Transcripts
1. 01 Intro E: Okay, welcome to this Autodesk
Fusion free 60 course. And now this course is aimed
at complete beginners. So we are going to start
from the very basics. I appreciate most people
will have probably, if you have installed
the software already, had a bit of a play around with, but you might have
some experience in other freedom 3D
modeling software. You might have been able to kinda work your way
around and learn some basics in order that
everyone is on the same level. I am going to start
from a very beginning. If you've already worked
out some of these basics, I suggest you still
follow through from a beginning because
there may be some, some components
that you've perhaps missed and you might
come unstuck later on. So just in order that we
all start on the same page, Let's all start with beginning. If you need to listen
something you already know, I appreciate that
can be a bit boring, but you might just pick up
something you didn't know, especially if you
self-taught because ANOVA, sometimes you can miss out. Particularly cad
Management kind of things that you wouldn't
no, you needed. So we are going to start
from the beginning. We're going, I'm going to
share how to get Fusion. And then just model some basic things I'm
throughout the cost, gradually bringing more commands and we're gonna get more complex
designs going. That way. I like to teach. I
don't just like to go round each and every command. You'll see some causes
and some books. Literally go through
every command until you what it does. And you're thinking, well, okay, but why do I need why
do I need to do that? They either books
or 500 pages are files and pages and
the cost is at 24 h. Okay, but do that because it
makes a product look big, but really people just
get bought and give up. The way I like to teach. We get modelling
as soon as we can. So I'll show you the basics, how to get round the
interface and things. And then we're going to
start modelling things and gradually bringing new commands. So you know why you
would use that command, not just how to use it. Okay, So let me tell you
a bit about the software. For those who are
totally new to it. A new twist, Cadwell, a company called Autodesk, who is probably
the market leader in computer aided
design software. For years and years. They had some very popular
software called AutoCad. I still have, it is
still very popular. I use it nearly every day. It's used in
multiple industries. Does do 3D, but it's
primarily now a 2D package. There's lots of freely
built-in and people will say, no, no, you can do 3D. We've also cad. Yes, you can put those. Usually, every
industry will have their own specific
3D modeling package that kind of texts
it one step further. So most people tend to
use AutoCad just for 2D, then take it to something
else to do the 3D. In Mechanical Engineering, that was something called
Autodesk Inventor, which is a very good, very complex 3D design package for Mechanical
Engineering. Now, it's very, as well
as being very complex. It is pretty expensive. So it was used in industry, but as you kind of in the
last couple of decades, there's been this growth in
what's known as a makers. And it's people,
basically people who liked to build things
at home or as a hobby, or in a small workshop, maybe even a small business. And these people,
I've embraced 3D Cat, an Autodesk identified
that market. They want to be able to
use 3D design tools. But don't want to be
paying a huge fees for the professional
software that has a lot of functionality
but don't need. So Autodesk identified
a gap in the market. They brought out Fusion 360, which is aimed more at
the small business in hobbyist than the
large organization. Saying that it is a
great piece of software. It has some great functionality. And for those was
they remember pain extortionate prices
for cad software. And some of us still do things like AutoCad,
an inventor, fusion. The price of it is great. And what's even better is there's a completely
free version. Because Autodesk realize
hobbyists and start-up businesses can afford to pay
large fees for software. Actually let you
have it for free as a hobbyist or
a small business. So you can go to the site and we'll
look at that and you can get a free version. Now one thing I will say
about that I'm using the paid version because
I use it for my business. And this course will be
recorded on the paid version. There's not really any
difference in how it looks. And what I do. There are some differences in terms
of the file Management. How many files you can
have up kind of thing. And these differences
change over time. Because Fusion is more of a kind of online-based
tool, if you will, rather than just
something you would get, traditionally you
would get it on a CD now will probably on a stick or a large download with Fusion updates
much more irregular. So the differences between the free version and
the paid version that change so often it's hard for me to go
through what they are, but you will be able to
follow along with cost. The main layout of
Fusion doesn't change. It's just kind of things
like the main of a file. So for instance, when
we look at projects, will be working
on one project at a time during the examples. At the moment, as of today, I believe you can only
have ten projects saved with the free version,
but shouldn't be a problem. It's not gonna be a
problem for this course. You can still archive them
and things like that. So anyway, you'll be
able to follow along. But just note that if there's any slight subtle
differences in will look, it's because I'm using
my paid version. If you use them a free version. If you do get the paid version, Autodesk does some
great offers on it. You might want to
check out their page, but let's just have a
look at this software. So that's kinda where Fusion developed and
where it came from. And you can see it's used. This is a kind of a replica
of a rocket engine. Something about a 3D printed
for some rockets designs. I'll do just kinda best
model type things. This is done in Fusion.
It looks like a beginner. I imagined. It looks like it
might be a bit complicated, very, very simple process
to do is kinda stuff. You'll be doing this easily, even halfway through its cost. So we're gonna go for
all sorts of things. And in the next chapter, I'm just gonna give
you an overview of where you can get Fusion from and how to get
it on your system.
2. 02 Where to get Fusion E: Okay, So I'm only
Autodesk website now. Autodesk.com. This is US site. Now you might have a, I believe as a European
site amaze Asian sides. But what I generally do is
start on the US sites.on.com. And I believe if
it wants you to go to a local one, it
will take you there. And if you go, if you
look at products here, now altered us as the suites which are combinations
of products. So that would be something
that included fusion, but it also includes lots of, these are gonna be expensive. If you go to view all products. And again, this website will
probably change tomorrow. Again, this website may change
tomorrow for all I know. So it might look a bit different when you're
doing this cost, but the layout
should be the same. So basically you're looking
for this kind of Fusion 360. And you can see there's a
special offer on at the moment. Actually, very good offer
because it's usually 495. If you buy a full one. At the moment it's only 447,
which is very, very good. When you when you look at
what some of these are, AutoCad revit
suites, collections. So you can see it's
a very good price. I mean, inventor is a lot more, so very good price, but you don't need to buy it. As I said, Let's just
click on Fusion 360. You can see we've all
Autodesk courses. What you can do is
you can download a free trial and you'll
get 30-day free. So it might be just to make sure we're all
on the same sheet. You download a free trial and you use that 30 day free
trial to follow on him. He's costs and we
will be exactly the same and our software will
look exactly the same. The free hobbyists version. Now it's not gonna be
completely obvious, like software
companies tend to do. But if you get a 30 day trial, then you can look at getting
my hobbyist version. And you can just put
that code in after your trial ends and it will
allow you to continue. I'm going to try and
find it for you. Okay, so you see this
web address here, products Fusion 360 personal. As of today. This is how you would
get the free version. So it's coming up now you see it's taking me
to my local site in the UK. It's telling me the
price for the UK. And here we have this fusion
free for personal use. It's free. Get started, okay? And it tells you some of
the things you don't get. A lot of it is this
kind of thing. So if you're doing CNC
and serious CNC stuff, you don't have as many axes for milling, that kind of thing. I would say if you can afford
this kind of machinery, you can probably afford to
pay the 300 pounds a year. But there we go, you can see the differences
that you get. Okay. You're not really going to
notice it much for this. You're not going to notice
that for this course. But I still recommend
just get a free trial. Do the free trial for 30 days. And then when it comes to having to put a coordinate,
the end of the third, today's just asked for his free version and you'll
get a code for that. So again, this might look different when
you're doing this course. They'll probably go and
change it tomorrow. But it's generally
the same loud. Okay. So click on free trial, download the software, install the software as you would
any other software and menu. Open it up and you will
have a new copy of fusion. Again, if you've
already done that, you're already playing around. Just go, move ahead. Okay, So let's start looking now at how
we use the software.
3. 03 Interface01 E: Okay, so you've got Fusion, you've installed it and
you've opened it up. You should have a screen,
something like this. Okay. I'm just going
to, again, like I said, I don't want to go through every command and
share what it does, but do need to show
you the basics of getting around
that kind of thing. So you may or may
not have this kind of panel on the
left-hand side of it will look different to mine. But you might have it, you might not. If you don't have it. If you screen looks like this, you just click on
these squares here. And it shows it's
called the Data panel. And basically this shows your
projects, your creations. It's like a file
storage for yourself. So you might just have
something that says Fusion mastery on my Fusion,
something like that. But these are all kinda
projects I've worked on, so you won't have those. Eventually your own projects
will be shown there. And then you've got things
like libraries, samples. Generally use this to
get your projects, but if it gets them
away, we just close it. Mrs. your main Fusion workspace. Now, what I will
say is I'm using a, a three button mouse, which is essential for
doing this kind of cut fan. You want left button, right button, and a wheel. And when I'm talking and
going through the course, I will be saying things like
right-click, left-click. We'll no scrolling
wheel out, scroll out. Okay. So you need to
make sure that setup. You can do that on
the preferences. So if you click on
and you can do that. Now we've Autodesk as you've
probably already found out, if you've got the software, you had to create
an account because it kind of partially
runs on line. You create an account with
Autodesk and you will have your whatever photo you've used if you've used when appear, but this is your account. And up there, if
you click on that, you can see you got
your Autodesk account and you've got preferences. This will give you all kinda
main software preferences. There is some preferences for the drawings and this
is your main one. So this will do things like the default, default
units. Okay? So you want your design
minor in millimeters. This course is gonna
be in millimeters. If you want to use inches, you can just works exactly the same when I type
in something in millimeters. So files to type in 25 mm, you would type in one
ain't shot kind of thing. Might be easy to just follow
along in millimeters and then use it in inches
if you want to. Just works exactly the same way. It just depends how
you've got it set. You can work in centimeters, you can work in meters, you can, you work in faith if you want. But for the course we're
gonna do this in millimeters. And that's under
default units design. There's also with a mouse
user preference thing. Some people like
myself like to zoom in when you scroll forwards with we'll and then when you scroll
backwards you zoom out. But just to me, that
just makes sense. But some people like
it. We have a way. So it's kind of merit
and general here. You can do that reverse
Zoom direction. Okay? So I like to
reverse it. Apply. Now. I can, now I can zoom
in and out with a wheel, but we'll see that when
we start modelling. So that's all I'm going
to change for now. In terms of settings
we want to keep pit. I want everyone to be on the
same page so I don't want to personalize it or
anything like that. We're going to look
at this interface. So along the top we
have these tools. Here. We've got create Tools, Modify Tools, assemble,
construct, inspect, insert. So these are your main building
blocks for your 3D model. And you can see you got
boxes, cylinders, spheres, tolerances, and
you've got a sketch. Most of what you do in
Fusion is Sketching and extrude in that kind
of thing. You can modify. So you've got your
Modify Tools here, will look at all those. This is your drawing
space. Okay? I'm this here. There's not a divided
between them, but this is gonna be a list
of files and it will get larger as you create
more geometry. And this is where you can think of it like a file
system for your project. I don't wanna go
too much in detail. What does, because it's when
we've got enough in there, it won't make sense as we
work ahead in this course. This will start using
this and it will become, you'll just realize what it is far because there'll
be items in here. Now, on the left, you can see
we've got a square design. This whole toolbar here
is for Design toolbar. We have other options. We've
got generative design. Okay, That's quite a
complex, way too complex. This course we'll do another
course all about that. We've got render, a photo-realistic images
and that kind of thing. Animation, obviously to produce Animations of your designs, simulations of your designs. We've got the manufacturer. We've got manufacturer. This is where you
can go direct to your expensive CNC
machinery if you've got it. If you work in a
fabrication shop and you learn in this
course for that, and this will make sense to you. I don't want to go
into detail about that because a lot of
people using it for 3D printing or just
general modeling for funded outside the
scope of this course. But that's a manufacturer tab. You've got drawing from
design or animation. Okay, so now the one
we're going to use mainly what start is
for Design button. This will give you our
main Design toolbar. This is where we basically
create our models. So that is the toolbar. And we know about
this, this will, again, this will make more
sense as we've progressed
4. 04 Interface02 E: So if you're not familiar, if you've already used
some cuts off for, you probably know all about coordinates and the
coordinate system. If not, I'll just go through
a brief explanation. Now. We feel going
to create a model, something say you, it was
going to create a rectangle. You would obviously have a lower left corner and a top-right corner
of a rectangle. Just gonna go. Don't worry about following me along
at the moment. Okay. I just wanted to get something on screen
so I can show you that you would have a lower left corner
and the top right corner. I'm not going to be a rectangle. Now. You rectangle
is fall points. The way those points are
identified is with a coordinate. The x coordinate
is along this way, and the y-coordinate
is that way. So just bear with me. If you're not quite grasp on it, it will all make sense. You have something called the
origin point, which is 00. And when we talk
about coordinates, numbers were just talking units. Whether you say a unit
is a millimeter and a foot meat doesn't matter
to cat, It's just a unit. So if we start at this corner, at the origin, that would be 00. This point. If this, Let's just say this rectangle
was 50 units by 50 units. Again, doesn't
matter whether you say it's millimeters or inches, we're just talking units. Now, if this was 50 units, by 50 units, this rectangle, then that point will be 00. That point would be 50 comma zero because it
would be 50 units in the x and zero in the y. We always do x first, then y. This point would be zero comma 50 because it's zero in the
x-direction, 15 and y. And this point would be 50, 50, 50 x 50 that way, and 50 that way to
get this point. So each point has
its own coordinate, which is based on
the direction in x this way, and y that way. If ever you don't know
whether you use an x and y, you can look at this square, and this is in a 2D sketch mode. You can see the red
X is going along there and the greenway
is going there. So you coordinates in
this direction and all x coordinate SAP direction
and y and x is always. If you're going to
write down coordinates, you always do x first and
then y. I remember years ago when I was in drafting school many years ago we still use the drawing board. My instructor said it was something like
walk along the London. I'm going up the stairs,
which never made sense, but that's the way
you look at it. It's x first and
then y coordinates. Again, I don't if
it's a bit vague, just it will all become clear
as you use it. Believe me. Now that's 2D x and y. But what about in 3D? So what I'm going to demo it. Don't worry about following along because you won't
know what I'm doing yet. Probably I'm just
going to create some geometry just
so I can show you. So that was what we had in 2D. We had X, we have Y,
and we had a rectangle. When we're in free day. If we look at it as a cube, you can see we've got,
we've got our x here. We've got our y, which
is about measurement. But now we've got this
height of the cube, if you like, which has come up from the
rectangle, I might exempt. So you've got x, y, z, and that's how you'd
write them down. Isn't but let's just
say this was fit. Okay, let's say
this is 25 units. So our coordinate would be, if you were to write down
the size of this cube, you could say it's
50 by 50 by 25. I'm not sure x why is that? 50 by 50 by 25. And that's basically how
this view cube works. It's going to delete that. If I click the front
of this view cube of view wherein is
looking directly down, we've got x up that
way and y that way. If I wanted to see it in 3D
mode, I can see it here. And this gives you control of what side of the object
you're looking at. Front would be with x and
y in those orientations. But if I wanted to look
at the side of an object, I could have x coming
towards me in that way. It will become more intuitive. You will just start
using this and we'll just click in your brain as
you, as you create them. But that's basically how
his view queue works. You can click on this
cube and it will allow you to view whichever
side or whichever corner. If you want a 3D view, you want to look up and you can just rotate it and
move it like that. There is some options on here. We'll use some of
those as we go. But that's basically
clever view cube. Okay? So that's all I
wanted to do in terms of explaining the interface. Now, there's more to know. We've got this
timeline down here. But we'll show you those as we use them or it won't make sense. So in the next chapter, we're going to create some
basic models and other cubed, things like that, just so you can get used to the interface
5. 05 Basic Modelling 01: Okay, so now we're
gonna get our, get some actual hands-on
Modelling done. We're going to basically
reproduce what I did in my example of
in a jar I basic cube. And we're just gonna go
through how we would do that. And just a general
way for new commits, a Fusion to get modelling. So the one thing to
understand about Fusion is 3D models in a large
part based on 2D sketches. Okay, So let me show
you how that works. If I wanted to create
a box, I can click. I can go create
and pull down with create menu and I
can click box there. Now what Fusion will do is going to show me these three planes. And the way you
can imagine these, if you imagine join
on a flat piece of paper and then
creating your shape. These could, these are like
your flat piece of paper. These are called Work planes. So in the previous chapter
went through V coordinates. You've got X here in red, we've got why ingredient
and we've got zed here. So if I wanted to draw the shape in the
x-y plane on that face, I would select that
workplace if I wanted to draw it
as a top-down view, I would select that plane. And if wanted to draw
it from the side, I could select that plane. So again, just bear with me. For this one, I'm going to draw it in the x-y orientation, and that's how I'm going
to create a sketch. Now once I've clicked
on that, you can see this symbol here
at the origin point. So that's 00. So if I
was to left-click there, now you'll see it lets me draw this rectangle and it's
giving me these dimensions. Again, minor millimeters,
just think them as units. If I wanted it to be 50, 50, 50 by 50. You could try and do it by eye. But when it's
highlighted in blue, you see one of the
boxes highlighted blue. That means you can type it in, so I can just type in 50 there. Now, don't don't presenter, I want to go over
to the civil box. That gives me his high.
