset to his position and that way when I put it into my slicer, everything's already in one file, then this is the way to do it. Otherwise, you get export each component. So the two, the two gears in the stand separately. And that method is much quicker. So I'll cut the video here just because it's gonna take a while to load. And in the next lesson, we'll be importing the STL file into our slicer. 130. 1407 Importing Models into Cura Part 1: So now that we have our files, export it to an STL format. We can now upload or import the files into ultimaker Cura. And I like to use Cura as my slicer. There are other many there are many other good slicers available as well. Like simplify 3D is another good option. But I prefer Cura. It has worked out really well for me. So that's why I recommend using it. I recommend other people use it as well. Okay, So we'll take our STL file and to import it into Cura, all you have to do is just drag it in and drop it on top of the build plate. And if you're not familiar with slicing or if you're new to 3D printing and you want to learn more about what slicing actually is, then I recommend I'm heading over to the preparing your files for 3D printing or the slicing section of this course, where I'll go over all the details of what a slicer is, how it works, how to choose the best settings, and everything in regard regarding slicing your files and preparing them for 3D printing. And you can see when I imported the STL file, it is exactly in the arrangement that we had it inside a Fusion 360. And so for this one, I have my slicer set up to work with my ender three 3D printer. And I'll just be using the default settings. So I'll just click on slice. And now it'll load. So it says like four hours. And if I go into my settings here, you can see I have it set to the default low quality profile. Actually, I did have a couple of changes, but I'll just discard the changes and slice it again. And you'll see it should take, okay, now it only takes 3.5 hours. And if you click on Preview, you can actually preview all the different layers. And we can see that it'll, it looks like it'll have no issues 3D printing this model. In the next lesson, I'll go over the other way of exporting your 3D models to an STL format for slicing them and preparing them for 3D printing. 131. 1408 Export to STL Method 2: In this video, I'll show you the second way. And this is actually the way that I prefer to export my 3D models to an STL format. So you could slice them and then send the files to your 3D printer. So like I said, this is a method that I prefer just because it's much quicker and it gives you a little bit more flexibility later on. So this way works by actually going into the body. So I can select on an individual body, right-click it, and click on save as STL. And it will give you a couple of options here. I just use a medium refinement. And I'll just click on, Okay. And now we can save it as, I'll just save it as a body to body one is what I'll save it as. And then it'll go to my desktop. And you'll see that this actually practically instantaneously saves it as an STL. The previous version, or the other example I showed you for saving your 3D models as an STL format, takes a very long time to load it. I'm not actually sure why. This version is much, much quicker and this is the way I prefer to do it. Okay, so we've done the first body. Now let's do the second body. You do have to go through each one individually though. But I'll show you why that's beneficial in the next video. Click Okay. And I'll just save this to be body to it in the stand. Save as STL click, Okay, and we'll call that stand. Okay, So the next video we'll be importing the files into the slicer. And if you're brand new to 3D printing, I'll have a overview video for you. Notice give you a bigger picture of the entire process from start to finish, all in one video. So if you're brand new, I recommend checking out that video. It'll be just the design for 3D printing complete process video. 132. 1409 Importing Models intoCura Part 2: Now with the second method for exporting the STL files, the method that I prefer, you'll have to import each one the STL files into Cura separately. So I'll just click and drag each one of the files into Cura one at a time, like so. Right now I'm on the preview mode of Cura. That's why everything has the ghosted look. For this. We want to go to the prepare tab, okay, and you can see now it has arranged the objects automatically on the build plate. And we could print it out like this if we wanted to see where there are the red sides of the model, the red portions. That means there's an overhang. And essentially we want to minimize the number of overhangs. So what we'll do is we'll rearrange the parts like we did in fusion 360 will rotate this 90 degrees back. And now one of the benefits of exporting each one of the 3D models individually is now you can have the freedom to rearrange them on the build plate however you like. So for this, I'll just place them in the center so they're not overlapping each other. Just like so. And you can see there are no red portions of the model, which means there are no overhangs. And not to say that you can't print an overhang. You could print an overhang too us to a certain amount. So let's say for instance, I rotated this object like so. Technically, actually let's slice it so I can show you exactly what the slicer or the 3D printer will be doing. So it's definitely not an optimal, optimal orientation at all. So if we go down to the bottom, the first layers, and you can see these, we'll print out fine. You know, it's just a, just a rectangle. That's no problem. But if we start going up, there's overhangs and that's fine as well. I'm a 3D printer could handle about 60 to even like 70 percent overhang it. Without really too many issues. The problem will occur when we get to these overhangs here. So see this layer. The printer will actually, and I'll go through this exact layer here. You can see right here, it'll actually start printing this line in mid air. And it can't really do that because there's nothing for that filament to stick to. So basically it will just be squirting that filament out. And it won't. It'll just squirt down and it'll be all stringy and messy. And it won't actually print how we want it to be. You can see over here, same thing. It's printing out in mid air, which is not possible unless it had something to connect to on the other end. That's called Bridging. And that'll be in a different video. But Bridging is cool. It allows you to actually do overhangs to print straight across. But if there's nothing for it to connect to, it's just floating in mid-air. Let's go up a little bit further. So once it gets to this stage, it's fine. Because now it's printing on top of itself. But underneath here it'll be really messy and it won't be how we want it to be at all. And same with this top cantilever overhang. It will do fine printing. These are fine here. It could do that overhang, no problem. Because it's still just offsetting a little bit each time. But when we get to this major offset here, that's, that'll be a major issue because let's go into this layer. Will see this entire portion here. You can see that this green line is just being printed in midair, so I'll just fall down. And if you did try to print like this, that are probably all fall down and eventually might correct itself. But once again, it'll just be it'll be a big mess and it won't it won't be good at all. So that's why if we're, if we think about these things, while we're designing the parts, we get plan for these things. So like this one here. We planned it to be printed on its back. And by printing on his back, if we slice it, we can see that. We can actually see that there's no overhangs. If we preview it. I'll, each layer will be built on top of itself, which is perfect. And that'll work out just fine. And I'll be going into a bunch of, I'll have a bunch of lessons where I go over how to design apart for 3D printing and how the orientation matters. How to even do a, what's called a printIn place mechanism where you don't have to arrange it at all. It essentially is a, a whole assembly that just prints in its pre-assembled state. So when you pop it off of the build plate, the joints will already be attached to each other and it's really cool that you can do a lot of interesting things. You may have seen. There is some very popular. They're called articulated print in place. 3d models like there's the octopus or there's the hand where you just print it and you peeled off the build plate in the fingers, have the joints already built in. So really cool feature of 3D printing and that will be in the future lessons of this course. 133. 1501 Introduction: Okay, So we have finished our first sample project. And that is the two gears with the basic stand. And like I mentioned earlier, there are some improvements we can make to this design for 3D printing. We already did some of the things that I'll be talking about in these next lessons like designing your part so that it doesn't need any supports. But I'm going to go into more detail in that regard. I'm also going to go into other best practices for designing for 3D printing. We're going to see what factors will help increase print time. We'll look at how to make your parts stronger. And we'll even go into how to design a printIn place mechanism, which is really cool. So I'm really excited about this section. It's going to go into a lot of detail about all the different design considerations that you could think about when you're designing your parts for 3D printing. 134. 1502 Overhang Angles: When you're designing something for 3D printing, it's important to remember that a 3D printer can only print at a certain overhang angle. And what I mean by that is if your design has overhangs, it can't be too steep. So the closer you get to parallel with the build plate, the more the 3D printer will struggle to print that overhang. So typically you want to keep an overhang about 60 degrees or less. So here I have a model and it goes from a 20 degree overhang to 40, 60, and then finally, a very extreme 80 degree overhang. So I'm going to throw this on the printer and we'll see how it comes out. All right, so here's the finished example for the overhanging angles. And you can see that up to 60 degrees, it actually did really great. But once it past 60 degrees and once we got to 80 degrees, it really looks sloppy and it doesn't really look good at all. So best practices for designing for 3D printing is to keep your overhang angles 60 degrees or lower. 135. 1503 Print Time Considerations: In this lesson, we'll look at what factors actually affect the print time of your objects. So let's, let's make some guesses here. I have four different objects. All right, so I have this solid cube here, and I have the whole hollowed out cube as well. So which cube Do you think we'll print quicker? The hollowed-out cube or the solid cube. So let's find out. I'll save as an STL file. And this will be the solid. Okay, Let's drop that in our slicer. Okay, so let's see how long will a 40 millimeter by 40 millimeter by 40 millimeter cubed take to print. And for this, I'll change my nozzle size to the standard nozzle size, 0.4 millimeters. Okay, So it takes two hours to print this cube and let's look at the inside of it. Okay, and that's what the pretty high in fill. Let's just go to the standard low quality so I'll discard everything and just do the default profile for my CR ten. Okay, so one hour and 41 minutes for the solid cube. Okay, Now let's switch it with the hollowed-out cube. So what do you think? Do you think it'll be take longer or will it be faster? It is hollowed out. So let's see. I'm just going to override the solid one actually. So this one is one hour and 41. S1 is one hour and 19. So you do save a little bit of time with hollowing it out. However, I did optimize the wall thickness. So let's do one more change here. So when I hollowed out this shape here, I made it so there's no infill anywhere. Let's say instead of 1.5, I do three millimeters. And let's export that. I'll just override it once again and we'll see what that does. Okay. So check this out. Now. It'll take one hour and 51 minutes. So it's kind of interesting. The hollowed out cube actually takes longer to print then the solid cube. And the reason for this is it's doubling up on the number of shell passes. It has to do. So if you look here, it has to print the outside shell and the insight shell. You would think by hollowing it out, you would save time. But sometimes it'll actually take longer to print that object as a hollowed out object. So in this case, it actually takes ten minutes longer to print this. And if you hover your mouse over this I, you can see what percentage of the amount of time it takes for certain tasks for the 3D print. So you can just analyze those. You can see the inner walls take 25 percent of the print time and the outer walls take 26 percent of the print time. So printing the walls takes up a lot of the print time. So minimizing the number of outside walls or inside walls will greatly impact your print time. And you can see here that in this case, if you make your walls too thick, It actually will add a lot of print time to your object. So sometimes hollowing out an object actually won't save you any time. Okay, So let us check out these two flat panels. That's kind of the same situation here. We'll a hollowed-out piece actually save you time. And so let's find out. So let's save this as an STL and I'll just call this nano are called base. Okay, Let's drop that into here. So this one's going to have some different considerations. Okay? So it's 29 minutes to print this base panel. Okay, so 29, and now let's switch it out with the hollowed-out version. So what do you think is the hollow one going to be quicker or take longer like the holdout cube did. All right, In this case it's 19 minutes. So it's actually faster. And the reasoning for this is because printing out the long flat surfaces takes a lot of print time. So if you have a part here that has really big flat surfaces, if you want to save on print time, you can hollow out the big long flat panels to save a lot of print time. But you can see that it does have diminishing returns depending on the ratio of walls to flat panel surface if that makes sense. So in this case here, hollowing out saves you a lot of time. But in this case up here with the cubes hollowing it out actually takes longer to print. So it's kind of an interesting thing with 3D printing and you'll get, you'll get more used to what changes you can make to your designs to get them to print faster. So yeah, that's a quick example, showcasing different ways of thinking and different ways of designing your objects. So that way you could print them faster and save some time. 136. 