Fusion 360 Complete Course

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 here. So now we've put this object which is intersecting this one. Let's suppose I wanted this shape, this phase to be on this level here. Well, I can use this Replace Face. And now it's going to ask for your SaaS face, which is this one on your target phase, which is based one I'm going to select, Okay? And what it's done is put up face, which was up here. It's put it down onto this level. But if you can see it's left this one, they only did the actual face. It's not moved the whole, if I undo, It's not move this whole geometry of Indent here in the insects not move that whole thing down. It's just this one phase. It's kind of shifted it down to that level. If you think about that, how it's moved it without moving miss us quite a powerful command that's going on there. So again, not one use all the time, but there is situations where this is the way of doing what you want to achieve. So it's worth remembering, it's very, it's easy to forget about some of these commands, but it's worth remembering mass of air. It can get you out of a tricky situation where you would have a lot of other geometry to do. It just makes it so. So another one up here is this split phase. So what split face will do it, as the name suggests, it will split a face into two components. So maybe wanted to change this, but one that this top bit here. At the moment it seemed Mrs. one complete face. So you can go split face and face to split is about one. Splits into, well, you could use but phase where now it doesn't look like it's done anything. But now we can see we've got a face there and we've got a face there. So if we wanted to use any kind of offset faces, we can now select these independently of each other. Whereas before it was just a face. So it gives you an extra pass. You can separate faces down, makes it more easy to do these other commands if you need to. Split face. So that's fairly self-explanatory. So again, here we have split body. So split body works the same way though. Body to split will select this one splitting tool. Now, it's, if you imagine it's going to split this along a surface like as if your knife blade has just gone through it. So it's looking for something like a face. So we could select that face to their extent to which just means it's going to extend all the way through your model. Okay? So we can select OK there. And now when you click these, you have to Bodies. Again if ever you click these and you want to slit the whole body lice, it's only selecting their face. But you can change that up here. So under Select, you've got selection priority. You felt was selected to face. When I tried to click this, it would only highlight the face. You can change that to body. And now it will select a body. It can change it to component. So it will select the whole component, which in this case is for whole thing. But if I have somebody, you'll see that split body has split this product into along the face, which shows that some of these Modify commands on here. Again, tend to be used for editing someone else's models when you don't have the design history, always if you've got design history, original sketches and Extrusions and things like that. Always go back to those if you can, to edit it just you imagine if you were to pull these faces around and offset these phases and things, you will end up with loads. Most things in your design history, file is all increasing file size and memory usage and all that. If you could just go back to your original sketches and change them, It's always best to do it that way. Okay, So there you go. That's a room for the most, the most widely used commands. On the Modify tool 28. 28 Move Copy: Okay, so now we're going to look at the Move Copy command. And I'm going to, I'm gonna do again, I'm just gonna do a very basic cube here, 100, 100, Finish Sketch, and 100. Okay? So we have R cubed. Now I have a paves Move Copy. And we can select, as now we can select a body, the full object, I'll just phases. Okay, let's start looking at Bodies first. This free move here, it's an all-in-one manipulator. This might be familiar with you if you come in from other software, but generally you've got move, scale, and rotate all in one control. If you get used to work with this, if you're doing a lot of moving about scale and it can be, it can be useful if you don't a lot of different things in one go. Generally, I like to keep it separate. Whatever I'm doing. I tend to use V equals V is also gives you a copy Copy option. So let's just have a look. We've got Bodies selection. We've selected one body. We want to move in it, it calls it translate. Okay, that's just a term a lot software uses, so translate. And then you can use these arrows to set the direction. If you get lost a bit and what's X distance, Y distance, that distance. Easiest thing to do is select the arrow in the direction you want to move it. And then just see which one of these changes that will give you your clue as to why you want, you can type you distance if you want it to move it 100. And let me turn off. So at the moment we're moving this object around using these arrows in the three different directions. If you want it to copy it, then you just select this box. And now when you move it, it's going to leave the original white walls. And it's going to create a copy. Rotate works in pretty much the same way. Let me, let me start again without one, so we'll select Bodies. Rotate. This