So press the Tab key, which is but two opposing arrows on the left-hand side
of your keyboard. But top-k will take you
into the other box. Can type 50 there. Now I can press Enter. You'll see now it's giving me
another box for the height. Let's say I wanted
this to be 25. I can type in 25
and press Enter. And now we've got our Q, which is 50 by 50 by 25. Okay? Um, that's how you create these Basic
Modelling shapes. So let's say we want
to cylinder now. Well this cylinder, again,
we get these Sheets. This time. I'm going, you say I can't select
these shapes because it's selecting this block. So let me explain
what's happening. If you're modelling and
item, let's say this, Let's say this cube had a kind of cylinder protruding out
from that face there. As well as selecting Sheets
to draw on automobile. And you can select faces
of existing objects. So in this case, the cylinder is going
to come off fat phase. And you can see as
I go over the face, highlights, if I click it, it allows me to place a
center point somewhere. So you would generally no whereabout somebody's
face, you wanted it. But the way we're going to model this is I'm just going
to do it by eye. You'll see a can come
up with these snaps. Now what's happening here? If I, if I put my
cursor near corner, it kind of snaps onto that corner and we
get this blue square. So if I was to click there, it would go exactly
on that corner. If we go inside, if
we go to a middle, we get this blue dashed
line that comes up and you'll see there's
a triangle snap. Now that's saying it's going
to put it on that line, which is of a midpoint. So the triangle means midpoint. It's going to
automatically put it on, on the center line, the midpoint of this line, if you like. So it'll be right in the
center, which is good. And we can do it the other side. We can get a sense of air. So if we wanted to actually
in the middle of this plane, all we need to do is go
to that center line. Okay? So we can get, we can put it somewhere
in the middle if reliant, but I'm just going
to put it run. I'm going to have a central here and just put
it about there. When I click once,
left-click once Now it's going to ask me what
diameter cylinder today. I'm gonna make this. I'm going to 12, I'm
going to type in 12. I'm and I'm going
to press Enter. And then it's asking me if a final dimension which
we can type in it, we could get these arrows. You can actually pull these. You can left-click and hold down and you can pull them like this. Okay? So I'm going
to save us 25. I'm going to type it
in and press Enter. Now one thing to bear in mind, this is kinda one object. This object is a
cube of a cylinder. It's not two objects when we're modelling and we're creating an object is just one object. So if we were to, if we
wanted a cylinder separate, we would have to do that as
a different object and we'll go through that in a bit. That's components for now. This is Basic Modelling. So we're creating
warm part here. If we wanted to create, let's say a sphere
for some reason on this corner or on this face. Let's say we wanted it there. Again, a similar
thing so it can go to midpoint and we can
select this sphere here. Now, you'll see it's
come up in red. So red means it's
going to object. What Fusion will do
as you're using it? It will take an educated guess on what it thinks
you want to do. A lot of time, it gets it right as it's quite intelligent. But let's say we want
today an actual sphere, kind of half sphere
sticking out of here. If we were just, just, well, let's give it a
size, let's say 20. Enter. If we were to just okay that it's
done it as a cut. So it's cutout this
circular sphere, which you may or may not want. But we didn't want that. We want to change this. Now. You don't need to draw it again. You can change it. This is where your
timeline comes in. Down here, you'll
see it's a bit like a media player controls
a Mrs. your timeline. So it goes back over
history of your model. Now if you don't have this, it means you're not
capturing that history. Sometimes for whatever reason, you might not want to
capture this history, whether it's to
do with resource, some computer file size,
but kind of thing. But we're capturing the history of this model so we can
see what's happening. If you don't have this, then you need to go to, this is your object here. Right-click and you
get these options. And then at the bottom it
says capture design history. I'll do not. Mind is turned
on. So it seemed do not. Okay. If yours isn't turned on, it will say capture
design history, so you can select that and make sure you've
got this timeline. So with that, what we can do, we can drag this slider. This slider is,
think of it as now, this is where we are in time. We can drag it back to that. And you'll see that sphere
is gone because we've gone in our timeline, we are, we've gone ahead of, well, we've gone to the time
before we create a sphere. We can go to where before
we create a cylinder, right back to the start. What we can also do in
this timeline is we can edit what we've done. So if I select the sphere
here and right-click, I can go to Edit Feature. Now we get the options back
for the size of things. These are the options that
we use to create the object. And you'll see it's
in red because it's cutting it. Up here. You will see in
the dialogue box, we don't have to use these
arrows and text things. We can just put it all in here. Every time you create an object, you'll get a dialog box. So we have some options here. We have 20 mm, which was a diameter or units. And our operation
is cut where we wanted to add a
spherical side to it. So instead of cook
infusion, we call it join. And if we slept, that is now created the object if we okay, you will see it's
created that object. If you want to pan around, if you want to zoom in Fusion, hold down your middle wheel on your mouse,
just hold it down. If you drag around, you will see, you
will pan around. So you can pan around. You're not moving
the object here, you're moving your viewpoint. If you hold down
the Shift key on your keyboard and
hold down the middle, we'll, you can rotate your view and you can get
a good look at your items. Again, you can zoom in and
out with you will light up and hold it down to
pan if you want to. If you suddenly go to View
and you don't know why you, why you can click on the
view cube to get you back in the right position
where you want. Okay? So we've created
this spherical object now, and we've looked
at the timeline. And we've looked at
our dialog boxes, fall creating objects,
and you've got various objects there
so we could do a torus. Okay, It's oris is what we
used to call a doughnut. Again, it's on, I'm
going to put it on Join. You can have all
sorts of options here about the diameter, maybe being a diameter,
want it to be 50. And sour stomach Tools, 50 guys see you
guys. Bulging thing. Maybe like in fact
if we do but at 25, it could be some kind
of handle or pipe. It's a bit rough,
but that's a torus. And we have coils Pi. These are, think of these
ready-made objects in Fusion. So you've got ready-made cubes, cylinders, spheres,
kind of thing. Now, most people I know
who use Fusion don't actually use these
ready-made tools that much. And we tend to model
items based on sketches, which is what I'm gonna
show you the next chapter. But I wanted to show you this is the basics of how
we lay out models. We use coordinates X, Y, and Z. We give, we choose a face or a drawing sheet
called an object plane. I'll stop calling it Sheet now
call it what it really is, which is an object plane. If I was to go box these
yellow squares error is the object planes. Okay, amazing your origin plane. So this is your X, Y Zed kind of planes that
you start with a blank project based around
the zip is 000 point, which is your origin.
So they are playing. Use those to say where
you want to draw and when you use either one of these shapes as a basis or more realistically use a sketch and
you put that on the plane. But we'll look. I just wanted to show you about some basic modelling techniques. And that's a timeline. And hopefully it's
becoming a bit harvest. Have a play about with this
shift and middle button to move around and pan and zoom because you've been doing a lot
of this and it'll become second nature sun, but you just want to get used
to it and have a look at this view cube when
you do it and you'll see it moves around. So it gives you your view. And that's kind of the interface
and the Basic Modelling. So that's going to be very familiar with in
very short time. But that's just an overview. So let's look at
doing some actual, real modelling like
you would. Sketches
6. 06 Basic Modelling 02: Okay, So here we can
delete this now, left-click and drag a window over it and just delete a lot. Okay? So when you go to a
new design Fusion, use these tabs bit
like of the software. So we've opened a new project, and our old project
is still open-air. We can just close
that with the cross. We're not going to save out
it was just an example. So now we're going to look
at sketch-based modeling, which is what most people
use most of the time. If you think of items,
you might muddle. They're not usually based
on cubes and cylinders. And even if they are, a lot of people just prefer
to do it based on a sketch. So how do we do that? Well, under this create command, you've got this option
here, create sketch. And it's actually
because it's used a lot. The buttons at the
top pair tools that I used a lot, Image menu. So this first one here is create sketch. We're going
to click them up. Again. It will ask you which plane do you want to
create a sketch on. So we're gonna go
into X, Y plane. You'll see we get
this point here. Now we've sketches, really
want to be looking top-down. So our x-y plane where we
did the sketch was here. We can, we now have this
sketch palette dialog box. What we want to click on
this here, which is look at. If we click that, you'll see it's flattened us
onto the plane. We're looking down
on to the plane, we creating a sketch
on which makes sense because when your
sketch looks correct. Now what you'll notice, this whole toolbar
here has changed, and this is the sketch toolbar. So whereas before we was in
this solid modelling toolbar, now it's automatically puts
us in this sketch toolbar. And we get these
sketch commands here. So we've got rectangle,
two-point rectangle. If we click that,
we left-click that. We can drag the screen now by holding down
our middle button. We can draw a rectangle if
we want to draw it at 00. If we go near to that point, you'll see it snaps on 00. I'm going to left-click there. I'm gonna drag this corner
out and you'll see we get these dialogue boxes
and we can use with tub command to switch
between the two. So again, I'm gonna do 50, I'm gonna press tab, and I'm gonna do 50, I'm
going to press Return. And now in our sketch, we've got a rectangle. Okay? We've got way more
commands we can use for sketches and we'll be looking at always throughout the course. But for now, I just want you to look at that
rectangle, 50 by 50. And we will go now
finished sketch. This takes us back
into our Modelling, our usual Modelling workspace. We're still looking
down onto the sketch. We still got this view on. Let's say we click. Now we're in a 3D view and we can see, we've got a sketch of
the rectangle down here. We've got our symbol for sketch. If I wanted to make
changes to that, as usual, I can right-click
and go to Edit Sketch. And I could double-click A's and maybe I could
change that to 75. Go finished sketch. So you can, you've got control to be able to go back in and edit them. So now we've got a, well, this one is 50 by 75, and we want that into a
cube like we did before. So the way we do that now, the way we model from a sketch
is by going to extrude. So I'll click on Extrude. Again. Fusion is going to
take a guess on what it thinks I
want to extrude. So the only object in this model was that
rectangle sketch. So quiet Correctly guessed. You see it's
highlighted in blue. If I click on it,
it's de-selected. Fusion has selected it for me because it's taking a guess on the object
I want to extrude. If I left-click it again, I've selected that rectangle. Now. I can drag this to extrude shape or I could
just type in their 25. Okay. Again, I've got our
usual things here. I've got a dialog box
here for Extrude. Now, let's suppose
I wanted that way. Okay, Now this way, now if we go that
way from a sketch, it's gonna, it's gonna
say it as minus. This way is plus units. That way is minus units. And we could go -25 We'll look more extruding later
on and we'll look more at these different
commands later on. But I just want
you to understand the difference between creating objects with these primitives here and what most people do, which is to create a sketch. Now it might seem like they're about to
25 and click Okay, you see we get the
same thing here. We've got a feature
so we can right-click that and we can edit. So maybe you wanted to make
it 35, we can edit it. But it might seem when you watch them as
you might fit well, that seemed a bit
more long-winded than doing the primitive box. Okay, So why would you, what would you do it that way? Why would you do a
sketch when you can just use a box and you'd probably be right in terms
of a cube or a cylinder. But I'm just going
to left-click, I'm going to highlight all
that. I'm gonna delete that. Okay? I'm gonna delete that sketch. So you probably be
right in the case of a cube or cylinder, but usually you'll be creating something a bit more
complex than that. So I'm just going to show
you an example again, I'm going to
left-click on sketch. I'm gonna go to
our x-y workplace. I'm going to look at
it, face down at it. And now instead of using
this two-point rectangle, I'm just going to
click this line here. I'm going to start at zero
as areas it snaps to it. Now, you'll see when
you draw a line, you get to dialog boxes and you can use tubs,
go between the two. So you've got the angle here. So if I type in 90 and
then tap to move on, you'll see it's locked
now at 90 degrees. I mean, you've got
your distance, so I could type in 100 here. It's drawn a line at 100, okay? Now I'm going to carry,
I'm going to click line again and what it will allow you to do it
with light it to snap. So I could snap to a midpoint. I could snap to that end point. I'm gonna go on the end point. And this time, just to show you, I'm just going to draw
something completely random. And I'm going to snap
to that end point. And you'll see when I
snapped to that end point, I get a blue shade. If I right-click, I can go Okay. That blue shade basically
means it's a closed shape. You'll see there's no
open lines. Think of it. If I was to fill this, it couldn't leak out anywhere. The lines are all
closed at the end. Okay. So if I go
finished sketch now, and I'll go into a bit
of a 3D view again. I can click on Extrude. Again, it's slightly
about shape from it. I can extrude that 100. Now I don't know why
you'd want that, but you can see nowhere. Obviously in these primitives is there a shape that
looks like this. So using sketch
will allow you to do well whatever you want
basically in terms of shapes, whereas the primitives are
just cubes and cylinders. So usually we will base all our objects
off a sketch lighter. And you can edit. So if I wanted to
edit the Extrusions, remember this is, this is
made up of two things. A sketch which was
kinda up profile shape, and an extrusion, which
is how it's extruded. So I can right-click, I can go edit feature, which is the extrusion. And this will let me edit
things like the size of it. I can also go back and
I can right-click. I can say Edit Sketch. And maybe I wanted to. If I just left-click
on that line, you say it allows
me to track it. So maybe I could just drag it
there and make it smaller. Now if a finished sketch it
will automatically shape. So in the timeline you
have these two items. Most of the items
you create like this will have two different things. You'll have your extrusion
and you'll have your sketch. So that is Basic Modelling
with Sketching extrusion. Now we're gonna go in a way
more detail about sketches, and we're gonna look at more
detail about Extrusions. But this is just an overview
of modelling process. So if you want to have a play about creating some sketches
and Extrusions, don't worry if you
get any errors or failures or things because it'll become clear as we
look at them in more detail. But that is Basic Modelling. Using sketches, we can
use Bayes if you want, and certainly with pipes,
you might use them, but generally, you
basic objects, we use sketches and Extrusions
7. 07 Basic Modelling 03: Okay, so I'm going to close
that and not save it. And it will automatically start a new project
for his hair. So we're going to look more at this extrusion now because it's a command you're
going to use all the time. And I'm going to show you, let's, let's create
a sketch first. And we're going
to use that plane there. And we're
going to look at it. Now. I'm gonna go to, we use this rectangle before. Again, we'll look
at Sketching in more detail in future chapter. Because quite a, it's a very important and it can
be quite complex area, but we're going to click
on my switches circle. What is he's going to
want? It's just going at the center point of a circle. In this case, we'll
use 00. And then it will want to diameter. I'm gonna go with
a diameter of 200. I'm going to press Enter,
zoom out a bit with my wheel. You could
click this corner. I'm going to hold down shift and middle wheel and just
give myself a viewer one, okay, something like that. I'm going to say Finish Sketch. So we've got our
sketch down here. Now I'm gonna go to extrude. I'm going to drag this out. I'm gonna do it,
let's say to 50. Okay, so we've got
a cylinder of air. But what I want is I want, it's gonna be kind of like a shaft type with
different diameters. So what we can do, we
do a sketch again, but this time instead
of choosing one of the planes to do our sketch on, we're gonna do our
sketch on this face. Here. You'll see it's put a center point automatically
because it's in a circle. The face was a circle, so it gives a center point. So I can go again
to sketch circle, center point, snap to that. And I'm going to bring this out. So that was 200 this time
it's gonna be one-fifth. Now, if I finish that sketch, go to extrude again. It will allow me, you see, I can click inside this circle. And then I can pull this out and I'm going to make this 150. Okay? Remember when we're creating models is
this is one object. We're not, we haven't
got two cylinders here. You can see the face
is a highlighting, but this is one object. I'm gonna do another
sketch on here. And I'm gonna go same
again. We'll look at it. I'm going to create a circle. Snap to the center point. This time let's go with 100. Finished sketch. Hold
down shift and middle. We'll get a 3D view. Extrude. Select that sketch. And let's make this 150. Okay? So you can see you can get these kind of shapes,
something like that. I'm going to want
smart, I'm gonna go sketch onto that face. This time. I don't need to look at it. I know
what we're doing. I'm just going to
create a circle, snap to their I'm going to look at it. I'm going to create
a circle again. This is going to be,
I'm going to make this 50 diameter enter, hold down shift
and middle wheel. And I'm going to
finish that sketch. I'm going to extrude
just as we did before. I'm going to select
this rectangle. Sorry, I'm going to select
the circle and you'll see it. We can do exactly
what we did before. But if I go this way, now it turns red. I'm gonna go into 100. So it's 100, 100. Okay, so what I need to do, you might remember it's plus
minus so -100 will go in. I'm gonna say, okay,
so now we've got this object and it's
got a hole in the end. That could be something like a shaft or a tool or
something like that that will be taken
down on a life. But they gave us basic
objects service. The thing I wanted
to show you in this lesson was V
Sketching extrude. It builds on top of each other. So we've got sketch and
you can see them here. Sketch, Extrude,
Sketch, Extrude, Sketch, Extrude,
Sketch, Extrude. And you can build up quite complex models just
with those commands, the Sketching and we extrude, and it's something
you'll use a lot. The sketch extrude. You'll use all the time And it really is the basics of this whole process
in a lot of ways. So you can have a
play about that. Maybe you wanted to do a, let's do a sketch on this face. And this time I
want a rectangle. Let's look at that.
I want to rectangle. Now if I go to the
two-point rectangle, it wants to two
points obviously. So it would be hard
to centralize it, but there's another option,
this center rectangle. You can click on that and then it will allow you to do a
rectangle in the center. So now I can say, okay, let's go to 50. By top-k to 50. Finish that sketch. And then we can extrude. This time. We've seen it
as two different items, so we'll quit both the items. And let's pull out 200. So now you've got this cube. Again, as I say, this is one
item, this is one model. Now you've got these faces. You could maybe do
something there. Let's do a circle. So
let's look at that face. And I want a circle. I'm just going to do it, but I'm gonna put
it about there. Okay? And it will be 50. I'm going to extrude.