1504 Bridging: In 3D printing, There's a cool thing called Bridging. And basically it allows you to print in mid air. So instead of having to use supports, two supported beam, you could actually print the beam without supports. And I'll show you what I mean. So let's say we have a simple box here. Let's do a ten millimeter by ten millimeter box. And let's make it 25 millimeters tall. Okay, and we'll copy, move and copy this. And let's go 60 millimeters. And so what we could do is we could actually design our parts to allow the 3D printer to bridge across these two columns. So let's say that's eight millimeters tall. So it could actually bridge across here. The only thing to make sure of is this has to be perfectly horizontal. So let's export the STL file. And I'll just call it bridge. Okay, and let's go into the slicer and look at the file. So if we slice it, there you go. If we go to the preview, you can see on this layer here, the 3D printer will bridge across like so. And if I go into this, you can see first it does the outside lines and then fills in the middle. Now the one thing you have to make sure of, once again, is it has to be perfectly horizontal. So let's say we take this line here and just rotate it slightly. Even less, even go negative 1 degrees like this. I'll save as STL again. I'll just override the other one. And that way our program could just reload it. Now in this case, it won't work because now we have this cantilever here, see this? So there's a very high chance out. I could almost say a 100 percent chance of this will fail because it'll be printing these lines here in mid air. So when you're bridging, all you have to do is make sure that it is perfectly horizontal to the build plate. So any angle at all, we'll make a bridge not work. And you can actually have a slight chamfer on this corner if you want. That is possible. But once again, let's say we needed a fairly large chamfer that will work as long as this overhang angle isn't too steep. So let's export that and see how it looks in the slicer. Okay, reload slice. So now you can see it'll print the overhangs for a small section or for a few layers. And then I'll do the bridge. And that's completely fine. And that works well. The only thing you have to work out, look out for in this case is sometimes these corners tend to peel up and it increases the odds of the extruder nozzle hitting and crashing into the column. So that is the one thing you have to look out to when you're printing a shape like this. Especially if it's moving across mid air to the other side. These corners here sometimes peel up and that increases the odds of it colliding with it. So as far as how far you could bridge, usually about under 60 millimeters will work really well. And basically, the shorter you go from there, the higher chance of success that you will have. I suggest trying out on your 3D printer and see how far you could bridge. I do have a bridging file on my website that I've already made where he could just download that file and test out how far you could bridge. But bridging so cool feature, it allows you to print over midair without having any supports. So oftentimes you would think, Well maybe I need to add support just like this. But it's actually not necessary at all to use those supports. You will probably get a little bit of sagging though. So if you're worried about the aesthetic qualities of your print, you may want to have supports, but if you, if you're not too concerned about the aesthetic qualities, you could do some very interesting designs by utilizing bridging. 137. 1505 Part Strength: In this lesson, we'll learn how to increase the strength of your 3D printed parts. Okay, so let's look at a simple beam shape like this. Okay, so if we print it in this orientation, this will actually be the strongest orientation to print it. And I'll show you why. This here. The layers are going horizontal, the same direction as the length of the beam. That means you don't have to worry about the layers separating and compromising the strength apart. However, let's say we printed it in a vertical orientation. You can see now the layer lines are perpendicular to the length of the beam, or in this case the column. So in 3D printing, your prints are considerably weaker along the layer lines. And there's different ways to improve that. You can increase the temperature of your prints or you can slow your prints down that way you get better layer adhesion. But just by nature, fusing together plastic is weaker than the long extruded strands of plastic. So when you're choosing which orientation to print your objects, consider how strong you need the piece to be. And if you could orientate the object in a certain way to have the long pieces print the same direction as the layer lines. And because that'll greatly increase the strength of your parts. Another thing to consider is stress concentrations. So let's say we had a bracket piece kind of like this here. It seems. Okay. However, Let's put this into the slicer and I'll show you why. There may be room for improvement in this design. So if we slice the model and we scroll down through the layers and look at it. You can see at this point here, there isn't much connection between this part of the beam and the vertical column. There's only these two lines here and the rest of the shell and some of the infile. Which means that this corner here is very likely to break under any sort of stress. So we could do there to strengthen this corner and to remove this stress concentration, this sharp angle here is you could either add a chamfer or you could add a fill it. A 3D printing. Fillets are very easy to add. Just click the Fill button, and let's do a 10 millimeter fill it. Okay. We'll save the STL file. And it's called beam again. That way it overrides it. Okay, so let's reload this and slice it and look at the difference. So now you can see we have these pieces, these I guess, layers of filament that will greatly increase the strength of this joint here. So now actually the weakest point of this joint is most likely right here. So if you were to test this piece and try to snap off this vertical piece, most likely it would break along this line here. Because all of these lines have this extra, all these layers have these extra added strength of this connection there. Another way to increase the strength of this part with p would be to increase the number of shell walls or the wall line count. So here we could change the wall line count from maybe 22. Let's go, let's make it really, really strong. We can go to five and we'll slice it. And now you can see we have a lot more surface area for the plastic to fuse two. Now of course, the best way to improve the strength of the joint will actually be to rotate it 90 degrees in this orientation. And if it's just a simple piece like this, that's no problem. But if it's part of a larger component or a larger design, then sometimes you can't rotate this piece. So let's slice it again. And now this would be the strongest out of all of them because now we have the joint going in the same direction as the layer lines. So that'll be very, very strong joint. So this is the best orientation to print apart like this, to have this corner be very, very strong. So when you're designing your parts, it's good to think about at what points will it be stress and strain on the parts. And how can you either orientate the part in your slicer or how can you design the part in Fusion 360? So that way you could have a very strong piece. If you need a strong piece. 138. 1506 Print In Place: In this video, I'll introduce you to the idea of a printIn place mechanism. So a printing place mechanism is basically multiple parts that are assembled. However, you don't actually have to assemble them. They print in there assembled positions. And actually most of the time, if you want to take apart a print and place mechanism, you'll actually have to break the part. So for this one will make a very simple prints in place mechanism together from scratch. And it basically will be a print in place hinge. So let's start by creating a cube shape. And let's select on the ground plane. And let's make our rectangular prism 10 by, let's do ten by 40, should be fine. Actually, we don't have to really do 10, 10s little wireless just do five, so that way it prints quicker. Just because this is a example project. Okay, and let's make it 10 tall. Okay? So now when you cut a hole into this, so let's select this face. And we'll, let's do a sketch that way we can make it more precise. Okay, we'll create a line at the center point here so we could choose the distance. Let's do six millimeters. And we'll do our circle. And let's do seven millimeters and click Finish Sketch. So basically it will be cutting a hole here. To do that, we'll click Extrude and extrude the whole. Okay, so now we have the first part of our hinge here, now we need the other half of it. Okay? So actually let's see if we get be creative with this and not have to do everything twice. I think we can, I think what we could do is click moving copy. Select the pivot point to be this circle. Just by clicking on the circle. Click on Create a copy. And we can literally loops first. Before you do that, don't forget to hit the green arrow to confirm that pivot point. Now rotate the part a 180 degrees and will also move it that way. It's aligned with this side here. Okay? Now we'll take the new body that we just created and we'll duplicate it again. And this time I'll move it to the other side. Just like that. Okay? So now you can start to see what our hinge will actually do. Okay, so now let's create our actual axon that goes in the middle of the hinge, the pivoting. I don't know what to call it, but the point where it hinges around the rod that goes between the two. All right, So actually we won't be needing these circles there. Okay, we'll click on this face here and create a new sketch. And actually let's turn on shaded with hidden edges. That way we can see the circle inside of it. Okay, so we'll create a new circle. And this one will be a little bit smaller. So this will be a six millimeter. It's actually, yeah, it's a circle because we're doing the sketch. Okay. And it's six millimeters just to give us some space so it can freely move. All right, Let's click Finish Sketch. So now all we have to do is extrude this circle through the entire assembly or the mechanism. So let's take that and let's just snap it to the other side here, just like this. And then click for the operation, go to we could do to join. And that'll actually join these two sides together. Let's see what that does. It might join all three, but joins all three will redo it. Nope, So it worked. So now we have this part of the mechanism. And you can see there's that pivot rod or point. And the other part of the mechanism. Now the only thing we have to do now is give a little bit of space between these two parts because right now they're completely touching and we don't want that. So let's move this 1.5 a millimeter this way. So right-click and go to move and do negative 0.5. And we'll do the same for this one, negative 0.5. Okay? So now we have two parts and we have the connection point between them. So that way this piece here can swivel. So now we get actually save. Before we do that, let's make it a little bit nicer. And let's connect these two pieces together by building a cube between them. And I'm actually not going to measure it. So I'll just eyeball it there and snap to this corner here. And then go to join for the operation. Okay? And maybe we'll make it look a little bit cleaner and add a fill it to these two corners. Let's just do a four millimeter. Let's do a three millimeter fill it. Okay? So here is a very simple printing place mechanism. And basically this piece here and will swivel. And you can actually print just like this. So what we'll do is we'll save each one of them as an STL. And I'll just call it part one. And the second one will be Part 2. And now it'll be saving 20 STL files that are separate from each other. But we import them into the slicer. It should keep them in their same relative position. And that's really important. Okay, so let's go into our slicer and make sure it's clear. And let's load those two parts into the slicer and hopefully they remain aligned. Okay, so the two parts actually did not remain aligned. So it's not too big of a deal. Will delete those. So we'll actually have to go and use the other method of saving the model as an STL. We'll go to Export. And we'll export it as an STL. Okay, and this uses the Cloud Translation. So first we'll have to save the document. I like to use the other export exporting method for STLs. But if you're doing a print in place mechanism and you want the position to be relative to each other, you'll probably have to use this method. So I'll just call this print in place example and save it in 3D printer academy. Okay, so now that that is saved, we can export it as an STL file. And we'll have to wait for the, the cloud processing. And so I'll see you in the slicer. 139. 1507 Print In Place Mechanisms: All right, so the file has export it and you can see both pieces are in the correct position relative to each other. And now let's slice the file and I'll show you how the printing place mechanism actually works. So if you go to Preview, if we go down through the layers, let me actually increase the infill so a little bit easier to see. Let's go to a house, go to a 40 percent infill. Okay. And the reason it's still so why does because my nozzle diameter is 0.8 millimeters. Okay. So this is how the prints and place and mechanism actually works. So you can see the two pieces are completely separate here at the start. And as we go up, you can now see that this piece here. Okay, So we're seeing this. That's why I was pulling that one up as well. Okay. So you can see we have our two pieces and as we go up at this point here, this second piece will actually bridge across. Let's look at this in detail. So at this point here, it'll actually bridge across just like that. And it won't actually be touching this piece. So that will allow us to build this axle between the two pieces. So as we go up through the layers, we can see the two pieces are always separate. They actually never touch. And then it closes around it. And now we have two pieces that will just print in place. And it'll work as a solid mechanism even though it is two separate pieces. So that's pretty cool. So I'll put this on the printer and I'll show you how it comes out. Okay, so here is the final 3D printed, very simple prints in place mechanism. And you can see that the hinge works and it can't be separated. And it has just enough space for it to rotate. Now here are some very, very well-designed printing place mechanism, the octopus. And this gear actually prints in this orientation. And you peel off the bed plate-like. So in the gears spin separately. So those are some examples of prints in place. Mechanisms, very, very fun and very challenging to design, but very cool thing that you can do when you're designing for 3D printing. 