I'm going to go in 100. You'd have to put a minus. Remember, so I can click that right-click Edit Feature and
I'll need to do is -100. That you'll see again. Nothing's happened. Well,
that's because it's on Joints. So if I right-click
Edit Feature, you'll see the
operation was Joints, it's create a solid we're going
assault which is nothing. So I need to uncut further,
you get that happen. It just means you need
to change it to cook. Usually it does
it automatically, but then maybe I'll miss plane. You've got some guy
rectangle down here. Let me go to two-point
rectangle, something like that. And this is going to
extrude out Sketching. And you could say,
I'm completely making this up as they go along. But I just wanted to show
you this process of creating different sketches
and then extruding them minus 150 to create
these kind of shapes. And you can see that might
be something you need. So that's the basics of
Sketching and extruding. Some of these sketches
we've done for these kind of Holes and this rectangle there
were a bit random. Usually what you would do, let's say we wanted
a circle here. You would usually no whereabouts
it, it wanted to be. So if we say look at and
we create a circle here. And it's usually you
would have a dimension from this face and a
dimension from that face. We can do about, we
can lay that out. So once you've drawn your
circle under create, if you post a new will see
we have sketch dimension. If you click sketch
dimension, now, I would dimension is
probably being given to us as the distance from that edge to the
midpoint of a whole. So that's what we're
going to click. We're going to see these
lines now we've slightly dimensionally things
highlight as we go over it. We're going to
left-click that line. And we're going to
left-click center that hole and you'll
get a dimension, just drag it out and click
it and see where it drops. So that's the current distance. Now, let's say we
wanted that to be 75. We can type in 75. And you'll notice
the circle moves. We've tied it to a dimension. So we're gonna do that again,
create a sketch dimension. And we'll go from that
line this time to the center. And
we'll make this 75. Okay, so now that sketch
is tied on that plane. If we finish it, hold down shift and middle
wheel and now extrude, it, will extrude it. 50. Object is tied to those
dimensions and we can, if we want to change it, we can go back in our history. Find the sketch for that object, which was about one
right-click Edit Sketch. And we could change. It may be that wanted to be 100 of
the object was changed. And I said now we want this
to be 100 and not to be 150. We finish it and it updates,
everything updates. So you can go back
in this history and you can change things. We could change
whatever we want. We could find a sketch,
maybe that one. We could put some
dimensions on here. So let's tidy this up. That's 100 by 50, okay? And we want to have a distance
from the edge to be 25. The distance from
that edge to be 50. Okay, finish. And you'll say updates. You can go back in this history and you can change everything. You have full control in
this modelling process. But that's Sketching
and Extrusions. Sketching and extruding
gives you that control. You can. We've just changed
the position of that sketch. But if we want to
change the extrusion, we write, we click on my
feature of extrusion. Right-click Edit Feature
and we can change up, maybe it wants to come out 100. And then we go. So you get this full control
over the history of design. And already, we've got
quite a complex part here. It's just been modeled
with that same process, sketch Extrusions,
Sketching Extrusions. So that already you Modelling
already now to do that, and I would say a large part of most people's Modelling is done with sketches
and Extrusions. Now we're going to
look a bit more at the extrusion itself and the different
options you can get
8. 08 Extrusions 02: Okay, so I'm going
to close out again. You can save it if you wish. Which two? And I'm going to look more up the extrusion options
and dialogue box. So let's just do a sketch
onto this phase here. This should be coming fairly familiar. We're
gonna look at that. We're going to do
a circle is 200. Okay, So finish the sketch. Hold down, shift and middle. We'll give me a
bit of a 3D view. And now I've got
something I can extrude. I've got basic circular
sketch I can extrude. So I'm gonna go to
extrude Fusion selects. It knows what,
what I want to do. Now up until now, we've seen that you
can extrude that way. You can extrude that way by
adding a minus two all units. We can create an
object like that. Even these directions basically. But there's way more you can
do with extrude them that. So let's look at this dialogue box and
let's work through it. First thing it's asking
us is type of extrusion. So if we wanted this
is a normal extrusion. It gives us a solid cylinder. If we click on that one
and just click Okay. Now what it's done
here is it's given us just the outside of a circle. So this is like a pipe. If you go back to
Options Edit feature, you can see, can select
the thickness of walls. So if we wanted it to 0.5 pipe, then that's an easy
way to do that. I'm gonna go back to these
options by Edit Feature. We're just going to stay
on this normal type of extrusion first, which
is this cylinder. And the first option it
asked for is a profile. The profile is
basically the sketch. What do you want to extrude it slightly about automatically, there was only one
profile image files, so it selected, but I'm a
profile was that sketch, but you could select
multiple. So let's go. Let's delete that sketch. And we will put another, let's put another circle
I'm just gonna do is buy I completely random. I'm going to go finished sketch. I'm going to undo that. Go back to our
sketch and I'm going to select another circle. I'm gonna do a rectangle. I'm going to finish that sketch. Now if I go to Extrude
and it's a slip profiles, it doesn't know which
one I want to select. It hasn't slept through
it automatically because there's more
choice basically, before we only had one circle, it was obvious which
profile wanted. Now, I need to actually choose a Profiles
I want to extrude. So that's this option here. Profile, it just means
which object you want. So let me just get
rid of those again. Finish Sketch. Extrude. Profile
is about object. Now start. Where do you want the
extrusion to start from? Most of the time? You would want it to start
from the object you drew. In this case, we drew the circle and we won't be Extrusions
start from there. But we could say we want the
stat to be offset by 50. Mm. Okay? Now what it's going to do, if I okay That our
sketch, how to save it? If you see our
sketches back here, it's offset 50 mm
and then started it. Okay. So that's this offset. You use that when
you sketch it on. If we were to use a plane of an existing
object as a sketch, we can offset it from there. Generally, you'll be using
this profile plane direction. One side, this is
one-sided Extrusions. So that's our sketch. We've extruded outside. We extrude it that
side, that's one-sided. But you can do two sides. So now I could have
Extrusions there. So maybe I wanted it to
extrude a bit out here. Which will be -20.
Sorry, which will be, you don't use a minus here because you already told that you're going out either side. If I were to go 20, it
will it will move it 20. Or if I put a minus on this one because it knows we're
doing it the other side, it would bring it in
if that makes sense. So 20 by 50. So again, to see, but our sketch is basically this line here and it's extruded 20 that way, 50 that way. So it's two-sided and you
can type that in here. So you see when we've got it on direction two sides,
you've got side1. We want a distance of, let's change up to
70 and psi2 we want a distance of 30. We can change. You'll notice there's
some other options here. As well as the distance of
70. We could have a taper. So we could type of 45 degrees. And you'll see it tapers out. Again. Right-click Edit Feature maybe wants to say for
M, So that'll be -45. We can do something like that. Again, you get all this
control to do what looks like fairly complex things just easily with the
extrusion command. Generally, I wouldn't, if I
wanted to create a shape, I wouldn't do it that way. I'll show you, will do
some light around and I'll show you how I would do it. But it's a two-sided extrusion. You've got two different
dimensions for each side and you extrude
on each side of the sketch. Now if you ever want a
symmetric here, you've, you've only got one
distance now you are extraordinaire
both sides again, but because it's symmetric both sides of the same distance. So if you put 15
here, it will go 50. Both sides of the sketch. Hopefully that makes sense. Now, down here,
use the operation. We've got new body,
we've got Joins, we've got cuts, we know of M, we've looked at them but
we've also gotten new body. And most when we've been
creating these objects, It's been putting
it on new body. Bodies and components is
something you need to know, but not quite yet. We'll look at that.
Okay. There you go. So there is a bit
more too extreme. You can extrude from
planes and things like the best way to show that is when we
create in an actual model, it will make more sense. But that is your extrusion
command and your options
9. 09 Revolve: Okay, So I'm gonna, I'm
gonna close that are not saved. I'm going
to start again. And now we're going
to look at some of these other creation techniques
that are available to us, Extrusions we've looked at now. We'll be doing way more
about me examples. But we're going to look
at these ones here. So we've got Revolve,
Sweep and Loft. Okay. And let's have
a look at those first filling going to
do is I'm going to do a sketch on this plane. And I'm going to,
Let's look at that. I'm going to draw a line. So I'll select line. I'll snap to this zero point. I'm gonna go straight
up, straight. I'm going to make sure
it's on 90 degrees, okay. And it'll snap to
the 90 degrees. And I'm gonna go,
Let's go to 50. Press Enter. It gives us 250 millimeter or 250
unit line straight up. Now I'm going to
click on line again, and I'm going to
snap to that point. I'm just gonna, I'm gonna
go straight out there. Let's go 25. And to do a line again from
there, I'm gonna go. Now I'm gonna do the
rest of it's just buy. I don't worry about
exact commands. Now, I want to show you if
you click on this line, you can do as well as straight
lines, CVs or Australians, you can do ox and you do
that when you left-click it, you need to hold it down,
hold down Alt left-click. So if I, instead of just
clicking once on that, I'm going to click
and hold it down. And then I'm going to
drag the mouse out. As you drag the
mouse because I'm still holding down
my left button. So you let go. It will
create this kind of. So I'm going to let go there. I'm gonna do it the same
again, hold it down. I'm going to create
that kind of object. I'm going to same again, hold down left K. I'm going to create
something like that. Just by I, in fact just
by I'm going to put there then I'm going to again holding it down and I'm going to snap
to that end point. I'm gonna, I'm
gonna press Enter. Now go is really weird
kind of sketch shape. If you didn't quite
get those apps, feel free to undo, do it again. Don't try and get
exactly the same shape. I've got. Just any
random shape will do. Okay, So I'm gonna
go finished sketch. Now. If I look at this by holding down Shift key and
my middle wheel, you can see we've got these
very random shape here. But now, if we wanted
to create something, maybe it's some kind of VAR.S. All I don't know, could be a doorknob or
something like that, but we can use this command
here called Revolve. And this is one of those
commands that makes way more sense once you've
seen it being done. So I'm just gonna show
you how it's done here. We click on Revolve. Again. The profile is, we've only got one profile Sketching this file,
so it's selected it. Now the axes is Valine,
it's revolving around. Again, it makes sense
once you see it happened. So I'm gonna say
select the axes. I'm going to select
this line here. There. You'll see what it
does. It's Revolve a shape based on our sketch
profile around this line. Now if I okay, that
you can see we've got this very complex shape
here. I don't know. It could be something on
top of a fence gate like a metal gate could be a top of that are a bad post
or something even. But it's a very, a very
complex shape that you could turn that on a CNC
lathe or something like that. And to model that, if you looked at that, how long is this cost being so far? Maybe an hour, not even that. I've shown you that. And
so you can easily draw this shape within an hour. You might not believed
it, but there you go. This complex circular model is as easy as doing a Revolve
and we can right-click, we can edit feature, we can look at some
of these options. So we select a profile
which was your sketch. We slept at the axes, which is obviously the
centerline we've Revolve around. Now the type was angle. So we had a friend
and 60 degree angle but didn't have to be
maybe it was just a one at maybe it was something
that sticks on a wall. It's an ornamental
thing that it's got a flat face that sticks on
a wall and that comes out. I don't know why
you do. But maybe that's something
you wanted to do. All sorts of things and muddled. And the skill of using
software like Fusion or any kind of freedom
Modelling is knowing which tools to use
to create an object. If you did want something
that looked like that, you could puzzle for a long
time of how you create it. But it's fairly simple with
just this Revolve command. We're gonna go back to free 60. 60. Again, we've got one
side so you could do it. Well, let's say,
let's go back to, let's say 90 degrees. Okay, So this was our sketch. And it's rotated at 90 degrees, but just like within the
with the Extrusions, it could have been symmetrical around the sketch 90 degrees. So it's gotten 90
degrees evil way. And now it will, the sketch will be my center and
nothing will be symmetrical. Or two sides with two
different distances. It's likely extrusion command is where you are taking
that sketch from. I'm gonna go back to
one side and phrase 60. You could carry on
Modelling from, you could, you could put a sketch on there. Could draw circle. If you wanted a
kind of a fitting. You go, now you've got you've
created a V exact name, but it goes on the
end of the gate of a metal gate post and it's kind of an ornamental thing and it's got a hole
that you can fit it on. You can model quite
complex things easily with this
Revolve Command, anything, circular, vases,
that kind of thing. Also, you can use it for shafts. If it's a complex shape, I tend to use
Extrusions and circles, but if you've got
a complex shape, you can use up, no problem. Anything you're going
to turn on a life. Chair, legs, ornamental chair, legs, table legs,
that kind of thing. Perfect for Revolve command
10. 10 Loft: Okay, so again, we'll close
that and not save it. Next one I want to
show you is the Loft. Now we have created
a, if you remember, we have extrusion, we tapered
V angle. Similar thing. So I'm going to
create a sketch on here. I'm going to look at it. And I'm going to create
a circle which is 150. And I'm going to
finish up, okay. I'm gonna show you if I just us taper
show you what I mean. So a shape like this. You can do it with an
extrusion and the taper, but you do need to know the taper angle and
things generally. Usually if you were
to create this, you would know the
damage of this circle, the diameter of that circle, and this distance
between the two. Okay. So trying to work out the taper angle
and that kind of thing, it'll be a bit of a nightmare. But what we can do, we can use this Loft to
create these shapes. So I've got our sketch here. We've got this sketch,
we've gone back into the Modelling Environment. Now I want to draw the circle
at the top of the object. But if I go to Sketch, I've only got in this plane, I've only got this origin
plane here to John. So I could do a sketch
on this previous sketch. I could do a sketch my plan,
but it's in the same plane. I want it to be above that. Okay, so what we need to do, we need to add planes. Just like we have these
free origin planes. We can add our own planes
wherever we want them. And this is a very
important part of modelling that you
were doing a lot. We have this pull-down
menu hair construct. And it allows us to create
planes, axes, and points. And we'll look at axes
and points later. For now we'll
concentrate on planes. Depending on what geometry
you've got to work from. What you want, way you want, you're playing, you will
select one of these options, furrows and the woman people
use most is an offset play. I'm going to select
an offset plane. Now what it's doing is
it's going to allow me to draw one of these yellow
planes I can put a sketch on. But I need to create the plane in the correct place first. So it wants to know which
plane and my offset in from. So we're going to
offset, we could either use this a plane of a sketch, but I'm going to use
this origin plane here. I'm going to offset from there. And suppose the height
of our shape was 100. I'm going to offset
my plane file. Let's go on 50. So I'm going to offset my
plane 150 and press OK. Now, as well as the origin planes, I have this plane here. This is where we can start
looking at this file menu. Now, we've got some
settings here, which is basically our
units. You could change 2. ". We've got some
views, which is just on our main views appear. Don't worry about that for now. I'll origin, origin point, we know is this black point. So we've got the origin in X, Y, Z, and you'll save a blue
line tells you where it is. We've also got origin planes, which is this X, Y, Y zed, zed. Why is it amazing them
planes that come up when I was to do a new sketch,
these planes here. But turned off by default
because they can get him away. Anything in terms of visibility. You see you get a symbol I. If that's on our off, that tells you
whether it's visible. In this case, all
the origin things are turned off. You CVI isn't. If I were to click that, always origin items like these
origin planes will be shown. We've got sketches.
This is the sketch, It's in our model
file and this is our model file that we're
working on this whole thing. So inside this model, we've got these
origins and we've got these sketches. Okay? We've got sketch one. And we've got sketch
to sketch two. Where in the sketch environment
we create a sketch. That's basically what
we're doing now. And then we've got construction. So construction is things
you've added yourself, like planes and axes. We've got one plane
which we've just added. So what it's asking me a moment. I've chosen to create a sketch. And it's asking me, where
do you want me sketch? Now because I've
terminated or I could select one of these origins
like we did before. I could do a sketch on, not on. But we've created this plane for a reason which
you've probably guessed, we're going to do
a sketch on there. So once I've selected
create sketch, I can just select that plane. Let me go back to before Joseph
sketch. We've added this Plane now which we can see
under our construction play. Now when I go create sketch, I can select that plane. I can say look at,
it looks like we're on the same sketches before
when we drew this circle. But if I hold down Shift, you can see our origins here. We're actually on this
other plane we've selected. I'm, that will become
more clear when I create another circle, which is 50 and finished sketch. And now when I hold down shift and middle wheel, I can pan. We've got two sketches. These are both in the same orientation
in terms of X and Y, but on a different plane
in the zed direction. So now we can use
the Loft command. I'm going to select Loft, and it's going to ask
us for the profiles. So we want this profile here. And we want this profile
here be a new body. And then we're going
to select, Okay, and now it's giving us
this same shape. So again, you might
think that's a bit more long-winded than doing
it with the taper, but you generally, you won't
be giving them a taper. You'll be given what
we've used here, which is sketch one, diameter, sketch to diameter, and this distance which you
will use to do your plane. And again, you could
add it up playing, you could, could
change that distance. Maybe it was too 50. They go, it's changed. Now it's much longer. So it gives you
great to control. Whereas if you've
just got up taper and the distance changes, you've got to rework out
the taper angle again is just when you
Modelling in Fusion, you want to always be
thinking, this will change. And a lot of times it
will always be thinking, if this changes, how would, how can I model this item? So at any future changes
can be done easily. And believe me, when
you've got these free, I mentioned that's a lot easier than trying to work
out taper angles. But that's Loft command. And also what we can do, I'm going to close
up so I can show you again where Loft really comes into its own is when
you use in different shapes. So I'm going to create a
sketch on this origin play. We look at that and I'm going to create a midpoint rectangle. I'm gonna make it
200, 200. Finish up. Then I'm going to a
construction plane, offset from their offset by 200. I'm going to do a sketch
on that offset plane. Let's look at that.
This is going to be a circle. Let's go 100. And I'm going to finish that. Now. I want you to imagine if you
as Modelling and trying to work out things
like taper angles, how you would get from
a square to a circle. It would be Modelling nightmare, but you can just go Loft. So let that profile,
this profile, okay? And you will see fusion has
automatically done that, is creative act shake for you. Which is amazing, really. The computing power it takes three fraction of
a second is great. I'm going to show you some
of the options and the Loft, if we right-click
Edit Feature profiles is just slapped him a profile. Okay. In fact, let me, let me, let me do a bit more of that. So I'm going to undo, I'm going to offset
another plane. And this time it's
gonna be offset from, you see we can go offset play. Can select this item. And I'm going to
offset this 100. I'm, and I'm gonna do
offset play from there. And I'm gonna go hundred. So now we've got
multiple planes. And we could do a
sketch on that play, which is another
circle, maybe 200. Finish that sketch. And then we'll do a sketch
on that plane there. Which is another square, which is 300, 300, 300. Put I mentioned on 300. Okay. So now we've got
multiple profiles. But that's fine because we can add as many as you want in here. So we can say, now, important thing is
when you add them, add them in the order of a Loft, don't advanced one, and then
back to that one up there. Create them in the
order of the Loft. And you will see it looks almost like some
kind of goblet or glass. But it's created a
lot from all those. And what it's done,
if you notice, it's, it's kind of done a smooth transition
between the shapes. We've gone from square
to circle to circle. It hasn't just gotten from
here on a straight line, straight to it because it
knows it's coming back out to a wider circle is, is create its own flowing
curves between the shape. There's a lot of
intelligence grown on MS command where it can go from different shaped profiles
and create the curvature. Lots of things. Just be aware. If you get very complex, it can get a bit confused. Its own, it's a very complex
operation is doing here. So generally it's fine, but on very complex things. Sometimes you do
want to split it up. So you could do another Loft. You could, you could create
offset plane from here. Just going to do this by eye. But you could create a circle again by
I, finished sketch. So now you could do a Loft. And you could actually select that shape in though it's not, you haven't done a
separate sketch. If the profile is still
there, you could do that. But it's been done
in because it's been doing two operations. It hasn't done, it hasn't worked out a flowing
curve between them. It's done a tight edge because it's gone directly from there, if that makes sense, it's done as two different operations. So if you did want that
kind of sharp transition, just stop and start
another Loft. But that's the last command. Again, another very
powerful command
11. 11 Sweep: So the other kind of automatic creation
when I want to look at now is this Sweep
commands we have extrude, revolve Loft we've looked at. Let's just have a quick
look at with Sweep command. And I'll show you
how this works. This is, comes in
handy if you're using, if you're drawing something like a maybe it was a handrail around something or a
even a pipe sometimes. Again, it will become
clear as we draw it. So I'm going to create a sketch. And I'm going to look at, and this is gonna be
a line which denotes the center line of
some hand railing. So I'm not going to
put in the dimensions. I just want to show you. Again. I'm going to hold down. I'm just going to
do something like okay, I'm going to, okay, so this is like a center line
of some kind of hundred. We've got, I'm going
to finish that sketch. And then I'm going to draw the actual profile
of the objects. Again, this is
going to make sense when you see what happens. But I'm gonna do is on the, on, I'm gonna do
is sketch on that. And it's going to be a circle. Snap it there and
I'm gonna say 1 mm, finish, withdraw it. We're creating something
very small here, but we basically got
two sketches here. Now, we've got the
sketch which is the center line of a
pipe run or handrail. And we've got this sketch
in that profile which is imagine if you cut
through the handrail, that's the shape
I want it to be. Now if we go if we go to Sweep, it's going to ask us follow
a profile and the path. The profile. Is that the path. Okay? If I select, Okay. I might have done a bit small, but hopefully you can
see what it's done. It's taken that profile and it's swept along the
path of that center line. We've got this kind
of handrail now. I'll pi wherever you
want to look at it. And it allows you to create, to Sweep but object as
it's called Sweet Sweep, the object of profile
along that center line. And we can right-click, we can edit this so we can have, this is a type of Sweep. So we could have a guide
rail which is basically put some more of a guy that I've just stick with
single-part for now. Let's not get it to advance, but a single path distance you can change this
distance was a profile. So I can put this up to five. Change the distance. Distance is the taper
angle so you can taper it, you can twist it,
all sorts of things. But that's basically
the Sweep command, not something you use an awful
lot when you do need it. If you add on a handrail or
pipe, when you do need it, it comes in very handy indeed, is particularly good for doing
something like a beating. If you've got a bead in
round the edge of an object, you could show it by just selecting the edges
and doing a sweet. But it's not something
we use an awful lot. But they have a main kind of automatic Modelling things
extrude, revolve, sweet Loft. We've got things like patterns and things which
will go in later. But that was a Sweep command
12. 12 Sketching 01: Okay, So this is the Sketching
portion of this course, and we're going to take a bit of time to go through
Sketching constraints, that kinda thing and teach some good kind of
work practice here, because your sketches can be thought of as the foundation
of your model, if you like. Whereas when you're
building a house, you need to get good
foundations because it's the basis of
the whole structure. With 3D modeling,
especially in Fusion, you need good sketches that
are fully constrained, unlocked, and you'll know
what that means soon. You need those goods
sketches to provide a solid base for your model. If you've doubled in Fusion
or you've been using it while maybe you will probably come across models which
just tend to, they almost kind of, I'm just destroy themselves when you try and edit
them because they're not you trying to do one
dimension or one face. And my whole thing kind of either crushes and
gives errors or it just changes in a way
you didn't wish it to a mass because that's usually because the sketches
that model is based on haven't
been probably done, haven't been probably properly constrained and dimension
that kinda thing. We're gonna look at
these next few chapters. I'm really getting into
the detail of Sketching. So you can be creating good sketches from a
beginning because there's no point carrying on
with a Modelling until you really know how to
create good sketches. First, I'm going to talk about when we use sketches and
basically use sketches. When you wanted to
create any geometry, really everything is
based on a sketch. And you have 2D sketches.