140. 1508 Smooth Surfaces: So another important thing to consider when you're designing or preparing your files for 3D printing is the surface finish or the quality of the surface of your 3D printed parts. So here we have two identical parts. And what I'll do is I'll actually rotate this piece 90 degrees. Okay? And if we slice it and we look at the layers, Let's go to Preview. You'll notice here that this part, because it's in this orientation, has all of the layer lines and it's not a perfectly smooth finish. However, just by rotating that same piece 90 degrees, the slicer will slice the file and zoom in here so we can see it'll actually print along the outside of the part. And that way you'll get a perfectly smooth surface. So that's an important thing to consider when you're both designing and slicing the files. If you go in this orientation, you will definitely see the layer lines. And you can improve that by going into maybe a super quality or very small layer height. So let's slice that. And then we'll preview it and you can see the layer. The layer lines won't be as pronounced, but they're still there. So a really easy way to keep your print time down and also be able to have that perfectly smooth surface is just by rotating your piece 90 degrees. So that way the nozzle or the extruder nozzle follows the shell of the part. Just like so. 141. 1509 Tolerances1: Another important thing to consider when designing for 3D printing are the tolerances of your parts. This model has five holes of different diameters and the peg is six millimeters in diameter. We're gonna see how the size of the hole affects the fit of the peg into the hole. Sometimes you want the part to fit in as a press fit. And other times you want the part to build a freely rotate. Depending on your 3D printer, your slicer settings. These results may differ. Here are the results on my 3D printer setup. The six millimeter pay fits very loosely and the seven millimeter hole, it's still fairly loose in the 6.5 millimeter hole. For my setup, an extra 0.4 millimeters is perfect for loose fit. An extra 0.2 millimeters is perfect for a slight press fit. And a six millimeter hole with a six millimeter peg doesn't quite work. I suggest trying this on your own so you can see what type of fit works best for your setup. 142. 1601sm Nuts and Bolts: Okay, so in this lesson we have a kind of a mini-project. And we're going to be fastening together two parts with a nut and the bolt. So let's create a box here. And we'll just do a 20 millimeter by 20 millimeter box, and it'll be 17 millimeters tall. Okay. And we'll use the silhouette split tool to cut this box and a half. Okay? You select your view direction and the target body and splits solid body. Okay, so now we have our two halves that we're going to be fastening together. So cool thing we could do actually is we could make a sketch that is the same size as the net. So that way it kind of acts like a wrench and it holds them in place as you're screwing in the machine, a bolt or the Machine Screw. Okay, so let's create a sketch on the bottom surface. And it will be a polygon. And for this, we're going to want to use a circumscribed polygon. So hover over the midpoint and the other midpoint and we can drag in that way, it snaps to the center. All right, so now we need to measure our NAT and see what the sizes. So for me I'm using a eight millimeter nut. So what I'll do is I'll do 8.2 millimeters. Okay? And that's the distance from a point to is the radius. So we'll do a 4.1 millimeter nut. Okay? And it doesn't really matter what the orientation is. Okay. So I did the point extra point too, because in our last lesson, that tolerance lesson, we found that an additional 0.2 millimeters will give you a nice snug fit. Okay, So let's finish the sketch and we get to extrude that. Let me measure the nut here. Let's extrude it four millimeters. So let's do 4.2 millimeters. Negative 4.2. And this will depend on your specific hardware. Okay, so now that we have the cut-out for the nut, Let's counter sink the top. So I'm using a bolts that has a round head and it's actually for an Allen wrench. And that is about 8.5 millimeters. So I'll do a nine millimeter counter sunk cylinder in the top. So I'll create a cylinder. And once again snap it to the two midpoints and drag it to the center. And I'll do nine. And maybe just to be safe, I'll do 9.2 millimeters. And then the height of the head of this machine screw is roughly five millimeters. So I'll do, Let's just do six millimeters, negative six. Okay? And the last thing we have to do is cut out the center hole for the actual threaded part of the bolt. And for me, that is five millimeters. And I'll do 5.5. So it's not actually threading into the plastic. There we go. It worked. And we'll just use the cut operation for the cylinder. Okay, so now we have our two parts. We have a nice spot here for the nut and it's counter sunk for the head of the bolt. Okay, So I went ahead and I printed the files. And here you can see the nut fits nicely, fairly snug actually into the hole that we created for it. And we could just thread in the bolt like so. So this is a nice way to actually design your parts. So that way the hardware fits in really nicely. It's counter sunk. You don't have to use a wrench to hold the nut. And it's just very convenient. And it's one of the great things that you can utilize when you're designing your parts for 3D printing. 143. 1602 Bearings: You can fairly easily design your parts that way. Bearings can be inserted into them. That will greatly reduce the amount of friction on the rotating parts. So what I do is I take the covers off of the bearings and I actually decrease them because the greases there for higher load applications and most likely for 3D printed parts, we're not going to have that high of a load on the bearings. So degreasing them is perfectly fine. Here you can see how well the bearings actually help to part continue to rotate even after releasing from the input force. For lubricating the plastic gears, you could use silicone oil. You want to avoid any other lubricants that will actually degrade the plastic. So that's why silicone oil is a good choice. 144. 1603 Magnets: Another really cool thing to do a 3D printing. Now you can't do with any other manufacturing process is you can embed magnets into your parts. And what I mean, you could embed that it means the only way to actually get the magnet out of the part again is to break open the part. Okay, so here you can see the magnet that is imbedded into the part. And you could do this by inserting the magnet while the part is printing. So while that cavity is still open, all you have to do is insert the magnet into the cavity. And then the 3D printer will actually finish printing the part and cover up the top of the hole. So here you can see the printer is still printing. And I'll pause the printer here and insert the magnet into the part like so. And then click resume on the printer. And now you just have to wait for the printer to finish the print. And once it's done, you'll have your magnet fully embedded inside of your part. 145. 1604 Threaded Inserts: In this video, I'll show you how to use threaded inserts and your 3D printed parts. For this, you'll need a soldering iron as well as threaded inserts for 3D printing. Now there's two different types of threaded insert. There's, there are threaded inserts for injection molding, and there are threaded inserts for 3D printing. Make sure you get the ones for 3D printing. My threaded inserts were 5.5 millimeters in diameter. I made the holes in my part five millimeters. Take the soldering gun and put it into the threaded insert and lightly press down. It's actually pretty easy. Just make sure to get the alignment correct. Adding the threaded inserts really makes the parts look really high-quality and finished. I have attached the design process of this enclosure to the end of the video. If you're curious how I designed it, feel free to watch that if you want. 146. 1701 Overview: Okay, so to prepare your models or your design, or the bodies in Fusion 360, to prepare him for 3D printing. Well, you'll have to do is you'll have to save the body as an STL. So here I have this hydrofoil wing here. It's for a hydrofoil wing, so it flies underwater basically. And so what you do is first I'll name the body. I'll call it wing. Okay. And then you can right-click on the body and go to save as STL. Here you could choose the refinement. I've always found that medium is fine. Okay? And then just click Okay and save it to wherever you want. I'm just going to save it onto my desktop here. Okay? And I'll just click Save. So now as you wanna do is you want to go into your slicing program. And I like to use ultimaker Cura. See I'll drag it down so you can see the name ultimaker Cura. And there what you do is you just take your I'm file that you export it. And let's see here. I have it right here on my desktop. So you take your STL file and you just drop it right into your slicing program. Now this wing is very large, so I'm going to switch over to my preset printers and then switch to my reality CR 10. Because as a bigger build plate. And what you could do is you could arrange the model by using these controls over here, you have the movement, scale and rotate. So I'll need to rotate the wing into a vertical orientation. And you can see how it has that. Here. I'll go back to this spot here. How it has this look, I guess the stripes. That means there's something wrong and it can't print it in that position. So if I move it over to the center and let's move it up. Okay? And this wing is very, very large. So in reality, I would cut it in 1.5th. For this, I could just actually scale it down 50%. Okay. And it should, I might have to move the arrow again. It yeah, so it should snap it to the build plate. All right. And then you can choose your settings. They have default profiles and Cura that are actually very good. You don't really have to stray too far from the default settings. So I could just go to the low quality setting and click Slice. And it will load for a moment. And I could see it'll take 12 hours to print this wing. And if I preview it, you can see that there are different colors. So you can go to this color scheme up here and you can have it show different, I guess, the extruder, the travels the helper subshell. So on this one here you can see the shell is red and the top and bottom is, the top and bottom are yellow. And the infile is this orange color. So this is actually the path that the nozzle will take. So let's drag this up here. And you can see if you scroll on this line here, you could actually go through the entire path and preview exactly what the 3D printer will do. All right, so in these next, I've a lot of videos actually coming up on all the different settings. So if you want to get a detailed view of Hera and everything could do, then I recommend watching all of these next videos. I'll be going through everything in detail. Basically, quality shell infill material, speed, travel, cooling support, build plate adhesion, and unlocking other settings. Dual extrusion, some special nodes are some experimental things. There's a whole bunch of cool stuff and cure. So if you want to get a really good detailed and really build up your knowledge of cure. Then I suggest watching these next few videos. 147. 1702 Downloading: To download a cure, just go to Google and type into Cura. And you can see automakers website pops up first. And cure is actually an open-source slicing application. But Cura, but ultimaker has their own version of it. And it's very good. So that's the version that I use. So just go to automakers website and agree to that. And now all you have to do is just click download for free. And it should, yeah, you could do it. You can download it for Windows, Mac, or for Linux. So I have a Mac. So all you have to do is click on your operating system and click download now. And it's as simple as that. 148. 1703 User Interface: In this video, I'll give you a quick overview of Ultimaker curious user interface. Okay, so on the top left here, we have all the different preset printers that you could add. And I have three printers as my presets. And on top we have the prepared tab where you can actually input or import your 3D models. So here I've put this, I guess some adapter that I've made. I'm, I could also put this motor mount, everything like that. And on preview, you'll notice that it's actually see through until you click the Slice button. And it'll actually give you a preview of what the 3D printer will do. And he could drag to the layers like so. And the Monitor tab is for when you have your 3D printer connected via USB. And you actually control the 3D printer and monitor the print while sprinting from your computer. Okay, on, if you go back to prepare, on the left, we have all different tools where you can move, scale and rotate. So I can move the model. I can scale the model, and I can rotate the model. And if you right-click, There's also some other things here. So you can multiply. So if I click on a model and right-click it, you can multiply the model, like so. And you can also arrange all the models automatically. Okay, and for the settings, you click on this button up here. There's different preset profiles and you can modify them as well. And there are a bunch of other settings as well. And if you want to get to the advanced mode, like I have, just click on these three lines here. And you could have basic just to keep it simple, or E2 advanced export, or even show all of the different settings that are available. And there are a lot of settings, but really, I mean basic or advanced as fine. You don't really have to change much from the default profile. And when you're ready to slice it, just go on the bottom right here and click Slice. Okay, and then you get to click preview. And now we have a preview of exactly what the 3D printer will do. So that's a quick overview of ultimaker Cura user interface. 149. 1704 Preset Printers: In this video, I'll show you how to add your own printer to cure. So go to this button up here. And for you it might be a little bit different. So I've already had, I already have 3D printers added. So just go to add printer. And so it'll say add a printer on the network. And most printers, most inexpensive printers do not connect to the network. So you want to go to add a non-network, non networked printer. And you can see here it automatically goes to Ultimaker since they are promoting their 3D printers, of course. But to be honest, I think Ultimaker charges too much for their printers. And you get the same exact quality with an inner 3 which costs only a little over $200. They are nice. They have some nice feature I've used ultimately pictures before, but I actually do not recommend them. Okay. So let's see, let's say have a reality. So I go to reality. And you can see all of these realities. 