I'm 3D sketches. We're going to
concentrate on Tuesday Sketching for the time being. So the thing to remember if you're going
to create any object. And we're just
going to talk about a square metal plate to begin
with a very simple object. You want to create that object. You need to know where
you're going to create it. And so you need to use a plain, an existing plane to
create a sketch on. Now, the way you
can think of this, if you're standing
outside somewhere new, want to create this metal plate. You might draw that first as a sketch on a piece of paper where you're going to
put up piece of paper. You're not just going to
hold it in the air at any angle and sketch
on that paper. You going to draw it
where it needs to be. Okay, so let's think is a
plate gonna be on the ground, okay, then we'll
use a ground plane or construction plane. Is it gonna be gonna be
fixed to the side of a wall? Okay, Then we'll sketch on the wall and then
you can extrude that out from that place
if that makes sense, but you need a flat plane. If that might sound confusing
like all of these things, it's going to be second nature when you see you see an action. So here's my Fusion. I've just got a blank
brand new drawing open. I'm just going to close it. If you've got this open, you can close it isn't open
on yours, Don't worry. Okay. So this is a
completely blank project. Now, just as good practice, first thing I'm going to do, which is first thing I
always do is go up here, right-click and go
to new component. And I'm just going to okay that. So now we're working
on an actual component rather than in our main project. So we never want to be working
in this kind of default. Muddle up here. You want to be working with
individual components, but that's covered in
a different chapter. So in order to create a sketch, we have this combined effect, which is called, believe
it or not, create sketch. And when I click on that, it's going to ask
us now for a plane, and this can be, you'll
see it brings up our default construction
planes here. So these are on our
different planes. We've got the
coordinates X, Y, Z. So that will be X, Y plane, that will be XY plane, and that will be
planning if ever you get confused which one is
which you can see up here. Usually in cad, you will
work when you in today you will work on the x-y plane and
then Z will be Extrusions. So I'm going to follow that kind of method of working just because anyone who is
coming from all together, that kind of thing I using CNC, that will just be
what they used to, but you don't have to
do that by any means. And when you are creating a
sketch on existing geometry, you, you probably won't do that. So in this case, we're going to create our
sketch onto this plane. Okay? I'm just going to
click it and you'll see My screen automatically
orient itself, so I'm looking down
on that plane. Now. There is a setting
that makes it do that. So yours may not have
automatically done that. Okay. I'm just going to undo. And I'm gonna go
to Create Sketch. Now if I go to my Preferences
under general design, it's also look at sketch. Now Fusion as it does, it changes all the time. So it may or may not
be in the same place, but it will be called
Auto look at Sketching. It probably is under
general Design tab, even if this might
look a bit different. The do have a habit of
changing the way things look the day after
I record a cost, but that's progress, I suppose. So. There you go. It's called Auto look at Sketch. And if you select that
and you select a plane, it will automatically look down. Now there is a chance, again that even with
that option selected, it doesn't automatically look. And that would be if you
have this 3D sketch enabled. So if I was to come up playing, and you'll see now it hasn't
done that because I have 3D sketch enabled free. If you were Sketching in 3D, you probably won't want
to look straight down. You'd want to remain in
a 3D view like this. So Fusion gives you that choice. You can always automatically look straight down on your
sketch by clicking miss here, look at, okay, if
you click that, it will orientate itself. But for now, turn off 3D sketch. And then when you
create the sketch, select X, Y, and you'll be
looking straight down on it. And we've taught
about these planes, visa, what the Calvi
origin planes. Okay. So when you start a
blank project in Fusion, all you will have is your
origin and your origin. You can turn it on and off here. So this eyeball, so you can
see now this is your origin. So in space you've got X, Y, Z coordinates, this point here, that 000, so zero and
X and Y, zero and Z. And these are planes your X, Y. And when I highlight
them, if you look here, you'll see what happens. So X, Y, Y, zed, zed value or planes, and these lines are actually see your y-axis, x-axis, that axes. Okay? Just to recap of all that, because you kinda need to
really grasp up for Sketching. So let's just say, and you don't need to
follow along here, but let's just say we
had existing geometry, so I'm just going to
create a box anywhere. Extrude it like that. Again, you don't follow what? I just want you to understand this principle of
Sketching on planes. So now when I create a sketch, I can still use
these origin planes, but I also, I can use a
plane on existing geometry. I might want to
sketch on that plane. Now I'm sketching
on that face. Okay? So when I say you need a plane, it doesn't have to be one of these origin
construction planes. It can be any flat surface
on existing geometry, on a origin plane or
on a plane you create. And we'll look at
creating planes laser, but it just has to be on, just think of it asked
to be on a flat surface. Okay. So let's hopefully
that makes sense. It will become second
nature just when you do it. I'm sorry if I've labored for point there if you
already knew that, but I just want
everyone to be on the same page when
it comes to this. So what we're gonna do now
we're going to create sketch, and I'm gonna do it
on this XY plane. And now you can see we're
looking straight down and we have our x-axis
and our y-axis, and we forget about the z-axis now because we're
doing a 2D sketch, so we're only working
in these two, X and Y. And you'll see we have
some figures here. We've got this grid. This grid has separated
itself into units for us. So 25 units, 50 units. So each of these squares
would be five units. If you zoom in, you can see it separates itself
even more on. The more you zoom
in up to a point, the more it separates
itself down. But one thing to be aware
of with these coordinates, this is your 00 point. Whereas that would be 50. If you go this way, it's -50. That would be 50
this way it's -50. So if you were joined down here, that point there would be -50 by -50 point there
would be 50 by 50. Okay. If that makes sense. So this point here will
be -50 annex and 15. Why? This point here would
be 50 and X and -15. Why so anywhere left or below of the odorant is minus and above until the
right is a positive. So now The most important thing, as we've already discussed, is to a fully constrained
unlock sketches. So we're going to
look at that now and we're going to show you what these constraints
mean because people get a bit confused with them. And a lot of people
just don't use them because I don't
like using them. The thing is Fusion will use them whether
you want to or not. So you need to understand them. And as I said, you're models
can just become very, very unmanageable if you
don't use lots of sketches. So I'm going to
draw a rectangle, and this is going to be
the basis of our plate. Now another thing we want
to think of in Sketching is symmetry and Mrs
in Fusion as a whole, in Modelling everything,
you always want to be working symmetrically
around the origin, if you can, with individual
components and parts. So what do I mean by that? Well, if I was to draw we're going to draw a
plate that's 250 by 250. So I could, I could call pair and we have all
our sketch commands. We have rectangle, center, rectangle, line, circle
will go for all of these. But for now if I just click
on two-point rectangle, it's going to ask for the bottom corner or one corner and then
the other corner, and that's going
to be howard your now we said to 50 by 250. So let me undo that. I'm
going to, and you'll see, when I tried to draw, my cursor will be as a snap-on. So if I go near this origin, it goes boom, it snaps to it. Now I'm not snapping to
these individual squares, but we can do that down here. You have grid and snaps, and you can have some
options for your grid. These gray lines have a grid so I could turn on Snap to Grid. Now you'll see it snaps onto these five
millimeter squares. And again, the more you
zoom in and memoriae you narrow down the squares
and loyal snap to them. So it might be something
you'd like to turn on. For me. I usually have
it off because you're going to put a
dimension in any way, but you will snap to
this origin point. So we've got this
two-point rectangle. Now, I'm going to
click there for the first corner and
you'll see it asks us now for he's got two-dimensions when an X wondering why and
the one in X down here, I can't point to it because
the whole thing moves. If I'll try and move my cursor, but down at the bottom
where it says 42.9, 920, you see it's
highlighted in blue. So if I was to type into 50, it will go into that one
that's highlighted in blue. And now I've typed in, you'll
see it's got a lock symbol. So I can only move
in this direction. To swap between the two boxes. We press the Tab key
on the keyboard. Two opposing arrows usually
on the left-hand side. And now I can type
into 50 there. And now it's locked because
I've typed that in. And I press Return. And there we have r-squared. And as we spoke about, if we wanted to go misdirection it, then it would be
minus 250-25-0250. And we've got this plate now, I'm not as our sketches
simple rectangle. But as I mentioned, we want to draw
symmetrically why we can. It just makes our life easier if we want to mirror
objects and things. I, it's just good practice. It's one of those things. It's just it's just
good practice. So I'm going to undo that. I'm going to, instead of slipped them is two-point rectangle. I'm going to select
this center rectangle. What this will do,
it will ask us for a center point of a rectangle so I can snap onto this origin. Now you'll see it's
creating a rectangle that's symmetrical
around the origin. So if I typed in to 50
and then top to 50. Now we have a rectangle
with a center point here, which is good practice.
And what we want
13. 13 Sketching 02: So as I said, we've got other sketch
tools available to us. We've looked at these
two rectangles. We've got a line which
will just draw line. And if you left, keep left-click and it will keep
drawing a line, okay? And when you get to the end, it will snap to Point
and close itself. We've got a circle, centerpoint circle, which
works like the rectangle. There's only one dimension here. If we were to put in 300 with setting the diameter
of a circle, okay? And we have these splines. We're going to look at these, all these different options. Afterwards. I just
want to get this idea of symmetry and things
and constraints first. So Let's have a look at this rectangle that it's
drawn for us because it's, it's added these four lines, but you would expect
in a rectangle. But we've also got some
other things here. We've got these
little symbols on our lines when we've got
these dashed lines here. So what do they mean? Well first, the dashed lines
when you're modelling. And again, if you come in
from other cuts off where you'll know you'll
know about this. But we have things called
construction lines. Now, construction
lines are lines that are there to help you, but don't necessarily appear
as part of your model. So these lines
around the outside, this is the outside
of our rectangle. But these lines here, these are just showing
from diagonal, diagonal to show us
that it is a rectangle. But not going to be
part of a geometry. We're not gonna be able to
do anything with those. It's just there as a guide. I'm one of the
places you might use construction lines,
for instance. And again, you don't need
to follow along here, but if I files to create a line, I can click this. Okay. I can right-click it and you'll see it's either
normal or construction. So I can swap between the two. Now I've made that a
construction line. I might want to mirror this
plate around that line. So I will select the
rectangle, the mirror line. I would use a construction line. Okay, now I have two rectangles. This line I don't
want to parent, I don't want to mobile it. I don't want it to
appear anywhere. I wanted to use that so
I could put a dimension on it and get the accurate
place to mirror the line. Okay. So it was used to construct the sketch,
if that makes sense. But it's not actual geometry
I'm going to use anyway. So that is what
construction lines mean. Mechanical guidelines. You're not gonna be able
to extrude it or anything. I wouldn't be able to extrude this triangle because it would only see these
as a guideline. Anyway, that's
construction lines. So now we've got our rectangle and
it's symmetrical around these origin points. So that's good practice. But what we've looked
at construction lines, now, what do these symbols mean? Will these symbols
are constraints? What constraints
do they set your, they lock your sketch in place. So if I was too, if I was to look
at this rectangle, you can see the
lines are in black. I'm in black is what you want. You want your sketch
lines to be black. That means it's fully
locked, fully constrained. Good job. If I just click
on this line here and I just draw a rectangle by I. I'm not even going to
attempt to be accurate here. I'm going to be very inaccurate. Um, that is my very
bad attempt at drawing a rectangle by a new will
see that it is blue, whereas this one is black. That's because this is
what it's terrible. It's not constrained to all. We've got one. I'm
going to delete that. This isn't constrained at
all. So I want to lock this. If I tried modelling
with this rectangle, it would be an
absolute nightmare. Things would move all over place because we haven't told
Fusion anything about it. Now here the only
thing we told Fusion, you might be thinking is
that it was to 50 by 250, but we actually told
it a lot more when we selected the rectangle command. Rectangle by nature tells
Fusion a few things. It tells it, okay, this line, this line are parallel. This line, this
line of parallel. You see on my very
rough attempt, these lines aren't parallel. If you look here,
we have this symbol And if you notice up here
and the constraints, we have the same symbol. And if you hover over it, you'll see it comes up and
tells you what it means. It means parallel. This symbol here, when I highlight it, this
parallel symbol, you might notice,
if you watch this, when I go over it, this one highlights as well. And that's telling me
these lines are set, so this line is set to be
parallel with that one. So I'm going to choose
with parallel constraint, and I'm going to select
both these lines. And you'll see now
they changed so that the lines are parallel. Okay? We have parallel
on here as well. So I'm also going to select, with parallel still selected, I'm going to select
these two lines and now they're parallel. If I escape out of that, we'll see Outline is two lines are still
blow that far from fully locked yet
there's lots of things, lots of different shapes. It could be if I grab this line, we haven't told it the
length for anything. So it doesn't really know, whereas here you can move it about because it's fully locked. So we're going to have
to give it a length. And we can do that. We can go under create. If you go down here, you've got dimension, sketch dimension. And you can select
the line here. And I could say to 50, okay? Now that line is
locked in length. And I can do the same here. 50. You'll see it's still blue, it's still not constrained. And if I select
this corner here, I can jacket about what
this basically means, what this is called
when it can move is this is degrees of freedom. And we'll, you'll get
used to working with degrees of freedom and find
knowing what the mean. But basically it means this
object can still be moved, Insert in certain ways because it's still
information missing. And that inflammation. We can see up here
if we zoom in, you might not be able to see it. There's a tiny little
constraint symbol there. And if we hover
over, it will get this. These come up here. And what that means, it's
an angle constraint. Whereas here, when we move it, you can see these
angles changing. On this one we angles are set. So we can do that a few ways
we can do is we could say coincident or we
can say T-shape. We could say it's perpendicular. So if we use perpendicular, we'll save that line is
perpendicular to that one. Okay? If I escape that now, you'll see that if I move
this corner, it stays. These lines stay
at right angles. But this one, it can
still move around. So it's still got
degrees of freedom. And I know that I don't need to be doing is
clicking and grubbing. I know because it's blue. So there's another
constraint here. It looks a bit like
this parallel, but it's horizontal and that gives you a clue
as to what it means. You'll see your peer, you
have horizontal and vertical, not horizontal symbol
is this one here. So we want to say this line is horizontal. And
I'll escape out of that. Now. We can change the shape of this object anymore.
It's locked. It knows it's, these two
lines are perpendicular. Parallel, sorry, visa parallel. This is a right angle
and this is horizontal. So we've set that orientation. It knows that they are 25250,
so we've set the size. The only thing we haven't
set is a position. Because we did this from, use the origin as its position. This is locked in space. If we now were to grab this
and snap onto the origin, you'll see it turns black.
So it's fully locked. Now, we've told her
everything it needs to know. Alternatively, we could
have put a dimension from what we could have
done it from here to there. And you'll see now
that would have locked these lines in space. Then we could have
put another dimension from here to there. And that would have
loved the whole thing. So we've sketches, It's all about locking it in place
and locking this shape. And the reason it's so important is if you don't have a look, sketch a new change, one item, it can, it can just throw out
your whole model. And again, you might
have seen this happen and not knowing
what was going on, but that is why it's so
important to lock your sketches. I'm gonna delete this and
go back to our plot here.
14. 14 Sketching 03: Now I want to look a bit sketch which is a bit
more complex than that. So let's say we wanted, again, it's gonna be, gonna be a metal object of
a certain shape. And I'm gonna do is a
completely random shape. And we're going to
tidy up with sketches. So I'm going to start, I'm just going to
start down here. I know I spoke about being
symmetrical around the origin, but not all shapes
are symmetrical. This is going to
be a random shape. So I'm going to stop this one. I'm just going to start
down here in space. I'm going to start drawing. Now, Fusion will kind of, you say if I, it will snap to a horizontal
constraint it will want, because it's
intelligent software. It will try and work out
what you're trying to do. You see it tries to snap
that to a right angle. It snaps it to horizontal. So I'm actually going
to purposely try not to the vertical. You'll see you, but I'm going
to purposely try not to do that just by drawing
it very, very badly. These automatic things where there to help you and
they are very helpful. You see, if I wanted
to come out with my sketch level
with that corner, it puts some of this construction
line to say snap there. In this case, because
I'm showing you as an example, I
don't want that, but I'm going to create a
very bad attempt at sketch. And you'll see when I click
on the start 0.8 now, shades it blow vats to tell
me it's a closed object. This line is closed.
There's no gaps in it. Basically. A very, very bad attempt at
drawing something which I want to be
nice and square. And these lines to all be
right angles and parallel. Where some people go wrong
with Fusion Sketching is very tried to do
everything with dimensions. And if you were to put
on your dimensions, you might say, okay, well, I want to set that angle
actually that you'd probably do. You'd say, Okay, I want
that angle to be 90. I want that angle
to be 90. Okay? And that's how you
set a is parallel. And then you might say, I want this angle to be 90-degree
amalgam around like that. And you'll see people
doing sketches like this. And it's not really good
practice because its dimensions. That's why you have constraints. You don't need to be doing this. But sometimes you'll see people sketches and they'll
be full of dimensions. And then one thing will change and it will
throw over for now. And you've got to hunt round, working out which dimension
you need to change. It's just, it's a very
good way of working. But the best way to
work is to go through your object and use
constraints to set it all up and then just put
all my dimensions uni. So let's look at that now. Firstly, I'm going to do is set a baseline that we can use
to constrain things from. So I'm gonna go with
this Latin here, and I know this wants
to be vertical. So if I select that horizontal, vertical and click on it, it sets it as a
vertical constraint. Now, it's the same button whether you're on horizontal
or vertical Fusion, basically it will
take its best guess. So it will know that it
will set to horizontal, for instance, that one it
would set to vertical. Okay? So I've selected about one and we've made
this line vertical now. Now I could do that,
but I did that. So I could, I could select that horizontal.
We've constraints. There's usually more than
one way of achieving the result is not a big deal. Which one you use in general, in 3D modelling,
you trying to do things with the least amount
of commands as possible. So sometimes you might
go one way or the other, but as long as it's constrained, how you do these various ways, it doesn't really matter. I'm what I like to do. It's a setup, one
baseline like this, and then work around that. So I'm going to use
actually perpendicular. Perpendicular means right angle and I'm going to change
that to perpendicular. Okay? Now I'm going to
choose parallels. So I'm going to select this
line and select that one. Okay? So these two
lines are parallel. Now, again, I could have done, I could have made these
two perpendicular. And it would have achieved
exactly the same thing. I'm also going to set this
line now as let's do, I'm gonna go parallel. I'm going to make
that one parallel. And this line, I want
to be horizontal, but I want it to be
in line with that. I want this edge to be the same. So what I can do here is
I can select co-linear. Now what colinear means, and if you want to know
what any of these mean, just highlight
over it and you'll get a description constraints, two or more objects of
a share a common line. So that's what we want. So
I can select that line, that line, and you'll see
it brings it in line. So these are now co-linear I'm gonna go parallel this one. We've got one. I'm going
to make these colinear. I'm going to make this
parallel. We've got one. Now, you'll see what's happened when I've
tried to do that, it saved, I get
this error message. Sketch geometry is
over-constrained. Now in Fusion, this message about things being
over-constrained, you're going to get that a lot. And it basically means you've given me too
much information. It's Futures way of saying
you've already told me about. You don't need to tell me again, Fusion doesn't like being told the same thing more than once. So we've got this constraint
that came in automatically. This was done when I sketched
it out with my lines. It took a guess at this
and it got it right. It was saying, okay, well, I think these lines
are going to be a perpendicular to each other and put a perpendicular
constraint on. Then when I set
this as parallel, this is in line with that line which is
perpendicular to this one. Already knew this information. We knew that these
lines are parallel because of the wave and
other constraints dump. So we can leave that not an
issue. It's a constraint. How again, how you do that. There's no right or
wrong way really about how you tell it
as long as you tell it. So let's now make these line. You'll see this line here. It already had parallel
constraint on it. So again, if you're not sure
which lines it's set to, you can see by hovering over it. So we've just added this
parallel constraint to make this line parallel
with this one. But it's already got another
constraint on which is set, this line is parallel
to that one. Well, I don't actually want my, I'm going to delete that. The other parallel constraint
is these, which is correct. So I'm going to leave it on. I'm going to make
this perpendicular. So now we're set all
these right angles by using perpendiculars
and parallels. I'm going to make this line and misalign
co-linear. So very in line. I want a perpendicular
constraint here. I want a parallel
constraint here. And I want, we could
even do parallel. We've Outline or
perpendicular here, I'm just gonna go perpendicular. Okay? So now via Skype, our object in terms of right
angles and lines is set. If I can move up, we've got this co-linear, so both of these lines
are going to move. We've got our right angle setup and it's constrained nicely. It's still blow and it
can still be moved about. But in terms of the object, basic shape, parallel
lines, etcetera. That is constraint. I'm just going to put
an, a co-linear here. We want these lines in line. So now what I'm move them
both move same here. So what we need to do
now, we need to think. It knows the basic shape, but it needs to know the size and that's why the
lines are still blow. That's why it's
not locked you up. Now we need to look
at dimensioning. And again, go round and fully constrain it before
you do your dimensions. We've saved so many dimensions in terms of all the different
right angles and things. By setting these constraints, we just need to sell it
a few overall sizes now. So I'm gonna go to
create dimension. I'm gonna give it an
overall size here. Let's say 750. In here. It's gonna be 750. Okay? And now we will
need to say, okay, we can either say when
you dimension in, you could say I
want the dimension from there to there to be 200. Or instead of saying
from there today, you can just say select that line and we'll
make up for 50. Okay? Now, we've told it
this overall length is 750. We've told it this shape, this line here is 200. This line here is for 50. So if I now try and
dimension this gap, you'll say, you'll say it comes up with
this message again. We'll over-constrained
the sketch, the same phrase over constraint. Basically it doesn't
need to know this. I've already told it
because it knows that this dimension here is
750 minus 450 -200. It knows that already
because I've told it. So this is what this
over-constrained means. I do still need to give
it some sizes though. It needs to know. This line is one. Let's make this to 50. And this line, Let's
make it free 50. Okay? Again, I don't need to
give it this gap because it knows it doesn't
know this dimension. So that will be 200. It doesn't know that dimension, which again will be 200. And now it needs to
know this shape here. So again, I'm going
to click this line. Let's make up free 50. And this line. Okay, again, it's going to
overconstrained my sketch. So looking at, as you
might wonder, why, because we haven't given it this dimension, this dimension. So why will that
overconstrained my sketch? Well, you might have guessed
this is because we have this colinear,
colinear constraint. We've told it this line is
in line with that line. So really we have
given this dimension, it's 200 because these
two lines are in line. So we don't need to
give it anymore. In this, this distance here, it knows it's 750 minus three. -200 will give us this. If ever you so now it's still
blow it still not locked. If ever you're unsure.
You can you can click things and see what will move, okay, So you know that this
line isn't gonna move. This line here is the one
we still need to set. So I'm going to
sketch dimension in. Again, you can either
click on that line, I'll click on those two
and I'm going to say 200. Go. This shape now is
pretty much locked. We've the constraints
and the dimensions, knows where it needs to be. The only thing it doesn't
know is where it is in space because we just
created this shape randomly, not from an origin point. So we could put a dimension
from the origin if we want, because it's not symmetrical. I'm just going to take
the bottom-left corner and I'm going to put
that onto the origin. And now it's gone black shape, now it's fully constrained. That will be considered
a good sketch. And that will, in terms of working practice, this is what you want to see. You want these lines to go
black and you want it to be light blue shade
to show it's closed. And again, that
is a good sketch.
15. 15 Sketching 04: But we've only used a
few constraints here. We've got all these
constraints available to us. So let's look at some others
that we could have used. Okay, So coincident. If I, I might draw another line here. And I'll put it. I'm gonna, I'm gonna let it do some automatic constraints for surveys right angles, because
we've been through them. I'm going to
right-click and select. Okay, so I've drawn this shape. I want this to be a cutout, like this one to
be a cutout here. But these lines, the reason
it hasn't really seen it, it's because these
lines don't extend. Now, we could use with our
sketch tools under here, under Modify, we have extend. So how extend works? We're just, if you
hover over line, it will guess where
you want to extend it. You see at this bit in red, that's kind of a preview
of where it will extend it to and from there. But in terms of constraints, this coincident, and again, if you hover over it, it
will tell you what it means. It constraints the
position of two points, a point and align
our curve together. So if I was to select that now, and I was to quit this point, I could say I want that point to touch Outline and you'll
see it's actually moved. It, It's not extended,
it's moved it. I might now say, use the same again
and say I want this point to touch this
line. It's extended it. So now they touch. I could just use this trim
command and Motrin works. It's like extend. If I hover over the line,
I want to trim out. You say it highlights it in red and it will trim out there. And I get told some
constraints were removed because I've
edited of a model, some constraints will
no longer relevant. And you'll see we
have this blue object here which isn't locked. Whereas the rest is in black, is because it needs a
dimension, so to 50. And again, one knows
this hole is false 50, so it needs it needs
something else. We'll need to be 100. I'm not to be to 50. Now it is locked again. So this coincident constraint, it basically means
a line is touching. Now, I want to show you
that again because if I, if I just draw this line here, if I was to go coincident
and unselect the line, this is what a lot of
people do have a say. My coincident constraint
isn't working. I've told it, I want that
line to touch that line, it's not working well.
You need to tell it. You want the point
to touch a line. So it works on a point over the end point of a
line touches Outline. I'm not saying
coincident constraint. Let me just delete
that. We've looked at horizontal and vertical. We've looked at coincident. Now we're going to look
at tangent constraint, and this is a very
important constraint whenever you're using curves. How do we draw our curve? First, we have this line command which we've already looked at. And we can go around,
we can create lines. If you want a
curve, what you do, you go back to our
initial point. So this is where we've got. We now want to create
a curve around here. So you go back to the point
you will just on you. You press the left button
but you hold it down, you don't, it's not a click. You just hold down
that left button and menu drag and you'll see
you get to draw a curve. I'm, you'll see you do get these construction lines
where it's guessing as usual, I'm just going to put it there. If you let go and you carry on, it goes back to
your line command. I'm going to make that
horizontal line, okay? And then right-click
okay to stop. So I've got this curve
and you'll see it's already put this on. So it's guests that we need
a tangential constraint. I'm just going to delete
that for now so I can show you how it works. You might have
already guessed, but basically you see this curve
is coming off this line. It's at an angle,
it's a sharp angle there to sharp corner. We wanted to this line to smoothly transition
into a curve, which would mean
it was tangential. So we can say, Okay, I want this curve to be a tangent constraint
with Outline. And now it will create this
nice smooth curve here. I'm again, we can
do the same here. And we get this
nice smooth curve. And we can do this
with multiple curves. So if I click Align, I'm going to go about
their hold down my left button, correct? Curve. Hold down, left button. Hold down the left button. Create another curve. I'm going to do a few curves Like this. And you'll see it's automatically put these
gentle constraints on. So when I try and add
it Basic will always keep your lines at a
tangent to each other. If I was to delete that
and maybe that one. Now, it will give you the sharp, strange corners. I'm
going to look strange. Usually you wouldn't
want that with curves. So you can fix that by putting this
tangent constraint on. You'll see it works on an
inside tangent as well. So the way to avoid that is by putting these tangent constraints
on in the first place. Then we go, so you've got
this nice progressive curves. So anytime you using curves, you should really
use, I'd say 99%. You want those
tangent constraints. Equal. Constraints, similar
objects sizes are identical. Again, with this one,
we could have used equal if we to that
dimension off. So we could say, I want these lines
to be in line, like we've done before with
this co-linear constraint. But we could have also said, I want these two
lines to be equal. So now they're going
to be equal length. This one is set to 50. So that is gonna
be equal length. And that one can come in handy
when you've got multiple. You might have all these
different lines here. Will also have vertical,
but you can now say, okay, I want equal constraints on them all uneven
move and not in line. They're not lined up which
they are of equal length. So if you want
multiple items to be equal length, that's
where you can do it. We've looked at parallel, we've looked at perpendicular, we've looked at fixed unfixed. So when we move this object and we did wrapped by in order
to set it in space. We moved it onto the origin. Let me just, I'm just going to put any
dimension on there. I just want it to be
locked in terms of size. So when we move it
onto the origin, what we could have done, we could have just clicked
up point and fixed it. And you see it turns
black because we've fixed that point in space. We haven't dimensions it from
anything. We've just said. That point belongs here. And that was enough
to lock that object. I'm going to draw that line. I'm just going to again,
purposely draw it quite bad. So if we were to just say
these two are perpendicular, that was set them
at right angles. If we were to say these two, this point is coincident
with this line. That would put that
point on the line. And do midpoint will put up point on the
middle of Outline. Okay, So show you again, you'll see, whereas coincident, we'll just touch it. It will move on to the
line in same position. Mid point will always put it on the midpoint of a line
and that can come in handy when you want
something to be halved. You still need to tell it, but it's you still need to tell it but
it's perpendicular. Right angle, but it's on my
midpoint where concentric, concentric is when
you drawing circles. So maybe you have a circle, maybe you want to hold him a
middle here and you could, you could easily do
that when you draw a circle by snapping
onto the center. But you'll see it puts this
same concentric constraint. So every time you snap,
what snaps doing, it's basically automatically
using these constraints. Now if you already had your hole there and you said actually
I want that to be my middle. Instead of dragging,
you could just tell it to constrain this
circle with this one. And you'll see you get that
it's exactly the same thing. Whereas this would automatically
drop you constraint in. If you do it this way. You tell him about
what, this is, exactly the same thing,
but you're doing it manually if you like. Now the thing is, you might
have noticed when I did it this way by saying
that's concentric, the large circle moved onto
the small one and done, it depends which one you select first if I select the large one, and then this one,
the small will move. So whichever one you slept first is a woman stays in position. But that's concentric
constraint, co-linear, we've looked at that's put
in lines, in line symmetry. Let's say we've got, we've got this shape here. This might be way use
a construction line. So I'm going to right-click, I'm gonna go construction line. You might now say,
okay, I want symmetry. I want these two lines
to be symmetrical. So you could select those two and then
select the center line. And you'll see now
you've got symmetry. If I was to move up the
medieval and changes. But notice this isn't
length, this is only angle. The angles are symmetrical. The lengths are not. You might decide to say, okay, these are co-linear. So it's the angles that's
symmetrical around that line. And that is another way you
would use construction lines. You don't want this to
actually be geometry, but you want it to use it
for this symmetry constraint
16. 16 Sketching 05: So that's constraints and
you can see there's lots of different ways of achieving the same result
with constraints. It is purely down to personal preference
and lots of time. The main thing is used them. So create your shape, constrain it together,
and then dimension it. And when you've got
your lines black, then you've got a fully locked,
fully constrained sketch. You commend go to
finished sketch. And you can use that
then as an Extrusions. So you can click on Extrude and create your solid objects. And you know that this
is not going to be moved about or mess about
with because it was done on a fully
locked sketch. You can go back now and you can right-click Edit Sketch and
you can change any of these. It will change in the right way. If this wasn't constrained
and I edited that dimension, it might have been actually
put this line up here somewhere because this wasn't It didn't know if this
was a right angle. It wasn't locked as
parallel to this line, so it would have
worked out well, he wants me to make
this line longer. I'll do it in 45 degrees
or something like that. But because it's locked, it knew exactly where
it needed to change. If I go Finish Sketch, you'll see the object updates,
the extrusion updates. And anytime I want, I can go back in this
model, right-click, Edit, Sketch and change it, knowing it's not
going to mess up these right angles and parallel lines and
things like that. Okay? So that is the
main thing we've Sketching constraints
and getting a lot. But let's go back now
and let's look at some more of these commands
that we're going to use. We've looked the rectangle, we've looked at lines and arcs, we've looked at circle. Just give it one
dimension, a spline. So if you wanted a curved line, what a spline will do, it will allow you to keep clicking until you
right-click okay, and create these curved lines and you'll see when
you click Okay, you get these green editing, editing points on every
point you clicked on, you'll get these and you'll
see this one either side. And what this allows you to do, it allows you to quickly
change the shape, the shape of this curve here. Whoops. If I were to click
on this point, for instance, I can rotate this to show what angle the line
comes off of that point. And that will affect
the shape of my my Arc. I can pull it out for a more blunt one or pull it right in. If I want to sharpen that up, I can pull it in and blend it back out again and
then change the angle of it. Of course with a spline,
It's one object. So as I move this, you'll see the other
lines are moving to keep it as a nice smooth curve. You can kind of get into
trouble a bit with this until you get your head in what, what's actually changing. It's one of those
things as you use it, you get used to using
these control points. But yeah, with a spline, it does allow you to create
accurate, curved lines. So that's a spline mirror. Just allows you to Mirror. Mirror. So we've looked at
this before when we did the mirror symmetry constraint. But you can use merits a
mirror sketch objects. And our mirror line
will be about, it might be we just, as we were Sketching
this rectangle, we just decided to mirror
this line, these lines. And user side as a mirror
line. That's giving us this. Again, all it's done is put these symmetrical
constraints on. So it's doing the same thing. These kind of quick tools are just a quick
way of doing what, what you can do by hand
using, using constraints. So it's put this
symmetrical constraints on foreigners and it's
done it automatically. The sketch tools are using
constraints automatically. So way to think
about it. And view of as a fairly self-explanatory. You've got polygons,
hexagon, things like that. And it will ask you
how many sides you want and the diameter, shape. But best way to get used to
using these sketch things. I don't really need to go through every one and
show you what it is, you know what a circle and click on them and see what it does. Like an ellipse, it
will be an oval, so give it a length
there. And you'll see What dimension it's asking for. And it'll create this
elliptical shape. Slot. Slots come in
handy slots you'll use. But don't you solve
them in Fusion? You draw kind of a show you
one. We'll give it a length. Let's just say I'm going
to type into me 200, actually 2 m. Now it
will ask me the width. So let's say 300. And it gives you this
slot with rounded ends. We use to draw these by hand. So you draw a circle and
a circle with a dimension between the center and
then just general with lines and trim them
out, not kind of thing. And you'll see
again, all it's done is create these circles with a tangential constraint. Horizontal line, It's at
these lines parallel. So it is just an
automatic way of creating these different
geometry and constraints. And all you need to do is
you have the ability to just change the different dimensions. So that as a slot
does come in handy. If you need that kind of shaped, like it says, it's used for
creating slots in things. So you could put that on the side of an object
and then extrude into slot splines
we've looked at. Again, we've splines, you
get the option, this one, a pair was what's called
a fit control spline. The spline, the curves will
be on the points I click. Whereas the other
type of spline, It's kind of a best-fit. So you'll see it bounces up between the points
as best it can. It creates a smooth
curve between them, like best-fit kind of thing. Conic curve, okay? That's a cone,
basically like that. So you've got this
control point, is end point, end point. A man, how far up
you want it to go. And then you can adjust it. Not something to use that much. But it's there if you need it. And points, points, I
just single points. So I can click. Maybe I wanted a point there. And in future this was going to be, it's gonna be a whole. We're going to create
hole on that point. We wanted to mark a point. Think of this like getting your center punch
and hitting it to create a point on
an object where later on you might want to
drill a hole or something. But what this will allow you
to do is it will allow you to dimension that point. That point is going
to be 100 hundred. Now about point isn't
going to come out on when you extrude
it or anything, but it will be there
in the sketch. So later on you could reference that points
to put hallway. Okay. So point's texts,
texts is self-explanatory. I want to put some
texts on here. You're in the sketch, so the text isn't
gonna be something that is part of your object, although you can
extrude sketch text. If I type in hair. Form 3D. Okay. You'll see we get a normal text options which
are probably familiar to you. I'm gonna say it's 100. You can now be alignment
middle, right? So that's how it's
aligned in yellow box. Again, I don't want I don't
most of you will know exactly what we say is because
it's just text editing, bold, italics, that
kind of thing. Spacing. And you'll have that. Now.