3d printers already inputted into Cura. So as long as you have the updated version of Cura, you have all of these printers preset. So let's say I have a, I don't know. If you've got a new reality CR ten mini. Just select that and you can even name it. And then you can add that printer. And then once you click Add, it'll show up on this list here. And that way you could easily switch between the preset printer. So it's very nice. So that's a quick overview of the preset printers in ultimaker Cura. 150. 1705 Profiles: In this video, I'll show you how to set up a custom profile in ultimaker Cura. So basically a profile is just a preset for your settings. And you can set up different presets or profiles. And I'm right here. So you go to manage profiles. And here you can see there are the default profiles, which are actually very good. And you may not even have to create a custom profile, but it's kind of nice to know how to do that. So here you can see I have a custom profile, 4.8 millimeter fast printing basically. So to do a, to make a custom profile, where you can do is you can start from an existing profile. So let's say I want to create a high-quality profile for my 0.8 millimeter nozzle. So what I could do is I can start with dynamic quality and I can go to my line thickness of my line width here. And I could change it to 0.8 millimeters. And now what you could do is go back into manage profiles. And you can actually don't go there. Go to here. You do create profile from current settings slash overrides. So just click that button. And so synthetic call it dynamic quality number two. And I'll do is dynamic quality 0.8 millimeters for my zero-point eight millimeter nozzle. And when you click, okay, now it shows up. And if you want to delete a profile, just make sure you're not already on the profile over here. So let's say when I delete the dynamic quality profile, I could just go to a different profile, maybe the low-quality one, and then go back into manage profiles. And then you could easily just click on it and then just click Remove. Just like that. So either modify existing profiles or you can create your own profile from scratch. But highly recommend just modifying an existing profile. If there are certain settings that you happen to use a lot, then this could be very convenient. So that's a quick overview of profiles or custom setting. Profiles in ultimaker Cura. 151. 1706 Quality: In this video, I'll show you how to adjust the quality of your 3D print and now insecure, basically the quickest way to adjust the quality is just to change which profile you're in. And so if you go to super quality, and basically it just changes the layer height. So pretty much the smaller the layer height, the higher-quality the print will be because you'll see less of the layer lines. And a low quality print like 0.28 millimeter layer height, you'll see those layer lines more. So if you want a smoother surface finish and you could do super quality. And just for an example, Let's see here. If we did super quality and we slice the model, we'll compare that amount of time. So 19 hours for this a very long time compared to low quality. It's only seven hours. So you can see is a huge difference between super quality and low quality in regards to print time, I usually just print on low quality because most of my prints are functional and I don't mind the layer line, look for what I do. So that's a quick overview of how to change the quality of your 3D prints. 152. 1707 Shell: Okay, so now let's start to get into more of all of the moreover the specific settings. So if I close down all of these here just like that, you just click on the little arrow button and it closes down in the drop-downs. And so you can click this button here, the three lines, and you could change how many settings that you want to see. So as default, I think it shows just the basic settings, but you can just change it to advance. Now usually use advanced because it has a couple other things that I like to use. Fairly. User settings. A lot really. Okay, So the first thing you could do is you could adjust the shell. And basically, if I go to preview and okay, so the shell is going to be the red color. If we zoom in here, you can see that right now there is one shell and there is one interval. So that is the wall line accounts. So we have to basically to outer walls or two walls, inner and outer. And that is good for most of the time. However, if you want to increase the strength of your part and one of the best things to do is to increase the wall line count. So let's say we want this to be. Let's do four and we'll slice it. And we'll compare the difference. So now you can see there are three inner walls and there's one outer wall. And yes, that will greatly increase the strength of your part. So you get both increase the wall count and the infile if you want to have a much stronger part. So you can also change the top layers and the bottom layers. By default it's for but a lot of time. So let's go down to the very first layer here. You can see that's quite a big area for to print, and it has to do that four times. So I could really slow down your print time. So what you could do is you can just decrease these 22. And let's go back to two for the wall count. And now you can see that the print time will be much shorter. For this model doesn't make the biggest difference, but sometimes it's significantly decreases print time. However, with that, you risk having not as good of a quality finish on the top or bottom surfaces. Because usually by the third or fourth layer, any imperfections will kind of be hidden by the layers above them. So if you only give it two layers on the top, then there's a chance that it could still not be the best quality. But if you're prototyping or just trying to test your design, then by changing the wall count and the top layers and bottom layers can greatly speed up the print time. So that's a quick overview of the shell settings in ultimaker Cura. 153. 1708 Infill: In this lesson, I'll give you a quick overview of the different infill settings in cure. All right, so first off, we have the infile density. And that's basically what it sounds like. It's the density of the infill. So typically anywhere between, let's see, let's say ten to 40% is pretty normal. On average, I'll probably say about 20 percent infill is probably most common for, for most people. If you want to print faster, you go down to 10 percent and 40 percent. It will be a lot stronger and more dense. You can even go up to a 100 percent infill, which basically means you'll be printing a solid part. And usually you don't wanna do that for a large thing. You usually do that for a smaller part that needs to be very strong. And anywhere between 50 and a 100 percent is very unusual. And I don't think it would make that much of a difference going anywhere between 50 and I don't know, 50 and 70. At that point, it has some diminishing returns. So yeah, so basically, a good rule of thumb is about 20 percent infill and you can also change the infill pattern. So let's go to 20 percent. And by default right now and Hera, they put it at cubic. However, I'd probably prefer grid. I'm, I'll show you what the cubic looks like. The logic behind this one is that it's strong in every direction because it's a bunch of essentially triangles inside and triangles are very strong shapes. The only issue I have with cubic is, I'll show you here if we zoom in, the lines cross over each other. So let's go through here and preview it. So when it, Let's look at this line right here, go down vertically on the screen. And you can see when it gets further along, it'll actually cross directly over it without moving up or anything that sometimes causes it to hit that line right there. And that for me has caused some issues. Let's compare that with grid. Okay, so create a similar, however, I don't have that same issue as much. If you're looking for an infill pattern that doesn't cross over itself. You could do lines. And the only downfall with that is it could be a little bit weaker. So you can see the lines actually skip every other. So if we go through, you can see that's kinda of like a lattice structure. I use grid a lot. I do use cubic lot. A lot of, there's a lot of other different ones. Quarter cubic centric zigzag. The other most common one to use as gyro ID. In gyro, It's a cool one because it's strong in pretty much every direction. And it doesn't ever crossover itself, which is kind of interesting. So here's an example of how it looks. And probably for thyroid I would go down to 10 percent infill. And it has this really interesting wavy pattern. And it's just, I don't know, I've had a lot of success using Girouard. It's kind of fun to visualize and it works really well actually. Okay. And usually I don't adjust any of the other settings. So a good a good infill to use for most parents would either be cubic or grid. I have a lot of success with those. And then occasionally I'll do gyro ID. So that's a quick overview of different infill settings in Cura. 154. 1709 Materials: Okay, In this video we're going to be going over the material settings in Cura. So basically for different materials, you want to print out different temperatures. And I'll be going over that more in the types of filament section of this course. But for now, if you're printing with PLA, Usually once be between 20210 Celsius. And the reason you would change it is a higher temperature would have better layer adhesion. And you're also risking some warping or sagging because it heats up the plastic more. And also the build plate temperature, usually between 50 and 60 is a good rule of thumb. For this default settings here. It puts it at 50. However, on my other printer it puts it at 60. And I think 60 will probably give you more success more of the time. But once again, if you heat up the plastic too much, you risk it warping. Okay, So if you print with on the different filament, I'll say the most common filament besides PLA would be P, T G. And that one requires a much higher printing temperature. And once again, I'll be going over that in more detail in the types of filaments section of this course. So yeah, this material section here, these settings here are mainly for adjusting temperatures for different materials. 155. 1710 Speed: In this video, we'll be going over the different speed settings in Cura. So by default, for my CR 10, the print speed is set to 100, 50 millimeters per second. And that's a very good speed to print out. Um, I have a lot of success using that speed. However, I've been able to print okay, up to a 150 millimeters per second. I don't really recommend a 150. It's very fast, but if you want to print something very fast and you don't mind a lower-quality surface finish, then 150 is good. If you have things well, if you want to decrease the chance of your print failing, then it go for a lower speed, such as 40 millimeters per second. And basically, the higher you, the higher speed that you print out, the higher the chance of that print failing. And I don't really suggest touching any of these settings here for the other speeds because they automatically adjust with your print speed. And curious built-in speeds for the infile and wall and travel are all very good and it's proportional to your print speed. So for everyday printing, 50 millimeters per second is very good. And you can even do 7080 millimeters per second without really noticing any difference in print quality. So that's a quick overview of the speed settings in Cura. 156. 1711 Travel: All right, so now let's look at the travel settings in Cura. Now right away we can see that the first option is enabled retraction. And basically what that does is when actually we can see it gives us a little hint of what it does. It says, retract the filament when the nozzle is moving over a non printed area. So basically what that means is whenever the nozzle is not actually printing part of the part of your, the part that you're printing. Then we'll actually suck back the filament backwards in the nozzle. That way it doesn't ooze out causing any stringing. So retraction greatly reduces any string. And you could change the retraction distance. So by default set at 50 millimeters. And this will affect the amount of stringing essentially. So if you do have a lot of stringing, one thing you could change as the retraction distance, and you could increase it. For me, I found that the default at 50 millimeters works perfectly and my prints don't have any stringing at all. Another cool thing that you could adjust is the Z hop. And basically what that does is if you're printing a tall skinny column, it'll actually lift up the nozzle when moving around. That way doesn't the nozzle won't crash into your part. So let's actually read what it says. Whenever a retraction is done, the build plate is lowered or the nozzle is raised depending on your printer. It prevents the nozzle from hitting the print during travel moves, reducing the chance to knock the print from the build plate. Yeah, it also prevents the print from breaking itself or the nozzle breaking your print. So if you have a tall narrow column and a bunch of tall narrow columns in your print, you may want to turn on Z hop. That way. A lot of times the, if you're printing large overhangs, it could actually, the plaza could warp up a little bit and the nozzle could hit that warped portion, causing that piece of your print to break. So z hop will actually lifted up and you get, decide how much you want to lift up. So right now it's set to a very small amount of point 2. And I'm not sure how high you can make it go. It looks like it doesn't matter how high you can set it, but I would not do five millimeters. That's very extreme. Probably really decrease or really increased the amount of the print time of the parts. So yeah, that's a quick overview of the travel settings in Cura. 157. 1712 Cooling: So Cure also lets you set how much you want your part to be cooled. So most 3D printers have cooling fans. And let's say for instance, you're doing, your print has a lot of bridging or other things you can control how fast the fan is going. And by, by default, print cooling is turned on. And basically the faster you print the moral needed to cool down the print. And usually I'll just keep it at the default settings. I've had very good success with default cooling settings. So I don't recommend changing these. If you do change them, you'd be basically feel free to change them and experiment. But I've found that the default settings work very well. And I haven't hadn't really a need to change them. So that's a quick overview of the cooling settings. In ultimaker Cura. 158. 18000 Intro: In the next few videos, I'll be going through a bunch of different filament types. These are really cool. It's a lot of great options out there. So I'm excited to show you a bunch of really cool filaments that you could utilize in your projects. All right, let's go. 159. 18001 PLA: So the most commonly used filament for 3D printing is PLA, and this is for FDM printing of course. So PLA, and you can see here, is usually sold with a 1.75 millimeter diameter if you get other thicknesses. But by far nowadays, 1.75 millimeters is the most common. And so it prints at about 200 degrees Celsius. It says 195 to 230. But usually 200 or up to 210 is good. And you can see here that this is what they call silk, essentially just a glossy finish. So he anywhere from Matt to glossy and they call it silk. So there's also Matt PLA. And just depending on what you're going for, you can see this one here. It's not shiny at all. So you can get map PLA all the way up to shiny PLA. And PLA is a great material because it's very easy to print with. It's very strong. It is a little bit, it can be a little bit brittle, but it's really not that bad. It's a great all around print. It cannot handle super high temperatures. And that's the only thing. So if you're making a part for your car or anything that's going to be exposed to high temperatures, you're going to have to find a material other than PLA. But for most things, PLAs, a great material. It is semi biodegradable. And this varies depending on who you talk to. But under the correct conditions it's biodegradable. But those are kind of specific conditions. You have a fairly high temperature and it will actually degrade. So it's actually a relatively decent plastic to use. It's not really compostable, but kind of so that is PLA, It's a great overall material used. It's the most widely used filament for 3D printing because of its ease of use and its versatility. 160. 18002 PETG: Okay, So next we have P T G. So P t g is the second most commonly used filament and it's a good alternative to abs. So not long ago people used abs more than PET g, But now P T G is becoming more popular because it does not emit any fumes or maybe as many, as much doesn't have as many toxic fumes as ABS does. Abs. You'd only really want to print in a well ventilated area, but P Tg is pretty much fine as far as I know. And I don't really know the exact science behind it. But yeah, PDG is a much stronger material and as much tougher. And yeah, so you can tell here, it prints at a higher temperature, so at least 230 degrees Celsius, whereas PLA was around two hundred and two hundred and ten. This is from 230 to 260. And you also have to increase your bed temperature. I go up to 70 degrees Celsius to have better bed adhesion. And you can see, you can even tell just by kind of feeling, it behaves differently. It's a little more bendable and less brittle of the material. So yeah, it basically stronger than PLA. And it also is a little more tricky to print with. You could have some more stringing and it can, it's more prone to warping compared to PLA. And this is the second most popular type of plastic to print with P, T g of a lot of great success with it. Yeah, It is a great material as well. 161. 18003 TPU: Okay, So next we have TPU and TPUs are really fun. Filament here, let me pull out a strand here. It's a flexible filament. So here you can see just how flexible it is. Like a very rubbery plastic. It is a lot trickier to print with. It's definitely prone to stringing and you also have to print it at very slow speeds. And otherwise what happens is when it's feeding it into the machine, it will bunch up like this and kind of jam in on itself. And so it's an interesting plastic. You can use it to make skateboard wheels on a bunch of other things, shoes. It's not the easiest filament to print with. But if you're looking to print something flexible than TPU is the go-to filament. Let's see here. I'll put it up. I lost the little hole. There it is. So it prints out this one here at least goes from 200 to 220. So not too much different than PLA. They are definitely trickier and definitely prone to stringing. But a great material nonetheless. 162. 18004 ABS: So the next material is abs. And I'm holding PET g because I actually don't own any abs. And the reason is because I print inside of my office and I don't really have very good ventilation. And ABS does produce toxic fumes or you don't want to breathe. So that's why I use PET g instead of ABS. Abs. Abs is a very basic plastic widely used in toy industry. It's, it's good against higher temperatures compared to PLA. It is a great material. Actually don't print with PLA though, with ABS because of the fumes. So a good alternative, like I said before, is P T G. 163. 18005 Marble : Speckled: Okay, Next we have a cool filament here, and this is a marble PLA. If you're looking to have your prints look a little more aesthetically pleasing. Try marble PLA or like a speckled PLA that really improves the finish, a kind of heightened imperfections. The only issue with using filaments like this is it could cause your nozzle to clog. So if you're using a 0.4 millimeter nozzle, you're almost risking the nozzle getting clogged. So you might want to bump up to a 0.5 millimeter or a 0.6 millimeter nozzle to print speckled or marble filaments. 164. 18006 Metal:Copper Infill: Okay, so now we're getting into the very fancy filaments. This here is a copper metal infill. And it's made by pasta. It's, I really, really liked this filaments, one of my favorite filaments. So it's actually, I don't remember exactly how much coppers inside of it. I think around 20 percent actual copper. So you could actually oxidize it. You could sand it and polish it. It's extremely expensive for PLA. And yeah, so it is PLA with copper inside of it. So that's how it works. It's they put copper powder in it. It's a very, very brittle. And let's see if I get show you how brutal it is. See that. So it's extremely brittle and that's because of the metal infill. And that makes it very tricky to print with. But I've actually had great success with it. It's really fun to oxidize it. You could oxidize it with hydrogen peroxide, vinegar, and salt. So just mix those three equal parts and just sand down the copper and you could get a really nice green patina. So actually I have some right here I can show you. So this is printed with the copper filament and I I gave it this green patina. So it's not colored or anything, it's just literally the oxidation. So I really like this filament. It's very, very expensive, but it's very fun to use. There's other ways, of course, to get a thick copper look. You could post-process it, but this is fun. I really like it. It's very cool, exotic, PLA, filament. 165. 18007 Wood Infill: So another PLA, filament that you can get is a wood infill filament and so on. And you can see here, but it kinda has some little strings in it. So it's actually just PLA, with basically wood saw dust inside of it. And once again, it's a little bit more brittle. Let's see if I could show you here. Well, it's actually actually performing pretty well right here. But you could see how kind of is changing colors is kind of unique. You can see where it's kind of tearing apart where the wood filament is or the wood infile is. And I do actually, I do actually have an example of what it looks like. So I 3D printed this violin with wood filament, and it kind of has a real wood color. It looked better before I oil that actually the oil made it look a little bit less like real wood. But you can see here, I definitely had some issues printing with it and it had some serious layer adhesion issues. So once again, the infile filaments are a little trickier to print with, but you get some cool finishes with them. Yeah, you can see the layer adhesion issues there. And I probably could have mitigated that with a higher printing temperature, as well as using a printer that has an enclosure. But I was able to successfully 3D print the violin with just normal PLA, with no issues at all. So that is the wood infill PLA 166. 18008 Glow In The Dark: So this filaments an interesting one here. This is a glow in the dark filament, but it's also a color changing, so it's multi-colored, glow in the dark and you actually, you're active. It'll tell me Studio obviously because it's light, but it changes from like a green to a blue to back to a green again, glow in the dark color so you can get normal color changing filament that slowly changes color throughout the school. But this one is kinda fun. A little gimmicky. Not really much uses for it. But if you want something glow in the dark and you wanted to slowly change from like a blue to a greenish color. And this is perfect for that, of course. 167. 18009 Heat Sensitive: Okay, so here we have a really interesting one. So this is actually a color changing filament. And so I've actually tested this before, but if I add some heat below it, Let's see how long it actually takes. Yeah, so it's already changing color. I don't want to melt it and ruin the spool. So I'm gonna keep the flame kind of far away from it. But you can see, well, it's kind of hard to tell, but it is actually changing color. There we go. So this color changing filament goes from a dark green to a yellowish color. And I didn't heat it up that much. But it's so it actually changes from, you can see it here. It changes from this bright greenish yellow to orange to a dark green color. So it's heat sensitive and it's actually it doesn't actually have to get too hot for it to change color. So like obviously i'm I'm touching it now and it's probably men try to guess how hot that is. Let me think. I don't even know. Maybe a hundred and fifteen hundred and twenty degrees Fahrenheit. So it's really not that hot. Let's see. Hopefully I did attach it a little bit there. I got a little bit too hot. But yeah, so very interesting has some cool applications. You have to be creative to find those applications. But I definitely see some interesting use cases for color changing filament like this. And it's also just PLA. So this actually very easy to print with. And it'll slowly, as the temperature goes back to room temperature, it will slowly go back to this dark green color. 168. P1 1 Introduction: Hello and welcome to the first project of this course. I'm really excited about this one. We're going to be making this gearbox. Now, this gearbox has been extremely popular on both my Instagram account and on my YouTube channel. So that's why I decided to use this as one of the course projects just because of how popular it is and how many people really want to make it. So I thought it'd be cool to show you how I designed it and how you can design your own. So if you haven't watched all of the other videos, that is fine. So there's two different approaches you can take when you're learning how to use Fusion 360. You can either start with a project like this and kind of learn while doing. Or you could build up the tools first and then uses tools after. And I think either way is fine. Even starting with the project might be a good idea just so you get the full big picture right up front. And then he could fill in any gaps with all of the other lessons that show you all of the tools in Fusion 360. So yeah, very excited about this. At the end, you should have a working gearbox. And this is actually, I don't even know how many iterations I've gone through on this design, but this design works very well. So that'll be perfect for you have already fixed all of the issues I've had with the other designs. So yeah, it does require metal rods. You could 3D print your own rod. That's okay. But it also requires standard bearings. So yeah. With that out of the way, let's jump into the first part of the project. 169. P1 2 Saving: Okay, so the first thing you'll want to do is open up a new design file. And we'll save that file. And I'm going to save it in my 3D printer Academy project folder. And it'll actually create a new folder inside of that project. And I'll call it gearbox. Okay? And I'll call the design gearbox as well. Alright, now click Save, and we should be ready to go. 170. P1 3 Gears Part1: Okay, so now that we have the file saved, the first thing we need to do is create the first gear. Now to do that, go up to the top here, go over to Tools and click on Add-Ins. Alright, now here we have the scripts and add-ins. Scroll down until you see spur gear. And we're going to click the one that has the blue hexagon that says C plus plus. So select spur gear and click run. Okay, so now here we have all the settings for the spur gear and we're going to keep it in metric will keep the pressure angle the same. And we're going to change the module. Okay? And I go into detail about what the module is in my gear lesson. So if you want more detail, go ahead and check on those lessons. Okay, so what we're gonna do is we're going to create gear that has essentially a big part of the gear and a small part of the gear. And the big part is going to have 90 teeth and the smaller gear is going to have 32 teeth. That way we have a three-to-one ratio on each gear. So for number of teeth will start with 90, will change the route, fill it radius to 0.5. And the gear thickness is going to be five millimeters. And if you're not already in millimeters, you could change your units and the document settings up here. Okay? And so now we're designing these gears to have a bearing inserted into them. So a standard bearing is 22 millimeters, but we're going to give a little bit of extra space. Just because sometimes if you print a hole, the hole is slightly smaller than we actually designed it to be just because of 3D printing and that the tolerances aren't that tight on the printers. So we'll do 22.2 just to get that extra 0.2 millimeters so we could press fit the bearing into the gear. Okay. Now if you click Okay, it'll load for a little bit. And we will have our first part of the gear than the 90 teeth gear. Okay, so here it is. That looks good. Okay, so now we want to create the smaller 32s gear. So go back to Add-ins, scroll down to spur gear, and click Run. Now it's nice because fusion 360 remembers the last two settings that we used. So all we have to change is the number of teeth to 30. Okay? And then we'll click. Everything looks good. We'll click Okay. So you can see now we have two components. We have the 90 teeth spur gear and the 32 teeth spur gear. In the next part of the project, we're going to start arranging these gears, how they should be. 171. P1 4 Gears Part2: So