If I finished sketch. If I go to extrude, say, you can actually
extrude that texts, you could 3D printing
out whatever you might it might be that
you were to put felt. Let me go back. What I could do is I could do a new sketch, so you can say Create Sketch. And I could do it on
this front face here. And I will say create text. Put in my company name, make, let's say 40. Okay, bold. Now if I finished sketch, we've got our texts
sketched on the front here. If I go to Extrude
and select the text, it slightly this face, so I'll deselect the face. So we've only got one
selected, which is this text. I'm going, I could bring it in, maybe, let's just say ten. It will be minus ten
because I'm going inwards, which will cut. You'll see it. It's put a text me, it's cut the text into
objects. So that's good. If you want to do your
logo on something. It all depends how goods. If your 3D printing CNC, then it depends on your machine. It's as to the size of
texts and things like that, but that's pretty
self-explanatory. So that's text
17. 17 Sketching 06: Let's go back to sketching. I'll go back here and edit,
sketch that customer. Some of these are
mall, you won't really use mirror we've
looked at up here. And the other thing to
look at now is patterns. Okay, so let me finish this. And I want, I'm going
to create a pattern. I'm gonna go edit,
create sketch. And I'm going to put
a sketch on this face here and you'll see
automatically goes to it. And then I'm going to put a, now if I hover over
this line here, you'll see it gives me it snaps to a midpoint so I
can bring it down. And you might see we get
this blue dashed line. So if I now draw a circle, I'm going to make this diameter. I know that that is in line
with the center point there. But what I'm gonna
do is I'm going to put a lot of constraint
just on this center point. So that's locked,
it, it's gone black, it's locked in place. Now I'm going to put a point in the same sketch in line
with that fat on it, on this midpoint here. So you can just
snapped up midpoint. You got to make sure of
is blue line continues. And at some point
you'll get a blue line. You see I've got this midpoint here and I've got the blue line, but I'm also going to get a
blue line from that circle. So I know I'm in line. So if I put my point there, I know this point
is in the middle here and it's in line
with that circle. So now I'm gonna go
to circular pattern. And what I want to
do, it's saying, when you get your
dialog boxes here, when you select one of these
commands, but one in blue, if you ever want to know
what it's asking you for, just look at which
boxes in blue you'll see objects is highlighted. So it's asking us which objects you want to
create a pattern off. I want to do it without object. You can select multiple.
I've already selected it. Now I want the center point, so I'm gonna go to Select, and that is my center point. And you'll see it puts these three circles what it's doing, it's doing a circular pattern
around the center point. And we've only got
three of them. Well, I wanted ten of them. Now it's equally spacing
them around 360 degrees. Okay, I get the circles
equally spaced. If you want to edit it, you just find that
circular pattern and double-click it and
you can edit the details. So I didn't want them full 360. I want to round that
angle of way too. Okay, so now it's just
done turn around there. So this circular
pattern, it's great. Or anything like this.
I'm going to undo that. But if I wanted to
finish that sketch, and I want these to be holes, I can now select
those on the sketch. Now you might do
this a different way when it comes to
modelling it rather than doing it in a sketch. But it shows you what you would
do with circular pattern. Because now anytime you
want you can go back, edit this sketch, edit
the circular pattern. Maybe you want 20. Okay. Finish Sketch. And you'll see now it's
only I would need to select the other objects in the sketch that you
can see how it works. So what I've done is
I've right-clicked Edit Feature and it's allowed
us to edit this extrusion. I did. But that's circular pattern That's
wanted to show you. And I do another sketch. Let's just say on this end here. And I'm going to create
the other pattern is a rectangular pattern
which works the same way. But rather than being an
angle around the circle. -50 by 50. In fact, let's, let's move
circular again. In fact, let's make it a
circle again, the circle. And I'm going to
lock that point. Now, a rectangular
pattern, slightly objects. And now it's going to
ask for the direction. So this is kind of rows and
columns we're looking at now. So you can say you want to in that direction and
that direction. And again, I want
it over 500. Okay? And you'll see we
have this symbol here if you want to edit it. And what it's done,
it's using those, what it's done using
these parameters here. So quantity free
in that direction, Let's change up to 63066. Too much. Let's go five. Okay. Again, double-click that. And in this direction
I wanted ten. Okay? Now it allows you to
easily lay things out and this is
something you'll use a lot if you're doing a lot of, if you were to do holds in a peg board or
something like that, you could use this a lot. If you imagine drawing all these circles individually and putting dimensions onto space amout it would take forever and it would
just be a lot of information that you're
given fusion that you don't you don't need to do that way. You have
other options. Maybe this was symmetrical. So rather than just in one direction from
the base point you wanted to either side, you can change it
to symmetrical. Same with this one here. So it's symmetrical around that. The distance type. So it might be you didn't
know the overall distance. You just knew you
wanted these holes to be a certain distance apart. You can do it that way by
choosing spacing instead of stops you having
to do arithmetic, trying to divide it and
work on that kind of thing. But that's your patterning. In the sketch. You create a circular
pattern for objects around at an angle and the rectangular will give you
rows and columns. Okay? Now the only other
thing I want to show which you will use a lot, which I mentioned is this
project and include. But we're gonna be doing
some examples and it's easier for me to show you how that works
when we create an, a proper example because it
will just make so much sense. But basically for now, the aim of these chapters, and I know it's been a bit long-winded talking
about sketches, but it's such an important thing to grasp is having these
fully constrained, fully dimension locked sketches. If you remember.
Constraint first, and then just add
them to set the size. Make sure all your sketches
are black and fully locked, unlocked in space. Then you won't go far wrong. If you try and take shortcuts and not fully constrained your sketches,
that kind of thing. You will run into
errors, believe me, and those areas
are going to take up time trying to
put them right. As your models,
which very habit, habit of doing
become more complex, you're going to wish you'd done it correctly from the start because it's going to,
machine is going to crash. It's going to slow
it down. When fusion doesn't know how things are set, it uses so much computing power, trying to work out. Um, what's changed. And a lot of people
complain that fusion is always crushing those people. A lot of the time I use these sketches
aren't constrained. So it may say to
fusion, this line here, I want it to be 100
mm instead of 200. Fusion has all of these different angles it
needs to work out. It doesn't know how it wants your shaped change because you haven't constrained
a locked anything. That dimension could change
in 100 different ways with different angles and
things I'm fusion's going through and you
compute this journey. And it's trying to
work all that out and people are complaining,
fusion keeps crashing. Well, it's crushing
for a reason. You've given all
this information, all these options, it doesn't
know what to work with. If it's fully
constrained and locked, it will do it easily
and it runs very well. So that's the main thing
I wanted to take away. We've looked at sketching
and sketching commands. Don't worry, if you don't really grasp what all these different
sketching commands are, patterns and things like
that though, because you'll, you'll use them in the examples and it will become
second nature. Again, the object
of these chapters was just to reinforce
that point. Get your sketches
fully constrained, fully dimension,
I'm fully locked. So that sketching done. For now, we're going to be sketching over and over
again as we do examples, but the theoretical part of it, that's, that's enough for now. Okay, so what we're
gonna do next, we're going to, now
we've covered sketching. We're gonna look at
some modelling commands in the next chapters and just go through a few of
these basic commands. And then we'll get on to doing some examples and we'll
put it all into place. So as I say, if it hasn't all
completely sunk in yet and the things are vague and
you don't quite get it, Just don't worry. Just follow along
with our examples as we put these into practice, it's going to make
so much sense. Okay, so bear with us. In the next chapter, we'll start looking at some
modelling techniques
18. 18 Fillets Chamfers 01: Okay, so we've looked at basic modelling using
extrude and shapes. And when we've
looked at sketching, so we know how to create
a good solid sketch and how to extrude that
to make our basic shape. Now I want to show you
some of the shape editing techniques that you can use once you've made that basic shape. Okay? So to do that, I'm going to create
just a random. I'll think of this as kind of a part you might
have on the side of a machine or something
like that is a bit random, but it will show you the techniques that
you need to know. So I'm going to
create a new sketch, and I'm going to use
this x, y plane here. I'm gonna do a center
rectangle from the origin. And I'm gonna make this, let's make it 100 in that direction by 50.
In that direction. I'm going to select, Okay, and you'll see it's fully constrained because
we've done it. We've set it in this space by
the center point rectangle. So it's done over
constraints itself. And we've given our
two dimensions. So I'll finish with that. Now. I'm going to go to extrude and I'm going to extrude
it a make this 50. Mm. Okay. So it's a, a box, if you like. Now I'm going to
do another sketch. And this sketch I'm
going to do on the top. I'm going to make
sure so x and y, so I'm going to do, I'll miss face, which
will be the top. I'm gonna do another
center rectangle, again using this
base point here. And this time I'm
going to make it, Let's go with 75 and misdirection by L. Let's go
further in that direction. Okay, I'm going to finish that sketch and I'm going to
extrude this shape upwards. I'm gonna go with this process, put it into a sketch, onto a shape extruding,
doing it again, extrude, and that's how you
build up these levels of different, different objects. Okay, now I'm gonna do a
sketch onto this face. And I'm going to select
a circle this time. Now I'm gonna, I'm
gonna move my mouse without clicking so I
get the center point and then I'm going
to drag it along, make sure I get the
blue dashed line. And what you can
do, do them both. You'll see we've got two
blue dashed lines there, which means we're
right in the middle. Can take a bit of
practice doing that. You need to find that
midpoint, go along, find that midpoint go up, and you'll see
eventually you get the two blue lines and that'll
say you're in the center. And I'm going to make this. Let's go with 20 diameter. Okay? Now it's not in
black because it's an, even though we use
that to set it out, it hasn't actually constrained it automatically like that. So I'm gonna, I'm just gonna
put some dimensions on. Just to set it in the middle. You'll see it's black now
it's fully constrained. Finish that sketch and I'm
going to extrude that out by. Okay. And then I'm
gonna do a sketch on this side. Similar thing. Let's go from midpoint. I miss will be fatty. We do need to add
for dimensions. Because we drew it right place. We can just press Enter music
values that will come up. Go finish that. I miss one. I'm
going to extrude. But I'm going to say
I want to extrude to object on the
opposite face here. Okay? So it looks a bit like a very
basic tank or something, but apart from a,
some kind of machine, doesn't look much at the moment, but this is our basic
model, model shape. So we've used these all. We've used his
sketch and extrude and we've come up
with this, okay? Now we're going to
use some of them modify options to make
it look a bit better. And the first one I want
to show you is fill it. Fill it will do it
will make a kind of a rounded edge rather than
a sharp right angled edges, make it look like a toy. It will create a
nice rounded edge. So if you select an edge there, I'll show you how it works. It will want a radius of edge. So if I go with ten, Let's go with 3.5. Okay? Okay, that you'll
see now we've got a nice Curved like machine corner on that which is a lot
more, a lot nicer. Looks a lot nicer and
a lot, a lot better. But we don't just need
to do one at a time. We can do multiple. So if I, again, I'm going to click that line, but I'm going to click
all of these lines. I'm gonna go with 3.5. If I go out, you'll
see it's done. It's done. Marvelous. Want it. So I'm going to hug. This time. I'm going
to click this line. These, all four of
these lines here. So at 3.5 and you'll see it's going to round
them all off. So it makes up top look better. Now you can do inside
affiliates as well. So you can use these lines here. And using the same radius, it will automatically
know that it's an inside. Fill it. So it makes
that detail there. And it will put
those fillets on. Okay, now, as with everything, you can go to your fill it
in your design history. And you can say if
we go to this one, you can right-click
Edit Feature. Some, maybe you want it
to change its radius. You could change that to 55. And everything is
that it's a ball. Remember? You can change that. Let's edit that again. You can also use this
arrow to set the radius. Usually you would want
an exact figure on here. But you can see you can go
from everything from zero, which is a sharp corner, right down to 15. So you can use fillets to create around the top
because this width was 30. So if you use a 15 radius, it will create a curve. So here's a bit of a
funny way of doing it. There's better ways of
achieving that result, but it is possible
to use it that way. Most of the time,
what you will do, you will be typing in, you would know the radius
and you would type it in. So let's go about with 3.5. Now, very similar options there. You can have a called
length radius, which is it's getting
a bit complex. This rarely. These are fusion, these cables, some engineer, quite complicated
engineering things. I don't want to
confuse you too much. Most what you will do 99%
of the time we fill it in and chamfers is just
use it in this way. Okay, So I'm going to
stick with the constant. And I'm not going to mess about with these weights and things like that in this course. There is different
types on the corners. You can have a Corner's work in a different way
if you want it. It's something feel free to
click on experiment with, again with these
beginner's classes. Instead of telling
you every command, the aim for me is to get
confident enough to show you what the basic
commands do them and you go and you can
click Amazing, work it out and
see what they do. But generally for this Phillip
command, most of the time, this is what you'll
be doing, either kind of outside Philips light that are inside ones
like this. Okay?
19. 19 Fillets Chamfers 02: Now we also have chamfer. Chamfer is similar to fill it, but it's it's kinda
whereas this is curved. Curved Khanate will put
a straight corner on. Okay, So if you
click on chamfer, maybe on here. On this one. We wanted if we use 3.5 again, we want to something like that. It was a 45-degree
edge on there. I'm what you can also
deal with chamfer. Maybe just on this one. We don't need to go all around. We could just do one edge. You see it says the type of
a Chamfers equal distance. So we've done 45 degrees, but maybe you want it
to different distances. You wanted five in one direction
and telling the other. Okay? So what this has done is it's not set it back
in equal distance, set it back 5 mm that
way. And ten that way. Again, this part would be designed probably with a sketch or something like that
on pen and paper. And you'd be working
this out as you go in these corners Chamfers
to fit somewhere else. It might be on the machine
where this was going. There was a bolt here or
something sticking out. So this Chamfer Edge
was enough to clear that this is wherever
design process comes in. And then maybe, let's go
with these other three. Will be equal distance
of ten, okay? So these are equal, That's 45 degrees I'm and
this one is different. So if whatever reason
you needed to do that, what you could also, you
can use them together. So now we've created
this chamfer here. We've still got kind of sharp edges to
create our Chamfers. So you can go back and you
can you can fill it. These. Maybe we put a small film
on there just of 1 mm. Let's go with 2 mm. So now we've got Fillets on Chamfers just to smooth
out these edges. Again, I'll do that here. You'll see this circle
has touched the edge, so it's separated into two. And you'll see this is actually a complicated things
here with this circle. So what I'm going to do just
to make our life easier, there isn't going to
edit that sketch. And I'm going to change
that diameter to 25. We go, It's nice. Chamfers,
edge and Fillets addEdge. Already about part is looking much more machine
than realistic. We might do the same on these. Here. You'll see it's
selected as one edge, even though it goes
over these Chamfers, you can still chamfer
on top of Chamfers and we'll generally
work out one thing. There's a lot of
computational power going on here and you compute
it to create these Chamfers on Chamfers. So sometimes you might
ask too much of Fusion. It might well, it
might not like it, but generally, It's fairly good. So already this part is
looking much better. Um, we might have
this hole here, for instance, a lot over time, you would see Chamfers just to help guide if
there's a pin going through. Just to help guide on the edge, it will be reassessed like that, maybe on the other side two. Okay. And here I'm gonna
put a Fillets on this one, so we'll have an inside
Phillip there to fight. Let's just tidy it up detail. Let's make it 1.5. And then on the top we're
going to have 0.52, 0.5. So it's nice round
edge on the top. It's about Chamfers. I'm Fillets and it's
one of those things, again, just mess
about with them. Use them. It's fairly
self-explanatory what to do, but they're really
do make it easy to create these kind
of machine the edges. Now one thing I will say
about Fillets and Chamfers. You can, if we go right back to the start
to our initial sketch, you will notice you are Fillets and Chamfers in your sketch. So it would've been possible
for us to put affiliate on this corner, 3.5. Okay. We could
affiliated our sketch. Now it's not going
to like it because we've already added features, since that's what
we get me zeros, but you could have done
it that way and extruded your cube with these
Fillets already in place. My preference, and I think most people's preference is to other Fillets and Chamfers. As we did previously. This way, you would extrude a basic square,
basic rectangle, an amphiphilic sunlight's
because it makes it so easier to go back
in your drawer, in your model and just
right-click Edit Feature and change these. I'm radiuses like that without
affecting other things. If you've done it in your
sketch and then extruded it, it can have knock-on
effects with other items. So really, a lot of time
Fusion is about thinking, well, what, what might I want
to change in the future? If I want to change these items, I just want them to separate
items that can go back to and change again when
you're thinking about. Okay, I could have selected every single line around this rectangle and given
them all a radius. But in the future
you might want to change this radius
and not that one. So again, you thinking, separate these into
different edges. So this phase here, you probably won't
want to change this radius without
changing all four of them. So I did those together. But you might want to change
this one, not change that. So I didn't do them all
together if that makes sense. So you constantly thinking, what might you change them? A future in which
objects are going to always be tied
together and the same. And that's as part of
the skill of fusion. It's something that
will come with time as you do designs, it will, you'll get there. But this is general overview, overview of how to use
Fillets and Chamfers. And hopefully that makes sense. So in the next chapter
we're going to look at creating
holes in objects
20. 20 Holes: Okay, so we've created this part here and this
bit down the middle to me, it's probably gonna have
some kind of pin that goes for fixes
this to a machine. Maybe a bolt or something. I want to have a hole here. We've afraid it's going to
have a bolt into it as well. Now Creative miss
the way we did. We put a sketch up and we
extruded it and that's okay. You would you do that for something
like a void like this? But this whole we're going to
have in the end is a whole, it's a whole, it's
gonna be threaded. It's going to have
all sorts of options. So when you're doing that, for preference is
not to do a circle and extrude it's Fusion actually as a command to create
Holes, which is here. And you'll see the difference
in doing it this way. It just gives you
a lot more kind of intelligence behind the comma. The first thing Fusion is
going to need to know. It's going to need to know
where you want this hole. So what we'll do, we'll
do a sketch on here. I'm going to do a point. You'll see it snaps
to the center. I'm going to finish
that. So we've got all my sketches is a point in
the center of that circle. But now when I select
hole, you will say, I get the dialog box
comes up and it's asking me the first option
is placement. And then face and sketch points. Now, with this selected, it's going to automatically
look for sketches and points. We've just created
one so we can, if we go over it, it'll
highlight with sketch. But if we go over point itself, it's going to select
the point in my sketch. And then that will set the
position of our whole. Now what it's doing now, It's basically the whole
is bigger than the object. We need to make some changes. So the first thing is down here, it gives you a clue of what it needs is we're going
to set its diameter. So I want this whole to be 10 mm diameter. So now
it's looking better. Now the whole is 10 mm in the center of this
round part of the object. You can see in red how deep it's going and the depth is set here. You could also use this slider. But we're going to
type in wiggle, want my whole to be 20. Okay? And then down here, you can see it's asking for
an angle of this point. So if this was drilled out, it would be drilled out with a point on the end, but
you can change that. We have options here,
so drill point, we could have a flat bottom
hole or an angled whole. We have whole types. So a simple hole, counterbore hole, or a
counter sink column. This, this comes in now to where I said we've got
intelligence behind this command rather than
just extruding a circle. Well, what if we wanted
a counterbore hole? Now, you'll see when we
change the countable, we get more options here. We can set the counter bar. So we've got ten
millimeter diameter hole. Well, maybe it's a 14
diameter counter bar which is five-mile date. If I okay. That just to let you sit, you'll see it's put
in our whole it's got a the angle at the bottom
which can just see. But then it's got this
counter ball here. I'm going to click that
right-click Edit Feature. We're going to look at
some other options. So instead of counterbore, we've got a counter sink. And again, we'll get some options here for
our counter sink. So if you want to screw to go and have it
would sit flush, then you'll have
this counter sink. In my whole I'm just going to create a
simple hole for this one. But next option is
whole tap type. Simple. Clarence tapped, tape it up. So if you wanted it threaded, for instance, now you can
look at putting Fred zone. You'll see we've got a
whole load of options now. We can use metric profiles. You could say, okay, 12, whole, which
would be like an M2. M2 by pitch, an M2 bolt. You can have a direction of
the thread right hand Fred, left on Fred for class. Again, this goes into pictures
of friends and things like you even know
about that or you don't depending on your
engineering background. It's something where as an option in Fusion if you want to use it most of the time, it just be a normal
right-handed thread on an M2, ma what kind of thing? But you can get this
threaded hole in there. Okay, objects could, it's
cutting through that body. You can say how, how deep you want this hole. So this is distance. You could have
added two objects, so you want it all the
way down to there. Generally we're gonna
go with distance. So this one will go with
a simple tapped hole with a full Fred flat
bottom and it's empty. I'm going to select, Okay. I'm Fusion now has modeled
that hole with the fret. So some a bolt, something with scrim add bolt or a rod or
something would screw in their creative
at Whole Foods, is the difference
between a whole and just doing this circle. And extraordinary, you
get all this information anytime you can go back
and you can edit that, you can change that if
it's left on Fred V-type, all that kinda stuff. So that's why Holes they
used in preference. So just doing it this way. Now if you have
done it this way, you wanted a thread on
now you could add a fret, so you could just
say create, fred. Lastly, it will be looking
for a cylindrical object. So you can just click that and it will guess it basically, it knows this isn't
a 25 diameter hole, so it's saying, okay, I think gets at M25 fret. So you can Fred a whole
you could Friday. A whole that way, even though it's not technically a hole in Fusion,
it's just a vote. But Holes are the best
way of doing it if it is, this is kind of thing. And also what we can do. We can go for a sketch on here. So what I'm gonna do,
I'm going to create a, I'm gonna put a point.
I'm just gonna put it. And then I'm going to
dimension that point from the middle 38. Okay? And then I'm going
to mirror this point. And then I'm going to do a rectangular pattern
of this point. I'm going to say it's 30. So we want the extent to
be 60 in that direction. And we want in that direction
to be -16, which is double. And we want, Let's
go with for format. Let's go free. So we've done a pattern on a sketch
which we looked at previously, and we've got nine
points laid out. We can now finish that sketch and we can go to
our whole command. And sometimes when you click it, you don't see dialog
boxes, it's hidden. You say you can pull it out. And we can do the same thing. So this time we're gonna go,
instead of single point, we're gonna go to
this multiple holes. We're going to, when
we select this, we're going to
select these points. And you'll see it allows us
to select multiple points. And again, this is where hole is better than using the extra, but we haven't had to draw
these circles in or anything. We've just selected center
points and that's all we need. But rest is driven by
our whole dialogue box. So these are going
to be counter bar. And let's go with tapped hole, going to be five mill. In fact. These are going to
be simple holes are going to be
tapped full angle. I'm not going to be
m5 and 20 mille day. So there we go. Now, we've created
multiple fixing Holes. Not very good design. I mean, these go straight through
to this central one. You wouldn't need nine
to fix that in place. You'll probably have
forward in each corner, but you get the idea is just
to show you the idea by using the whole command and just the points it
allows you much, it's just a much
finer to edit this. If I wanted to edit the amount, I can just go to the sketch. And all I'm changing
is these points here. So I can change the dimension and it's just the center points. If I want to change
the Holes themselves, I can right-click Edit Feature
and change these features. But it's better than
having to change diameters of circles and just
use a mixture. So anytime you doing a whole, rather than avoid,
use a whole command. Now that does ask the question, what is the difference between
a whole and avoid them? And that's kind of
self-explanatory. This is the way I look at
a whole to me would be something that's gonna
be probably tapped. It's going to have
a rod or a screw grown into it or something,
didn't have to be tapped. Maybe it's like a dowel. Or if you're doing would
work, you might have a whole wherever some
dao fitting them, there are Joints that'll be a whole avoid would be
a circular opening. That is just an opening. It maybe it's a whole
lightening hole, for instance, you might drill out just to make the object
lights if it's not needed and it doesn't need to be tapped or
anything like that. That's the way I look at
differences between the two. Men hold gives you all this intelligence of
creating threads and things. If it was just a
circular cook for, you wouldn't need
this intelligence that sitting in my background. So you might just
use a quick extrude, but yeah, but it's a whole
command and how you use them.
21. 21 Pattern 01: Okay, so now we're
going to look at two more creation methods. And these will be familiar
from the Sketching lessons. These are patterns. So just like in Sketching, we have a rectangular pattern
and a circular pattern. We also have Pattern on a
path for God's look at those now and explain why
you would use these. Although they're very similar
to the Sketching ones, you would use these in
different circumstances and we're going to have a
bit of a talk about that, but I'll just show
you them first. I'm going to create a
sketch on this plane. I'm just going to create
using a center rectangle. I'm gonna do a metal plate
which is 500 by 500. Okay? What I'm gonna do,
I'm going to finish that sketch and I'm going
to extrude this plate. And it's just gonna be at
ten millimeter flight. They will have a 500, 500 square millimeter
thick metal plate. And now I'm going to
create a sketch on here. I'm going to put a
point in this corner. I'm, and I'm going to
dimension that point. And it's going to be, let's say two to five. Let's make it 200. And then I'm going to dimension
it 200 misdirection. I'm going to finish that sketch. So what we're trying to
achieve here is I want to put lots of holes in this play. Now we've seen the pots and command and Ms Sketching
tutorial and we've looked at Holes and we know
we can create a whole from his point now by using
this whole command. So I come single Hall, the face. This whole will be, it's
just a simple Hall untapped. And the diameter will be 20 mm. And for the distance and for distance. So instead of doing the
distance of a whole as 175, but we don't need that. This is 1 mm plate, I'm
going to change that. So we say we can have two here. And I can select that face. So it will just put the
whole to the other side, or I can say to all, which will put a
hole for everything. Now, they're both going to do
the same in this instance, so it doesn't really matter, but sometimes when you slept all if you were taught
some of the geometry, it will go through that as well. So I prefer to use the two option and
just select the back face. And now, if I okay, that you can see we've got
a hole through this play. So now I can go to
the create method. And I can either use the
rectangular pattern up here. I can come down in this menu and select rectangular pattern. Now it's going to say, okay, what type of
buttons you want. We're going to use
a feature because a whole is a features feature we've added onto this plate, is going to ask for directions. So it wants to know because it's a rectangular
pattern, lightly sketch. It wants to know which
directions you want basically. So you could, if you
want to select that, you could slip this direction and you'll see you get
your arrows there. You can choose that direction. So now it knows where
rectangular pattern is based on this square and
parallel to this line. Now you can start changing
your settings. Okay? So if a distance I want to
cover is, I want extent. This was 200 mm from the center. So we want to be symmetrical
and go to 200 mm. So our extent will be 400 mm. Five, putting 400 there in that direction and fall
hundred and map direction. Now it's going to be equally spaced or it's going to have
an equal margin if you like, around the outside Holes. We've got it slipped, did
it for our modeling three, I'm going to turn this up. I want quite a lot. So I'm gonna go eight and I'll put eight in
the other direction. You'll see we got a
bit of a menu there, That's this compute option. Now, you can, can make different types
of copies in Fusion, but it does use a lot
of computing power. Most of the time the
reason you using this pattern command is
do an identical object, identical feature, and
replicate it in a pattern. So identical is the one you want to use and that will
be a lot simpler. So we've got our directions, we've got at distances. Just like with the Sketching command pattern in the sketch. You could select spacing
instead and have a space in-between the
parts, the features. If you didn't know the overall,
you've got your options, you've got your quantities, distance and direction in
both aspects, so X and Y. So this way, I'm this way, you can just move the
arrows and modal of boxes. It's very similar to during a pattern in the
sketch, okay, but if I, if I select Okay, now you
will see we get our holes. Now. I know you're probably thinking, why would I do it this way
when I could have just done a pattern on the sketch. So there's three main ways you could have achieved
the same result. You could have done
what we've done here, which is for your sketch to
just be the square plate. Create a whole and use
a pattern in this menu. In the solid editing menu,
like we've just done two, Pattern out your whole
as we've just done, okay, that's option number one. Option number two would have
been to draw your plate, extrude it as we did. Then do another sketch. A circle on there. Do a pattern in the
sketch of that circle, and then extrude that
a1 is all those times, but you would have
to select a few. Imagine doing that in your, when you select your extrude
to cut out your whole, you would have to let every single circle and you'll sketch. Because you've used a pattern in my sketch to set
out those circles. But when it comes to
extrude him the holes in, you would then have
to select everyone. The third option, what
you could have done is the original sketch. When you design this plate, you could have put the holes in men and then when you
extrude the plate, you would have just slept
it outside of the hole somewhere and it would
have extruded replace, minus all these openings. You could have done that again. You making you
original sketch, you, to complicate, you're
putting too much info in my original sketch. Now, as we spoke about
before, in Fusion, the mindset you want to have is if these changes in future, how easy will it be to edit? And by splitting things up. This way, it makes
it much easier. I know looking at this timeline, this hair is my average, is just a rectangle,
is my original plight. This is my original single hole. This here is my Holes patterned. And you see if I had
to go in and say, Okay, where did I
do these holes? Which schedules N, Okay, now go in and you're also giving Fusion a lot
more to do trying to extrude a surface around these holes and things that
just giving it more to do, more reasons for it to crash, larger file sizes,
all that kinda stuff. So he's good to
separate features like holes into their own
kind of command, a member Pattern as
a command as well. I'm, what I can do now is
because I've done it this way. I can go to my whole
edit that feature. And I might say, okay, these are actually, they all need to be 25
and select decay and all that pattern has changed because I
changed this one hole, I could go to my
Pattern Edit Feature and there's only six. Now, instead of a, I don't need to go into
its original sketch and change out because i've, I've separated these commands, the whole, the pattern, the sketch into their
individual elements. I hope that makes sense. It's, you would achieve
the same result. But it's a way of
thinking of breaking down these major commands into the, into their types,
the original sketch, you want to be as
basic as possible. And this goes back to when we spoke about Fillets
and Chamfers, not putting them in the sketch. Just do a basic sketch
at the beginning, which in this case was
a rectangular plate. Agile whole, which
is easily editable, and then replicate that
hole in a pattern. There are times
when you would want to do a pattern in a sketch. And there are times
when you would want to pattern of a whole. And even though HE
for same result, it's something that you will, will come with US basically. But that is the rectangular
pattern command and diverse, solid edited Toolbar works very similar in terms of
setting out as a sketch one just used in
different circumstances. So next we're going to look
at the the other pattern, which is a circular pattern
22. 22 Pattern 02: Okay, so this is going to
be fairly self-explanatory. Here. I'm going to go, I've deleted this pattern so
we have a single hole now. So I'm going to do is I'm going to delete the whole and
I'm going to delete that. I'm just going to
delete that sketch. I'm going to create new sketch. And this time I'm going
to put the point, be honest midpoint
so you could say a follow up from there. Again, this is why we draw symmetrically around the origin. And I'm going to put
the point there. Now. Give it a dimension here of 200. I'm going to make sure it's got this midpoint dimension there. So now it's black,
it's fixed in place. I'm going to finish that sketch. And we'll do a whole
again slept up point. And we'll use simple hole. It will go to this back
face and it's 20 mm. Okay, so now we
have a hole there. Now I'm gonna go back
down to Pattern, this time, a circular pattern. So again, much like
the circular pattern before and on the sketch, we need to select feature first. Now, because we want to, for hole is a feature. So it's the whole we want
to make a pattern off. So I've selected
our object axes. Well, because again, we're working symmetrically
around the origin. I can use this set
origin point there. If you weren't on this origin, you would need
some kind of axes. And we're going to look at axes and added axes and
construction plane. So, but for now we're working
around the origin point, so we can use this Omega. So now it's false
based on our angle. So maybe we only wanted it half. I'm gonna go full spacing
and the quantity, I'm going to say ten. Okay? And again, this compute option, I'm just going to
make them identical. So phi, okay, that now this would be something
that you might do. It might be a base
plate for a column. So the circular column
will sit on miss them. A bolts will go through
into this pattern. That's a perfect example of why you'd use
something like this. But again, we've separated
it into different commands. So now if we wanted, we could go into here, maybe wasn't full, maybe
it was only 180 degrees. Okay. So now those
tennis spaced one at, and we have this control again because we've
separated it. And we can change our whole by right-clicking edit feature. We have all this open to us. And we can change the
original plate if we want to, just by going into this
sketch, changing the sign. So they're all split into
individual components again, but that's a circular pattern. Now, I'm going to
delete this again. And there is another
pattern available to us. So maybe that maybe the
column wasn't circular, maybe it was a certain shape or maybe you work creating
a line of something. So I'm just going
to delete this. I'm going to edit this
sketch and I'm going to make it 5 m long by 100. Okay? So now we've
got this long blaze. Imagine it's the
top of a beam or something, but
it's a long plate. And I'm going to create
a sketch on top. This time, I'm going
to draw a circle. I'm going to just
roughly gap midpoint. Draw 20 mm circle. And I'm just going to
put a few diamond, couple of dimensions
on just position it. Let's make it 30. So that's locked in place. I'm going to finish our sketch. And then I'm gonna do
another sketch on here. This time I'm going
to create a line. Now the problem I've got this, it's not going to
see this point, this geometry because the
point was in this sketch. I'm now working in this sketch, a separate sketch
so I can snap to that point because it's
not in this sketch. So what I need to do
is I need to project this point into my
sketch where I am now To do that, under create, we have this project or include project will allow you to select geometry that's
not in your sketch. Switches that point there. And it will now bring that point into your
current sketch. You can project things behind, and this is good if you
want to line something up, you can project an object
that's behind you. Sketch doesn't even need
to be on the same plane, and it will allow you to easily dimension off things
and position things. Now I can create a line and
I can select this point. I'm just going to put this line. In fact, what I'm going
to do is I'm going to I'm just going
to this line there. Just by eye. It's only an example. So it doesn't really
matter in this case. What I want to show you is
this of a pattern commands. So Pattern on a path. Then I'm going to extrude
our circle sketch. We did make sure it's on Joints, so it's created a new part. Let's make our 50. So this is like a peg if you
like, coming off this beam. Now, what I can do with Pattern is choose
pattern on a path. I want a feature. In this case, it's this pin. It will now ask me for a path
which the separate sketch, I'll use this line. And I can then Pattern along that line
and you'll see it doesn't need to be selective Outline, this is just the path. It doesn't need to
be the full extent. You can use this. I could go four-and-a-half
meters along that line. And objects, I want 100. Again, I get an error.
I want it on identical. And now I have 100 pegs
along that center line. So Pattern on a path
is just as it sounds, it's doing it on this path
and I can edit Up feature. So it's still above in
the whole distance. I want spacing and I want
these pegs every 50 mm. And then we go. So that's easily set out. Now you imagine Sketching all those circles and
extruding, picking all those. It's not something
you want to be, you don't want to work that way. You always want to work
the easiest way possible. Now, I'm going to show you, I'm just gonna delete that. And I'm gonna go and edit this sketch and delete
this line. Okay? Because where Pattern on a
path really comes in useful is when you've got
an irregular shape. If I finish our sketch. And now we'll do pattern on a path feature will select that
object for the path. We're going to select this line. And we can do distance. Let's go with 2.5 m, 50 objects. You'll see now damask
pattern along that path. If you imagine
doing a sketch and chance to lay these
out individually, there'll be so much
information and dimension, the thing that you
give him fusion. But this has been
so easy to just buy a line in it along our
supply now on the end here, because we finished
our spline early, It's just continued it
because the distance we gave it under this command was longer than the
actual line we use. So that's just one
thing to bear in mind. But in general, you
would be Pattern in, along a line that was complete. Where this does come in
handy is things like fences, fence posts, things
like that, railings. But it's one of those commands. You don't use it a lot, but when you need it, you really need it. So that's Pattern
along the path. And those are the free Pattern. Solid editing commands.
Very powerful, very useful, and they
save a lot of work. So we've looked at some ways. We've looked at these
main ones with velocity. We know about our basic shapes. So when does things like that? Hopefully you've had
a play with those. We put up the mirror
map patterns. We still need to learn about constructing planes,
things like that. But the best way to learn
now is to actually create some objects and learn on the fly rather than just going through
individual commands. So in the next few chapters, we're going to create something. We're going to actually
model something. And we're going to bring in
techniques as we need them.