as you can see now, the small gear is actually inside of that big year, so we'll have to move the small gear component, eventually will combine the two. So go to your spur gear, that 32 tooth spur gear, right-click and go to Move Copy. And now we'll move this up five. And it should line up perfectly. Okay, so that looks good. Now the next step is actually going to build in a little bit of this small years actually could be a little bit wider than the big year. We put in to the settings, five millimeters. However, let's move this up another four millimeters just to give us a little bit of extra space. So we'll click on this face here, right-click it, go to Move Copy. And we'll drag this up. And we'll type in four. Okay, because we want this to be nine millimeters. Total thickness for the small part of the gear on right. Now we'll click, Okay. All right, so that's good. Now the next thing we wanna do is add just a small rim around this gear. And it's mainly for aesthetics, but it also helps the two gears from rubbing against each other. So we'll select on this face. On the top here will go to solid. And we'll create a new sketch. Click on a capture position, that's fine. Okay, So now we'll create two circles, like so. And let's do 75 millimeters for the first circle. And we'll create another circle. You could press C to create a circle. That's the shortcut. And this one let's do, let's try 70 first. And 70 looks good. And then click Enter or Return. Okay, and click on Finish. Sketch. Extrude this rim here. Select on that ring and then click the Extrude button. And we're going to type in 2.5. Okay, and it's going to join it to that bottom spur gear, the 90 tooth spur gear. And that's okay. All right, now let's just round this off little bits. Let's select the top face. And we will add a fill it. And let's add let's see what a one yeah, Let's do a one millimeter fill it. That looks good. And then select. Okay. All right, so there we go. We could also add a fill it here on these bottom two edges. So let's do that as well. Let's just do a half a millimeter. And then click, Okay. All right, so there we have the first gear. 172. P1 5 Bearing Mockup: Okay, so the next thing we'll do is we'll actually design a mock-up version of the bearing. So to do that, we'll just create a cylinder. Will select the floor plane. And we'll make it 22 millimeters in diameter. And if you get this glitch were just creates the circle, you just have to try again. Fortunately, this glitch happens a lot for me. I'm not sure if it's the Mac version or what. But one way to get around it, well, I found is don't set dimension yet. Then set the diameter after that way you don't get the glitch were just creates only the circle and not the 3D object. Okay. So a bearing is seven millimeters tall or y depending on how you look at it. And that looks good. New body. Okay. And now we need to cut out the center of the bearing. Will create another cylinder. This time I'll select on the top plane. And this will be eight millimeters. And we're not going to be printing this. So I'm not going to worry about any tolerances or anything like that. And we'll just drag it down subway, it gets a hole through it. Okay, and now let's change the color of this so we could differentiate everything. This is a body and not a component. So go to your body's folder. And you'll see here we've actually pick a time to name it. So just double-click and we'll call it bearing one. Right-click on it and go to appearance. And let's just do a well actually what we could do is instead of changing the bearings, since it's already a steel color, It's a satin steel. Let's change the gear to a plastic gear. Let's go to plastic. And let's just do abs white. And we'll do that for both of the gears that we have some we could tell the difference between the individual parts. Okay, so there's our bearing. Let's put it into the position where we want it to go. So let's right-click on bearing one, go to Move, Copy, click point-to-point, and now the origin point. Let's do this top face here. So it's actually the center point there. You can see a little blue dot in the middle. Okay? Actually you will have to click on the edge, like so. And now the target point, we'll click on this circle here. So that's where we will position our bearing inside of the gear when we assemble the entire gearbox. Now click, Okay. 173. P1 6 Gears Part3: If we turn the gear around, you'll notice that there's this extra space here. So we'll actually need to create a smaller part of this opening here. So that way when we put the bearing in, it goes to the exact position where we want it to go. So to do that, first, right now I have show hidden edges on them and turn that off. And I click on this display option button here, go to visual style. And I'll do shaded with visible edges only. There's a lot easier to see now. At this point, we'll need to combine the two years. So let's open up the two gear components. And I'll actually open up the body folders as well. And we will start with the 90 tooth gear. So select on that body and then hold Command. And click on the next body. Okay? And now we'll click on combined. And this will join the two and click OK. Alright, so let's turn that sketch off like they're like so. And that looks good. So let's create this I guess, stopper piece inside of this cylinder. So click on this back face here and click on Create Sketch. Okay, So what this to be a nine millimeter circle. And then we'll make it a I guess we'll make it go all the way up to the end 20 to actually make sure you zoom in because we wanted to be 22.2. Okay, Looks good. Now click Finish Sketch. So now what we could do is we could extrude this. First. Actually, let's check on what the distance is from this face to the inside face of that bearing. So let's turn off sketches. Will click on this face and then the face inside. And if you look on the bottom right corner, it says the minimum distance is seven millimeters. Okay, so we wanna create, will want to extrude it seven millimeters that sketch that we created. So click on this face of the sketch and we'll click on Extrude. And we'll do negative seven millimeters. And we'll actually probably want to do new body first and click Okay. And then we will click on the gear body and combine it with that new body we just created. Okay. So just click on the body of the gear then that new body that we created and click Combine. And the reason we're doing that is because we don't want it to connect to that bearing. So it will join those two pieces. That looks perfect. So now if we take our bearing and we go back to the normal free Move type, if we pull it up, you can see that there's a perfect space for this bearing to fit in, just like so. And we'll just cancel that move since we want to keep the bearing inside of it just like that. And this hole here is, has a radius of 4.5 millimeters. So the diameter is nine millimeters. So it won't interfere with our eight millimeter steel rod or a carbon-fiber rod depending on what you choose to use. 174. P1 7 Gears Part4: Okay, so now it's time to rotate this gear into position. So let's right-click on the spur gear. Move Copy. And we want to click on the Move type, wanna do a free move and will set the pivot to the origin. So if you don't see the origin, go up to here and turn on the visibility for origin. Okay? I'll go down to the bottom here and I'll click on this world origin. And my computer is lagging a lot. Okay? So there we go. All right. Doesn't really matter how you rotate it since we looked on the center. But let's just rotate it. Let's rotate along the x-axis. So we'll click on this one here. And we'll rotate it 90, actual rotate around this way. So I just looked at the view cube and this we're looking at the back right now. So that way the front of the gear will be like so. Okay, so that looks good. Rotate it 90 degrees and click on. Okay. And only issue is that bearing didn't rotate, so we'll right-click on the bearing, go to Move Copy. Select the same pivot point, the world origin. Click on the green arrow to confirm the pivot point. And we'll rotate it 90 degrees as well. Click Okay. All right, so there is the gear in the correct orientation. Now let's duplicate this gear. So to do that, all we have to do is just right-click on that and we'll go to Move Copy. And if we do a, if we copy this gear, it'll actually be linked to the original gear. So any modifications that you make to the original gear will also be made on this new copy. If you don't want that to happen, you'll actually have to copy it. And then right-click up here and go to paste. New doesn't show up right now, but it would if you had something copied. But we don't mind, we want them linked. So that way if we decide to make any changes on this one gear, since they're all going to be the exact same gear. Having them linked is actually perfect. So let's right-click on spur gear 90 teeth, Move, Copy. Click on the Create a copy. Checkbox. Okay, and we'll make sure that the pivot point is on the World Origin. Ok, click on the green check mark. Okay, and we have Create copy there and we're going to move it negative 61 millimeters. Okay. And then I have to double-check to see how far we move it back. Let's see 8.75 millimeters. Let me confirm that with a another 1.758. Okay. So then we're also we're going to take this new gear and move it back 8.75 millimeters. And then click, Okay. So now the two gears should be perfectly spaced apart. And I was able to figure this out basically through trial and error. This spacing here. It looks like there's some extra spacing here, but when you print the pieces, the printer is not perfectly accurate, so your gears will probably be a little bit bigger. Then we actually have designed them to be just barely, just like maybe 0.2 millimeters bigger. And if you run into troubles with the gears stripping or the gears being too tight, all you have to do is adjust the spacing between the two gears so you can just go back instead of doing negative 61, you could do negative 60 millimeters. And that will make the gear connection tighter. But what I've found is 61 millimeter spacing should work perfectly. And that's based off of this design that works. I can confirm it. So if I click here, I'll go into the sketch and let's measure the distance between these two. So from this center point to the center point, okay, Actually it's 60.5. Good thing I double-checked. Let me check on the back as well. Escape out of this finished sketch. Let's check the spacing between the gears here. Okay. I see it is 61. Okay, so we did it correct? It should be 61 millimeters. Alright. So that is perfect. And it's 8. So now you can see there's that perfect amount of space here so they don't touch each other. And these are lined up. Just right, like so. Okay, so now what we'll need to do is we need to duplicate these two gears. Let me double-check on the distance. It's going to be 17.5. Okay. So select on both of the gears. Right-click Move Copy. This time we're just going to bring them straight back. Click Create Copy. And it'll be negative 17.5. And when you do it one more time for justice one gear. So if you click on it, it'll do a little underline, a dotted underlined so you know which one it is. Right-click that click the Move Copy. And we'll create a copy and this will be negative 17.5 once again. And that's how easy it is to actually get them all set up and ready to go. So now the next step will be designing the base around this configuration of gears. 175. P1 8 Stand: Okay, so first we need to select the plane that we want to build the sketch for the base on. So for that, I think we could just use this bearing here, since it's a fairly simple plane and it's perfectly in line with the edge of the sphere. So select that face and click on Create, Sketch and be sure to click on capture position. Okay, so to start off, we'll create a slot and it will be a center to center slot will go from the center point to the other center point. And let's make this 35. Okay, So that looks good. And now let's click on the center point of this dashed line. Right here. The blue triangle means that's the central point. And let's drag this line down, making sure it is 90 degrees or vertical. And let's type in 60. Okay, so the line should have created them and try it again. Type in 60. There we go. Okay, and then let's see how far this goes here. So this is 96 millimeters. So for the base down here, click on the center point and we'll do 96 divided by two. And we'll do the same for the other side. 96 divided by two. And there's a million other ways that you could design this base. So this may or may not be the most efficient way, but it will work. Okay? We'll create a line from there to the tangent point. And from here to the tangent point. The good thing about designing it this way is we could always change this dimension here. So we wanted to be little bit taller. And if we change this dimension here, if we do, I don't know, maybe it's just an example. We can make it angled like so. But for this I wanted to be vertical, straight up and down. And we'll go back to 60 millimeters. Okay, So that looks good. And lastly, we'll need to create the holes for the metal rods. So these will also be well, these will be 8.2 millimeters. And I'm going to design them. Well, let's do a 0.48.2. You may have to actually drill out the holes. A 0.4 will allow it to be just a little bit looser for the rods. So if you don't mind drooling it out, then 8.2 is fine. If you wanted to fit perfectly first try, most likely a 0.4 will be better. Okay? And will do to the other side. Perfect, just like that. And you notice we're not really designing the crank yet. So we'll actually be coming back to this side of the base and adding this top part. And I'll show you here this top part there. So we'll come back and add that later. For now this will work. The last thing we need is the thickness of the base down here. Let's do seven millimeters. That'll be plenty strong. Like so. All right, now just click on Finish Sketch. So now we just need to extrude this. And let me see how thick I made this one. So seven millimeters. So we'll extrude this. Select on each part. And make sure, okay, that looks good. Over then we'll click on this here. Okay. Yes, that's good. This bearing here is eight millimeters and we added that extra 0.4 sets of that extra space is there. So let's extrude that seven millimeters. And then we don't want to join it. We wanna do new body and click. Okay. All right, so there's that side and now we just need to duplicate this onto the other side. So do move copy will create a copy. And the pivot points already on this side, which is perfect. So when we drag it over, we can just click on this face of that gear and it will perfectly align it. And then click. Okay. And now let's turn on the sketch