23. 23 Brake Disknew: Okay, so I'm going to close
that. I'm going to save it. I'm going to a new project here. We can actually create something
now and we're going to create something fairly simple, but we'll use a few
of the techniques we've learned so far, hopefully make them
a bit clearer. We're going to create
a Brake desk light. You'd have a car. So now first thing
we want to do, if we just go and we start
modelling now as it comes, it's all gonna be saved under this main kind of
top level here. So when you start a project, you want to split
it into components. And we're going to
look at bodies and components and the
differences soon. But for now, I just want
you to bear in mind, but the first thing you
do is you right-click up here and you go
to new component. You can give it a name. Desk. Okay? So now you have a component
here on the project. When I go to save this, we have our main project
name will appear, which encompasses
everything inside. And then we have, if we start sketching now we're Sketching
in our MS component. It's just a good way of working. Again, it will make sense
as we do more things. So for now, we'll
go to Edit, Sketch, Create Sketch, and we'll go to this XY plane and
we'll select that. And what we're going to
do, we're going to choose a circle from the origin point, and I'm gonna make
it 300 mm diameter. That's it. Then we'll
finish that sketch. So we have a 300
diameter circle. Now I'm going to go to extrude, and I'm going to extrude it 20. So 20 millimeter thick for
hundred diameter metal plate. Now I want the kind of the
hub that protrudes on here. So I'm going to create a sketch. And this time instead of
choosing an origin plane, I'm going to create my sketch on this face. I'm
gonna select that. And because we've been working symmetrically around the origin, I can just select
another circle. And I can use this same
point as a center point. And I'm gonna make this, let's say 150. Okay? I'm going to finish
our sketch and now we can extrude again. We can bring this out
to 50. They'll go. So this same workflow with
use of Sketch Extrude, Sketch Extrude on
top of each other. This is how we can create
this kind of geometry here. It's still a bit basic. What we need now is for this hub to be hollowed
out from this side. Okay, so as you
probably guessed, we're going to extrude
from this face in. So we can hollow how
hollow out here. But we want it to be we
want this to remain, let's say 5 mm thick. But the steel of here, okay, So how do we extrude
inside here? We can't go from
this face because we want this to remain close. So we need to go from this face. So I'm gonna put a sketch
on this back plate. And now I want to
extrude inwards, but we don't know
where this of a, we need to see this
on this sketch. I'm going to look up
directly what this is where our project command comes in because we can
select project. And by holding down
Shift and John middle, we'll even in sketch mode
you can all bits around. And when we've project geometry, we can select this circle here. Now you'll see it's projected that circle onto our sketch. If I OK this and I go
back to it directly, we have this circle. Now this circle is just a
projection of this shape. If we extrude now, we're going to lose
all up because it is the same diameter. So what I want to do, if I go back, I'm going
to go to Offset command. I'm going to select that
project. It's cool. And it's gonna be 5 mm. Now that, that will
project it the wrong side. Because I needed to do -5. Mm. There we go. Now we have the pink line is our
projected circle from here, and we've come in 5 mm. So what we can do now
we can get to extrude, slipped this inner circle. Push it that way so
it will be a cut. But again, if we come all
the way here to this face, it's going to go all the way
through. We don't want that Now we could workout. This is 20 mm, this was 50 mm. So therefore it needs
to be 70 minus five. So we could put an
a distance of -75, which would give us sorry, -65, which will give us
the correct distance. But there's an easier
way you don't want to be anytime you
doing mass like that, as you've just seen with me and my terrible arithmetic,
you bring in errors. You don't really
want to do that. What, what we will do is we will say our extent is going
to be to an object. And it's going to be
to that object with an offset of minus five. So what we're telling it
now is we've extruded, cut to this face -5 mm. And now when we okay, we will have exactly
what we want. Silva is the basis of our plate. And if you want, you could
maybe put a chamfer on. Now we might need
to make it go 2.5. Okay. Will kill a bit of the Chamfers that just
to dress it up a bit. Maybe also have a chamfer amaze to do stuff 2 mm or something. Maybe we'd also
have one on here. Just kind of a machine Dutch. You can see it's already
looking more realistic. So that is our main
hub desk play. That is how it's made.
But this isn't going, anyone knows anything about cows knows you're not going
to be able to use this. We need some fixing
Holes in there. So I'm going to save that. And let's put some Holes. I'm just gonna do a
sketch on this face. I'm going to put our center hole where I have bolt will be. Let's make that 50. Okay. And then I'm
going to finish that. And I'm going to extrude
to object this interface, and it's automatically cut. So there we go. So that
will be the hub area. Now we need our we'll bolt, we'll the bolts and nuts will go that will
protrude through here. Again, don't worry
if you don't know anything about cars and
you don't know what I'm talking about in terms of hubs and things just follow along. It's only a Modelling lesson. And now I'm going
to create a point. The point is going to
be on this line here. And the dimension. Let's go with 50 from there. Okay, I'm gonna
finish that sketch. Now. I'm going to create a
whole using that point that, which will be, let's say 15. This is just gonna be simple. It's going to go
through to this face. Okay? And that is
our Wilmette whole. So now all I need to do
is a circular pattern. The feature will be
about whole the axes. Because we do it symmetrically. We can use this axis. You could, if you've
got a circle like this, you can just select that
circle and it will, it will automatically know
the axes in the center. So if you've got
anything circular can just use that as an axes. Now, let's say how
many five bolts. And it will equally spaced them. Okay? So now that as space those out and
that's what we want. So here we have a brake disc, which we've done in
a matter of minutes. Maps shows us a few of these techniques we've
been using Service. First technique of
Sketch Extrude. Sketch, Extrude to
build up these shapes. That is something you will do probably more
than anything in Fusion with this
type of modelling. Then we used projects
in order to get geometry from one
sketch to another so we could use it as an offset. And then we did some holes
and some circular arrays. So that was a good
demonstration of the different techniques
we've learned and now we've created
this breakfast. So feel free to save that. Feel free to 3D print
it if you want. Do not 3D prints it and
put it on your car. Please don't email me
and say you've crushed your car because you have
to 3D printed brake discs. In fact, forgot I
even suggested it. But there you go. That is
a bright disc and simple. Hopefully you're
already getting a bit more confident with Fusion. And this method we've done here. So powerful, you can,
if you look around, you can probably already seen multiple things around
you and your office or your house that you
could muddle just using this extrude offset, Sketch, Extrude, sketch,
extrude that kind of thing. So feel free to have a play, do some other things now, breakaway from a cost
if you want and just do some modelling. You
get stuck somewhere. That's good because
it means you've identified something
else you need to learn, which will probably cover in the next few chapters if
you're happy with that. And yeah, follow along next and we'll learn a few
more techniques.
24. 24 PressPull: Okay, so we've created a
basic model now and we can look at some more advanced
editing techniques now, just now we've got
something to work with. So the first thing
I want to show you is something
called push poll. Now, this command, it is, it's quite powerful command what it's actually
doing in terms of computing power of your
model is quite powerful, but it can, It's one of those commands
that can really help you. But it's easy to get
reliance on this instead of editing your geometry and I'll show you
what I mean by that. But first I'm going to show you the basics of what it does. So what PressPull does is you select the face and you see it's only
asking for one selection, so it's just looking for any
kind of face on your model. If I select that face there, then you'll see you
get this error, which you should be used
to buy now and you also get a distance you can type in. What I can do now is
I can drag this face. If I wanted to edit this,
if I wanted to make it, let's say 100 mm large, or this distance here I
wanted to increase by 100 mm. So it comes out more by
at 100 mm on his face. But I can just do that. Which is a great command and it's a nice thing
to be able to do. But the problem sometimes, because it's so easy to do, It's so easy to edit
your Modelling this way. You can end up down
here with lots of these kind of PressPull
commands going on. And you really, it can quickly become confusing how
your model has changed. But maybe I also wanted to
during this phase out here. And you can say I could
also increase by 100 go. So it's a very
powerful commander. It's a good command to have the problem with it, as
you might have seen, but it doesn't really give
you any editable information. So once you've done
this PressPull, it's hard to change it. The only real way because
it's not down here. So the way you tend to change it back is to do
another PressPull the same and then put it
back and then you end up with more things going on. Kind of hidden commands
in your drawing, if that makes sense that
you can't go back and edit. So really, if I undo this, I want it to increase that. Then the best way to do it is to find the
original extrusion, edit that feature, and
increase it by 100. Okay, that is the best way. And then I can always
go back and I can find where I inputted
information is listed again. So PressPull, it's
a great command. But be careful with it. If you end up with
lots and lots of PressPull, you'll quickly find, but you can't go back and use the history as you might
have done to change things. But same that, let's
look up some things. It is powerful for IR is useful for it doesn't have
to be a flat face, it can be a circular face. So you could select this, for instance, and you
can increase fat. Now, you might notice it
actually put an angle on it. I'm a reason for that
is because we add this. If I undo that, we
have a chamfer here. So it's going to delete the Chamfers is going to
keep that Chamfers corner. And when I move that out,
it will continue that. If that makes sense, you
could also actually use up, you could use that Chamfers. But all sorts of strange things will start happening
as you go through the reason we get MS.
Gap peers because we're actually going through a
thickness of a material. Sometimes you can use
it may be internally. So if you have this whole here, you could decrease
the size of that. But again, you really
want to go back to the main sketch and it just keeps design
information intact. So that's PressPull. It's a fairly simple command. It will just drag faces about. It can be a powerful
command, it can be useful. It can get you out of something. If you using someone
else's model and maybe they haven't even had
design history on. We haven't got one good info, so it can be used in that way and please don't discount it, use it if you need it, but
just be very wary of that. You won't, you. You can quickly make all of us, for good work you've done
in keeping a design history can make it irrelevant by
having too many principles. But yeah, it's another
tool for uracil, It's another tool
for your tool belt. And keep in mind, use it if you need
it. Just be wary. So that's the PressPull command
25. 25 Shell: Okay, so next we're
going to look at this. We're going to carry on
looking at some of these more advanced Modify Tools. And the next one on to show
you is a shell command. This is a very useful
command when you need it. There's no other way of
doing what this does with so easily, basically. So I'm just going to start, I'm just going to
create a quick sketch to show you the basics
of this command. Now, I'm going to create a career center rectangle
and let's make it 200. 200. Okay. Finished that now, now I'm
going to extrude that. And let's go to hundred or
so. We've got a cube bear. And what I want, I want this to be kind of
like a have an opening in it. So an open box with a thickness. So what Shell command will
do it will allow you to imagine you digging out
the inside of an object. Again, the easiest way to demonstrate is
just to show you. So I'm going to select Shell. I'm a first thing it
wants to know is a face. So if you was to dig out
the center of this object, which face would you start from? If I'm going to select that one. Now it wants to know
an inside thickness. So this is the thickness
of your wall in this box. In this case, I'm
gonna make it 5 mm. I'm going to go
out and you'll see quickly what it's done. It's hollowed-out the inside of this object with a
five millimeter wall. If you are creating a box, It's a very, very
simple way of doing it. It's a great way of doing it. Shell command comes
in very handy. What I could also done. If I start again,
when I select faces, I can select more than one. So I might slip the
opposing faces here and give it a five-mile
thickness and now it would have followed
all the way through. So again, if you're
making a strange shape, maybe pipe our box section
is one way of doing it. So the shell command
hellos things out with a thickness
for the wall. Now, where this command
really comes into its own. You probably think of various other ways you
could have done this. You could have just
drawn a sketch. I'm just extrude the walls or maybe circuitously use a
pipe command or something. But the where the shell command
really does come into its own is I'll just delete that. I'm going to start again. I'm going to create
a new sketch. And I'm just going to
create a line, okay, So I'm gonna go from that, I'm gonna go, let's
go up to hundred. Man. Let's go out 50. Okay. I'm going I'm going to carry
on this. I'm going to cry. I'm, what I'm trying
to do is to create a kind of bottle shape. I'm going to finish the sketch. So we've seen this before. I'm going to use our
Revolve command. I'm a profile is selected. The axes is going to do that. And it's gonna be a fringe
and 60 degree profile. So we've made this kind of
bottle of our shape here. So what we can do now we can use the shell command on
this by using that face. I'm going to get and
we'll go with 5 mm. And if you can see, it's actually hollowed out
the inside of that virus and it's followed this
kind of contour. So we've got five millimeter
wall all the way. We've got this hollow object. So when hollowing out objects, especially for things like maybe 3D printing where you
want the inside hollow. Shell command is the fastest
and best way to do that. Again, you get very
powerful command. What it's doing here in terms of software
is very powerful, is all the inside of object halloween it out with a five millimeter thick
wall of way around. You can choose all those,
all those components. So you can go back in the
timeline as we've a features, you can change that thickness, maybe wanted it to 10 mm. Okay. So you've got that power there in the design history to
go back and change it. And that's the shell command. This is doing things like this. This is where it
comes into its own with no other way really. You could, you could
have done it as part of your Revolve sketch. You could have
created those faces, but it would have been a
long-winded way of doing that. Shell command is by
far the best way. So use whatever commands. You don't use it all the time. But when you need it, it's
very good to have it. So keep in mind, that is a shell command
26. 26 More Modify Tools 01: Okay, so let's look at
some other tools now. And I can, I'm just going
to create a cube here. I know there is a cube command. I just, it's just habit because I just prefer to use it this way to use a
sketch and extrude. But feel free to
use a cube command. If you following along. So they'll go at this cube. Now I want to show you
this draft option. This is another Modify tool. It can seem a bit
complicated and unintuitive, but I'm just gonna
go through it. As with all these things, It's best way to demonstrate
is just to show you. So I'm going to select draft and I'm going to
select one phase where now that same
pole direction, the first selection,
but next selection, it's asking you for a face. So if I just show
you how it works, it will all make sense. If I select that face
where you'll see you get this rotation symbol. You could put in an angle here. Or you can just use this. If I just do it, I can
show you what it does. So if I wanted to
make that 45 degrees, 45 degrees, so that's draft. Again, it's not a command
I use that often. There's better ways
of doing this. Now, you will see it does, does go into your design
history so you can edit it but even serve as is usually better ways of
achieving that shape. But when you do need it, It's bear another tool for you. It does sometimes come in handy, especially as with the
PressPull command, if you, if you're editing someone
else's model and we haven't used a design
history or things like that, then you don't have any choice. You can't go back and
change these options. Maybe we have this history turned off for whatever reason. Then. These other
tools you will need, your press poles,
you drafts fats when these come into Vera and when you haven't got
any other choice. But hopefully in your models, you will have design history on. You will have a nicely structured model
and you'll just be able to go back and do
change this in a better way. So let's look at
the other commands just done on this list.
Now we've got scale. Now scale. If you use in any of
the cad software, you probably
familiar with scale. Even if you notice, it's
kinda self-explanatory, but what it will do, it
will ask for an entity. In this case, we can use this as an example, and it's
going to ask for a point. Another point is the base point. So if you are going to scale it, you need a point that
it's scaling around. For the point I'm
going to select. If I select this point here, for instance, scale uniform. So usually you'd want
things to scale uniformly, which means it's scaling in
every direction the same. It's not changing the shape
of it. And scale factor. Now, you can use this arrow and you can
scale it down like that. Generally, you would know how much you wanted
to scale it by. So if it was point 5.5
size things, obviously. Again, you've got Design
History down here. So you could change
that. Maybe you actually wanted it to scale up by ten. You'll see the reason
for choosing me. His point is that is the center
that it's scaling around. So if I change that back to one, you'll see scaled it based all around that
point as your base point. Again, that comes in handy
scaling objects uniformly. Again, it's very handy when it's someone else's model or
something you've imported, you just want to scale
the whole object. Scale is certainly
useful command. Now, we'll look at these
Boolean in a minute, but I want to share this offset face because
this offset face, when you first see it, it can look, if I divide, it kinda look like PressPull is basically doing what
PressPull dead. It's allowing you to drag that, but it's a bit more powerful than PressPull
and I'll show you what I mean if I were to
do a sketch on this face. And now I know we had a whole lesson on
Sketching where I told you, constrain your sketches
of things like this is just a quick example of
how to use this tool. You don't you don't want to, you don't need seem to go around and kind of constraining things. Okay, so very rough sketch. I'm going to just tidy up. I'm going to finish that sketch. And what I'm going to do is
I'm going to extrude what's shaping just by time. Okay, So this is
something we have. Again, just an example. Just to show you how
this tool works. Now if I was to go
to PressPull and select this face, I
can bring that in. Now. If I wanted to change this, maybe I just wanted to move
this whole side in or out. And I'll show you
what mean by that. But if I was to
select PressPull, PressPull generally it's
looking for one face. So I can move up in that
direction perpendicular. It won't let me
select more phases. If I was to slip that
one and move it. You'll see this extends
it just jogging one face. It's not quite
doing what I want. But we have this other
option, offset face. What I can do here is I can
select all these faces. Now. I can drag the whole thing. You'll see I can change
this and it edits this kind of shape to sue. And it will allow me to
change this object here. So offset faces as wet, lot more power behind it than
just the PressPull command. If you hover over it,
you'll see it gives you an example so you can
use it on curved shapes, such as this example shown here. Again, it's something
that if you need, it comes in very handy. Hopefully. If you work in on your models and you've created
them Correctly, there's better ways
of doing that. But again, other
people's models, you'd need to use of a command. So if you don't have Designing Austria and you
need to offset faces, various PressPull isn't doing quite what you want it to do. Then use offset faces. You'll probably find you get a lot better
results with that. Now if I let these again, just to show you that, you'll also see we have
in our design history, so we can edit this feature. We can go back and change it. And if I select these first
and then select this one, you'll see the last
face you select is the direction it's
going to let you pull. In this case, it's kinda doing
the same frame because it achieves the same result by moving this face
in that direction. But the last face you select that you're
gonna be dragging it perpendicular to
that offset face. To be honest, I use offset face, model and PressPull just
because I liked the fact that it puts it down here and it
gives you that extra power
27. 27 More Modify Tools 02: So we'll look at
a few models that don't worry, chapters of Rome. It's quite simple to show you. The next one we'll look at
is this Replace Face here. So this is actually
another command, but you might not first realized how powerful is and what
it's actually doing. But if I just create a
sketch on here and just, let's just do a
rectangle just by eye. It's just as an example. I'm going to extrude
those faces. I'm going to just pull it out. Now you'll see because
I'm going through an existing object,
Fusion is assumed. I want to cut through that,
but you don't have to. You can change that. I'm gonna
select the new body