again and we'll extrude that out. So we'll go to sketches, turn on the last sketch we made. Click on these two rectangles and extrude those all the way to this side here. This time we'll join it. So now this will be one solid unit. I'll click Okay. And then we could turn off the sketch. Alright, so that's the first part of the base design. Next we'll start refining it and adjusting some of the tolerances and adding some fillets and all of that. 176. P1 9 Spacers: So to keep the gears spaced correctly will actually, will actually have to design some spacers. And another thing to remember is that this last gear here will spin extremely fast, but it'll have very, very little torque, which means if anything touches it, it'll be very easy to stop the rotation. So you see here that it's just directly against this wall. That means if a drugs drugs against this part of the stand, then it could easily stopped the entire gear mechanism. So what we could do is we could just add a little bit of extra space here. Actually, we'll add an entire spacer. And then we'll, we'll standardize the spacers sizes as well. So that way there's only two different spacers sizes to keep things simple. So if we click on this face and it's kinda hard to get the angle correct. But if we go into here, we click on this one. You can see that these are separated by 3.5 millimeters. So let's click on this wall and this wall. And we'll move that by 3.5 millimeters. Negative 3.5. Okay? So now that gives adequate space for this one to rotate, and even if it's a little bit off, it's still won't hit this edge here. Okay, so we know we need a 3.5 millimeter spacer 4 here, as well as for every distance between the two gears. And also for this here. Okay? And then we'll need another spacer to go here, which will be an 8.75 millimeter spacer. So let's create the spacers. Obese, very similar to how we created the bearing. Create a cylinder. And let's find, let's just create it on this plane, on the bottom. That way It's basically on the floor. Doesn't really matter where we put these. Okay? So we'll design this to be actually isn't even really matter. It probably should be smaller than the bearing, so it only contacts with the bearing. So let's make it 20 millimeters. And we'll do negative 3.5. So this would be the small spacer. Ok, let's create a hole in the middle. And for this one to be loose. So we'll just do a nine millimeter hole. Okay. So there's our first spacer. I guess it could be considered a, a washer. Alright, now let's move and copy the spacer that we don't have to read, remake it, but you just drag it to be taller. Okay. So I'll take this here and we'll move it up so we want the total height to be a 0.75. So a little tricky to do is just pulled up, click on the bottom face and now it's at 0. Then we just add 8.758. And then click. Okay, so now let's double-check it. See if that trick worked. 8.75. Perfect. So now these spacers should work for every part of the gearbox right here will have to use both types of spacers because this distance is 12.25, which is 8.75 plus 3.5. So that should be the correct distance and we could even double-check that as well. I could do the math or I could just move it to here and check the distance between those 12.25. Perfect. So that works. So there is the, there are the two spacers there for the gearbox. And then now the next step is to design the drive gear and the handle. 177. P1 10 Drive Gear: Okay, so now it's time to create the drive gear. So go to Tools, click on Add-ins, will go down to spur gear and click Run. We'll want this to be a 32, 32 teeth in this gear. And the thickness is going to be 6.5 millimeters. And this time we actually don't want any hole diameter at all. Okay, that looks good. And click Okay. So we can't really see the gear should be. Yeah, it's right in the middle there. Okay, so let's move and rotate this gear. So let's just move it out of the center of the object. Okay, and we're looking at the front of the gearbox so you can see Front. All right, and let's rotate it 90 degrees. Perfect. Now let's set the pivot onto this face, the front face. And we'll move it. So it's right behind this side of the stand. Okay. Let's go to the front view and we'll move it like so. Okay, Let's just move it there for now. And go to your display settings. And we'll turn on shaded with hidden edges. That way we can see the other small gear here. 178. P1 11 Drive Gear: The position this drive gear. And I'm going to reference this design because it works. So the center point of the drive here to this point here, it's 1330, 36 millimeters and 41.2 degrees. And I think we'll do 30 millimeters for our design because when I was cranking on the handle really hard, occasionally a could still strips. I think 30 millimeters should be perfect. So I'll do 30 millimeters and 41.2 degrees. Okay, so let's go to here. So we'll create a sketch on the front here of our stand. Capture position will create this line. And the angle is going to be 42.1. And the distance will be 30 millimeters. Okay? And I'll double-check this one more time to make sure this is correct. Oops, I'll go from the top gear down to this 141.2. Oh, it's 41.2. There we go. Actually, that probably doesn't even matter because this distance here is the only decisions that actually would matter. Okay. Click Finish Sketch. Now we need to put this gear right onto this point. So let's take our 32-bit gear Move Copy. We'll do the point-to-point move type. We'll select this origin point and I'll move it to that point there. Okay? And now if you want to adjust the connection points here of these teeth of the two gears, all you have to do is go back into the sketch. And you could change this dimension here. Okay? And I'm going to turn off the visual style for the hidden edges. It's a lot of lines. And now I just have to move this gear back to the inside of the stand. This will be a free move. So at the pivot again, just like we did before. On that phase, click the green arrow, drag it across and click on this face, and I'll snap right into place. Okay, So that looks good. I'll click Okay. And now we'll modify the stand to make it. So we did have the axle for the handle and the drive gear. 179. P1 12 Drive Gear: Okay, so let's create a sketch on this face. Capture position. And let's add a circle here. And we'll do a 35 millimeter circle at the center point of that drive gear. Okay, now we'll create two lines. From here to there. And from here, make sure it only snaps to the circle. We don't want it to snap to anything else because I'll add a unnecessary constraint. Okay? And now we just want to make it tangent with these curves. So click on the tangent constraint. Click on the line and the circle, the line and the ark. And we'll do the same for this, the line, the circle, then the line and the ark. And now you can see the line is changed to a black color, which means it's perfectly tangent to these two curves. Now. Okay? And now let's create a 22.2 millimeter circle here. And the reason it's trying to point to is to allow you to put a bearing in if you want for the handle axle. Okay. Now that should be good. Click Finish Sketch. Okay, so let's extrude. Okay, so we actually have to go back into that sketch. So double-click on the sketch in the timeline. And it looks like we'll have to connect these two points here. That way it fills in that that area. Now we can click on these areas loops like so. And we'll extrude that negative seven. And we will do, let's do a new body for now. Okay, we'll have to go back into the sketch. Actually don't go. We'll have to go back into the sketch. We have to turn on the sketch. There we go. And we could turn off this sketch there. Because we need to cut this circle. Here. There we go. So select the circle area and click on the back of this. And it should cut it negative seven millimeters. Click Okay. So let's turn off the sketch and we need to join these two pieces. So we'll click on the stand. And actually this is a good time to rename this body to stand. So we'll click on the stand first and then this part here. And we will combine them like so. All right, so that looks good. And now we just want to extend this portion of the stand. So let's click on this face will create another sketch. Will go to the center from the center point up to here. So it should be 35. And the center point to here, 22.2, that looks perfect. And click Finish Sketch. Now let's extrude this seven millimeters. That way we could put two bearings in if we want to click okay. And now you'll see here if we're printing the stand straight up, there's an overhang that the printer wouldn't be able to print. So to solve that issue, all you have to do is click on this edge here and add a fairly large fill it. And now you can see the overhang angle is still pretty steep, so maybe let's do 15. There we go. And click OK. So now this overhang is not too steep and the printer can easily print it. 180. P1 13 Axle: And with that, there's only a couple more steps and the drive gear or the gearbox will be finished. Okay, So let's make the the axle for this drive gear. And for this we're going to design to be extra strong because we want to either attach a drill to the drive gear or we want to attach our handle to it. Okay, so let's select this face here of the small gear. And we'll create a sketch, will create a circle. And if this is 22.2, we wanna do to 21.8. That way we have 0.4 millimeters, that extra space for the rotation. Ok, and click Finish Sketch. And this is assuming that we're not designing it for bearings to be inserted into it. And the axle of the drive gear LV extra strong. Okay, So let's extend this out to here. So 14 millimeters. And we'll click Okay. And we have to create the spot for the, either the drill or the handle to be attached to. 181. P1 14 Final Design: Depending on what drill and what drool adapter using, this part may vary for you. For me, I'm using a quarter a quarter inch hex adapter for my drill. So I'll click on this part of the small spur gear. And we'll create a sketch. And I'll create a polygon. Okay? And we want to do the distance from the side to the side. So we will do this option here. Click on the center point. And so we are deciding and the radius of this polygon. So mine will be 6.5 and we'll divide it by 2. That way we have the diameter. Okay? And that's because 6.25 is roughly a quarter of an inch. So 6.5 as a 0.2 millimeter extra space. That way it'll fit in fairly snug, but not too tight. Not too loose hopefully. Okay. Yeah. So 3.25, so it's 6.5 all the way across. And we'll click Finish Sketch. And for this we'll click on the polygon. And we'll move it in. And this will depend on your adapter as well. For mine, it goes in about 15 millimeters. So I will do negative 15 millimeters. And click Okay. So now we have it set up for a drill. And if you're only using a drill, that's really where you can stop that portion of the design. You actually don't have to design the handle, of course. For this we'll do a handle as well. So that way you could either drive it with a handle or with a drill, will will still refine some portions of the base also. So we're not quite done with the base yet. And maybe we'll do that now. So basically what we'll do, we'll be doing is we'll be strengthening these sides here just by adding a chamfer. And it'll be a pretty large chamfer. Let's do Let's just do six. That looks good. Okay. And we'll also add a chamfer on this line here. This will just basically refine the look. So a new 3D printed, it looks really nice and finished. We'll do the same for this side here or this edge. And you can see it automatically continues the chamfers and makes it very easy. You don't have to select on each segment. Modify chamfer, and we'll do one millimeter again. Okay, so there we go. That looks perfect. And now let's design the handle. So we'll select on this face to sketch. And for this we'll do a slot and we'll do a center to center slot. Okay, we'll drag it down making sure it's 90 degrees and we'll do 65 millimeters. We'll extend it out 20 millimeters. And click Okay. Now we'll create the handle portion, which could be about 10 millimeters, is fine. Okay. We'll also need to create the same polygon, just slightly smaller pool we could do is we can just offset it. So click Offset, click here, and we'll do 0.2. Now it's depends on how tight we should make it. I think we should make it fairly snug because this will have a lot of force on it. And actually if you are driving it with a handle, it will probably be a better idea to make that polygon much larger. So I'll actually, I'll do that for the example. Actually, since we're doing parametric modelling, this is a good time to showcase of that. So I'll just make it offset from there. That way it's referencing that original size. Go to Finish Sketch. And let's extrude this flat part of the handle. And will want to click on that entire inside. There. Okay, so let's extrude this seven millimeters and it'll be a new body. Will have to turn on that sketch again. And we're going to extrude this little circle here. And the back. That'll be the actual handle that you'll hold onto. And this could go probably 30, 30 millimeters. Looks good. And we'll actually be joining it. And we'll click, Okay. We'll add a fill it here to add a lot of extra strength. And you could do a chamfer or fill it. Either one is fine. Some people prefer one over the other. And we'll also add one here. Like so. That looks good. And now we'll probably want to turn off the stand. Turn off this small gear. That way we could click on this inside polygon and we'll move it negative 10. Ok. And you can tell if, if we're gonna put any force on this, that would easily snap off. So we designed it for the drill, but now let's modify it for the handle. So to do that, all we have to do is go back to the sketch where we created the first polygon. This one here, the one that was 6.5. And now let's make it much larger. Let's see if 10 will work. So ten is little bit too big. We'll go to seven. Yes, seven looks a lot better. Okay, We'll finish sketch. And that should actually update everything, which is really cool. That's one of the coolest things about parametric modelling. You see that now it's perfectly modified. And that should be much stronger. To even increase the strength just a little bit more. We could add a very slight fill it on these edges here. Little hard to see. Ok, and we'll add just maybe a 0.5 millimeter. 0.5. I'm not sure why it it click. Let me try again. We'll click on OIC. I've been selecting that sketch. So turn that sketch off. And now we can select on these edges. And you'll get a lot faster and navigating around. Hopefully I'm not going too fast and hopefully I'm not going too slow as well. But you can always pause it and go back if you have two. We probably even do a one millimeter fill it. Okay. And now it's chamfer this edge, so it looks pretty okay. So that Philips kind of getting in the way the chamfers so we could do a 0.5 millimeter chamfer there. Okay. And we'll see if the chamfer works on this one. The Philip might also be getting in the way, but we'll try it. Okay, that one worked perfectly. That's great. And I could see what the current design of this handle. We will have to print it with supports, but it's not that big of a deal since it's just a flat surface. Okay. So there we have it. That's pretty much the complete design. Hopefully you learned a lot of cool things. Hopefully you learned a lot of good techniques, a lot of a lot of the tools. I mean, if you did go through, this was your first project, then congratulations. This is a fun project. I really enjoyed designing this one. I've designed it maybe. I don't know, like I said, maybe this is my seventh or eighth time designing this gearbox to try to make it perfect. And I think we're getting very close. I do have a YouTube series on it as well. Yeah. So the next steps will be slicing it and putting it on to getting it on our 3D printers and we'll see how it comes out. 182. P1 15 Export Files: Okay, so now it's time to export the files for 3D printing. So we're going to export them as an STL file. And there's two ways of doing this. I'm into it the quick and easy way. So first, make sure we have everything named correctly. We have the small space of large space here and handle them. I've already changed the names there. Okay? And so let's export everything except for the bearings. Since we will be using purchased bearings. Case you just right-click on the body and click save as STL and medium refinement and is just fine. And you could do high as well. But there's nothing wrong with medium. Click. Okay. And I'll just create a new folder on my desktop called gearbox. Now do lesson as well. Okay. So then we have standard dot STL. That looks good and click Save. All right, now do that for each item. And it automatically and gathers the name of the body. That's nice. Okay. Next the large spacer and finally the handle. Okay? And we will also have to do the gears. And since each one of these gears is exactly the same, we only have to do it for one of them. So I'll call this large gear and export that save as STL. Click. Okay. And we have a large gear and we'll also have the drive year. And I'll rename it first drive Q save as STL. Click OK. And there we have it to have 123456 different files for this gearbox. It's really not too bad. 183. P2 00 ProjectShowcase YoutubeVideo: So for our second project in this fusion 360 course will be designing this marble machine. And right now you're looking at my YouTube thumbnail because I did make a YouTube video just showing the marble machine in action. It will be a challenging project, but if you can get through it, I know it'll be worth it for you. So I thought would be fun just before we get into the project, just to show you that video. So there's YouTube video was just made to be kind of calm, relaxing, and entertaining. Right? Let's let the video rule. This is a new marble machine that I designed. There's just something satisfying about a classic marble machine. It's the sounds, the sense of nostalgia. It's something simple enough to wrap your head around, yet, just complicated enough to really be intriguing. It all starts with the lifting. We'll now there's something special about this wheel. And it's the way that the holes are angled inside of the wheel. If you notice, the bottom hole is angled in that way, the marble stays in the hole and when the wheel rotates 180 degrees, now that top angled hole is now angled down, which allows the marble to fall out. The marbles load in from the inclined plane in the front. Next, the track is placed in a way to catch some marbles as they fall out of the top hole. I designed the track piece in a way that makes it modular. That way I can attach different mechanisms like this one here. This is the divided by 2 mechanism. It uses one marble as a counterweight. That way it takes the weight of two marbles to trigger the lever. The marble machine is powered by a six-fold DC motor. So that is for double a batteries. These small dc motors are really fun and super simple. I just plug it directly into the battery pack. I used to love making marble machines as a kid. But now that we have 3D printing, it's opened up a whole new world of possibilities. Never before has it been easier to create almost anything imaginable. Thanks for watching and happy printing. 184. P2 01 Introduction: Hello and welcome back to 3D printer Academy. This is our second project in the Fusion 360 masterclass course. Okay, So I'm really excited about this project. We're going to be creating this marble machine. We're actually going to be recreating it. And we're going to be making a few updates to it and improving on the original design. So this project is a little bit more of an art than a science, I would say. So a lot of the dimensions we will be eyeballing and trying to just basically design something that works. This is a great project if you'd like to learn by doing. And you'll also learn a lot of the behind the scenes thinking of the design decisions during this entire project. This is definitely a complicated and advanced lesson, but this is a Fusion 360 masterclass. And if you've gone through all of the other lessons, you should be more than prepared for this project. All right, with that, let's get right into it. 185. P2 02 Gears: Okay, so the first thing we're going to start with is the gear. And basically we're going to be building everything around this main gear here. So to create a gear, go to Tools and head over to Add-ins. You can see they also have the other gear generator and that's an add-on that you get from the Autodesk Fusion 360 App Store. But we're going to use the basic add-in. I'm like we've done in previous lessons. And we're going to have a module of 1.5. And for the number of teeth. Let's see here. We'll set it to 60 for the root Philip radius. So we'll do 0.5 millimeters and the gear thickness will be 12 millimeters. And we'll come back to the whole diameter later. But for now, three millimeters will be fine. So go ahead and click Okay, and fusion 360 will load for a little bit. And since I'm referencing this model in my current design, it'll create the gear kind of on top of it. So I'm just going to move it over and we'll rotate it 90 degrees so that it's vertical. And here you can see it's the exact same size as the original gear. So it doesn't really matter where you put this gear it as long as it's vertical, because we'll be referencing the gear for all the other components. Next we'll create the smaller drive gear. So go back to Add-ins, scroll down to spur gear, click Run. And this time we'll set the number of teeth to 10. And all the other settings will stay the same. So go ahead and click. Okay. And for me once again, the small gear will be created at the origin point. So I'm just going to move it over. And let's rotate it once again and 90 degrees that waits in the vertical orientation. So next, we'll need to align the gears and arrange them how we want them to be. So let's move this gear spur gear component. And for this, like I said, this is where the art form of 3D printing kind of comes into play. We are going to be eyeballing this distance, but I will be measuring it a little bit. And we want the separation of the two diameter sketches to be about one millimeter. And this will change depending on your 3D printer, your 3D printer settings, and a lot of other factors. But if you give it about one millimeter or a little bit more than one millimeter, that should allow the gears to have enough space to freely rotate. So once again, the exact location of the small gear doesn't matter that much, as long as it looks about the same as the positioning for my gear. Alright, and now I'm just going to change the appearance of the gears just so that they stand out and they are different from everything else. Okay, And the last thing we'll do for this gear is we'll create a cylinder and be sure to click capture position. And we'll create the cylinder on the front face of the large gear. And we're going to be cutting out the hole to the exact dimensions. So let's do 8.4 millimeters and that will give us the extra 0.4 millimeters. That way the gear can have enough space to freely rotate around the axle. All right, so that concludes the gears for the marble machine. 186. P2 03 LiftingHoles: Okay, So next we're going to create the holes in the lifting gear. So let's create a sketch on the front plane of the large gear. And we'll do a line going straight down from the center and will constrain this to a certain dimension. So let's first try, and let's try 30 millimeters and make sure it's completely vertical. Actually, let's do 35. Okay? And it has a dimension there, so we could always change it and modify it later. Okay, and for the holes will do 12 millimeters. That way. There's enough space for the 9.5 millimeter steel ball bearings. Okay. So it looks like it's a little bit too low. So we're gonna go back into this dimension here. And we're going to try a couple of dimensions. 33. Looks pretty good. Okay, and we can make this line here a construction line. That's the dashed line there. So it's actually not a real line, it's just a reference line. Okay, so that is looking good. Click on Finish Sketch. Okay, and I have my sketches turned off. That's why it disappeared. Okay, so let's extrude this sketch here. And we're going to go back negative 10, negative 11 millimeters. Okay? And now the way this lifting mechanism works is that circle there will actually have an angle to it. So let's create the angle. We'll click on that cylinder face and we'll go to move and copy will set the pivot position so that way it's vertical. So that worked by clicking on the edge of the circle there. And now be sure to click the green arrow to confirm. And now it's angle it down. Let's do, Let's do negative 12. And I hope I'm not going too fast here. And if you need to pause and go back, feel free to do that. And once again, I angled down that cylinder face from the front edge of the circle so it's angling down into the gear. Alright, now let's do a circular pattern. And we'll set the axis to the center of the large gear. And here you could actually choose how many cylinders you want. It's completely up to you. It won't change the outcome of the project. And let's see here, Let's see how eight looks. So eight looks fine. We could definitely fit more. So if we go back into our timeline and we could actually change that value. And let's go to 12th. Yeah, I think that looks a lot better. And it's utilizing more of the gear space. Okay, so now you can see that the top hole is angled down in the bottom hole is angled in. That is perfect. And how we want it to be. 187. P2 04 StandPart1: Okay, So next we'll create the stand. To do this will actually create an offset construction plane. So you click that construct button on top and we'll offset it by half a millimeter. That'll give the stand just that half a millimeter of space so that the gear can rotate. Okay, so now go ahead and click, Okay, and we'll create a sketch on that new construction, that plane. Okay, So click on the construction plane and go to New Sketch. And the first thing we'll create it as a circle based off the center point of the gear. And we'll make this, let's see here. 20 millimeters. Looks pretty good. All right, and now we'll set the height of the stand by creating a vertical line. And this line will go down just above that first hole because we want the marble to be able to roll into that hole, set at 37 millimeters. And we'll set the width to 40, will create a new line. And we'll complete the triangle on the tangent of the circle. Okay? And now we'll do the same for the other side. We'll do a 40 millimeter line and you can get to the line tool quickly by clicking L. Okay, we'll set it to 40 and then we'll hover over towards tangent and then add that automatic tangent constraint on that circle. Okay, so that's the top part of the stand. Now let's add the lower portion of the standards so we'll create a line and we'll make it parallel or inline with the previous line. And you can see that by the 2 blue line constraints. Okay, and that will be 10 millimeters. Actually, let's change it to 15 so it's a little bit thicker. Alright, now we'll do a horizontal line all the way across. And actually it'll be easier if we do the diagonal line first. Okay? So let's create a line starting from that point there. And we'll make it 15 with the double line constraint to keep it in line with the other angled line. Okay? And now we've connected the bottom part of the base. Alright, so now let's offset these two lines here. And i'll, I'll be going kind of quick here. So feel free to pause and go back if you, if you need to. But let's offset it 10 millimeters, and we'll offset this one 10 millimeters as well. Okay, so that's looking good. You can start to see the kind of triangular shape of the stand here. Okay, So this is looking good. And let's see what we needed to do next here. So here is the triangular portion of the stand that we will be extruding. Okay, So let's create another circle. And this time it'll be a little bit. Let's see here. Let's add another circle. And this time it'll be 8.4. Okay? And we had to do this because we're actually not touching the gear face. So the program doesn't know that there's a circle there. So that's why we had to create a, another 8.4 millimeter circle. Okay, we'll create these vertical lines here to cut off the corners. And we will clip or trim the extra lines that we don't need. Okay. So there's the base will trim the will make this line a construction line. And we'll continue trimming all of the other unnecessary lines. And now you can see the shape starting to form even more. And the lines are turning blue, which means we're losing all of the constraints, which is not really best practices. But for this project, I think it's fine. Okay, So there's our stand. Finish the sketch and let's extrude it. And let's set our thickness here 25 millimeters. And we'll make sure it's a new body. 188. Conclusion: Congratulations on completing this course. I hope you learned a ton and I definitely hope it was worth 85. Any questions? Feel free to let me know. I really want you to be satisfied with this course. I put a ton of work and effort into this course, trying to make it the best Fusion 360 for 3D printing course available. And I hope that you're able to see that as a reflection in the course. And I hope that this skill set is very valuable for you. And yeah, so once again, thank you for being in this course and I wish you the best of luck on all of your projects and endeavors.