one here. He's going to ask for an axis, these axes to know where you rotate it around. So let's say this one will get this option to rotate it and we can type it in angle here, and you can create a copy to leave the original where it was. Okay. Now, we also have point-to-point. So if you know, if you want to do it from a point, you can just say, okay, well the origin point of there, I want to now be there and it will move up. I'll copy it to that point. So let's just look at the face command. We can select the face and we can move those faces. Now, this is a lot like other commands we've seen such as press pole and even doing Extrusions and things. And it is just doing the same thing. It's just an easier way if you'd like that. But I won't do anything because you've got his face is an easier way if you like, of of manipulating a face. Again, I tend to use PressPull. If I'm doing this, it's just a bit easier to work with. So that's this Move Copy Components and manipulation tool. And it just does what it does once you get used to use. These are generally use it for copying things more than moving things. Align. So let's just spin this around. Let's say we wanted this blocked be in line with that. We want that face to be in line with that face. Instead of trying to measure it on move it, we could just say, okay, move this whole body. This one. I want that face to be aligned with that. Thanks, and there you go. It doesn't fire. Easy. Move and align delete. Delete is obvious 29. 29 Boolean Operations: Okay, So the next thing we're going to look at under this Modify section is what are known as in Fusion comes into this combine. Now, the old fashioned term for these. And one you might have heard if you come in from other cad software is a Boolean operation. So it's just a historical way of modelling in 3D. Before we had the, those powerful software with all these other commands, you did things called Boolean. Now there's still do come in handy today. And I'll show you what they do now, but it's the basic set of 3D modeling operations. So I've got my standard 200, 200 but 200 cube here. You don't need follow along. You can just watch this. Or if you want to follow along, it's up to you, just create this cube. But what I'm gonna do, I'm going to create another queue and I'm gonna do about on an offset plane. So I'm going to, under constraint, I'm going to choose this offset plane here and I'm revenues V's origin planes. I'm going to create a new plane, which is going to be offset from that face by 100. Okay? Now we have a new plane we can work with here. And I'm going to create a sketch on this plane. I'm going to put another rectangle here. And again, I'm going to make this 200 by 200, 200, top 200. Okay. I'm going to finish that sketch and then I'm going to extrude that. And I'm gonna go 500. So that should be -500 because it's in the other direction. Now again, fusion is taking a guess, but we actually want to use this as a cutting tool on here. I'm gonna go with a new body and I'm going to OK, So now we have these two objects here. Suppose we wanted them to actually be one object. This is a bit of a weird shape, but it could be any shape. These are just two bodies that could be any things. But suppose we wanted to join those together as one object. We can go here to this combined and it's going to say, Okay, target body to body join. You can either choose to make it a new component or just modify these ones if I click Okay. Now you can see when we do select it, It's one object is seen as one object. I'm going to undo that. I'm gonna go combine again. You'll notice one of our options here was Operation Joints. So this is a Boolean operation I was talking about. And also notice we have target but in Tooele Bodies, well, it didn't really make much sense. What was the difference where only joining them? Why is one retarget one needs at all? It will make sense when we look at the other options we have here. So as well as join, we can have cooked. So I might want to cook this object out of there. So in this sense of a target, I'm at all, it does make sense for target would be the object you're cutting from. The tool would be the object using to cook. And you'll see now I can select that. And I can use that to cut this out. So wherever this does come in very handy is if we do that again and we've got a quickselect up there. If we go to the cut and we slept target body. So body. And we have the option here to keep the tool. If I click Okay, now we've still got these components. But we do. This one is actually varies a cutout here. So if you want to two objects that would fit together, then this is how you would do it. You would select that as a tool to cut out a shape their, you know, it's going to slot in exactly. Now this is just a cube. But if this was a complicated shape, It's an easy way of selecting an object that will fit in. If I turn this off, then we can see you can see that cuts out that it's made. And if you were doing something like 3D printing, now, because it's as if the exact cutting tool, this fit might be a bit tight, but then you could maybe going to offset faces. And you could say -0.25. And you could go around and you could put in a tolerance, for instance, by offsetting the faces -0.25. And that's where these tools begin to come in handy. Now, if I turn that back on, hopefully, if I zoom in, you will see there is actually how to see, but there is actually a very small gap between these objects. So you've got a bit of tolerance where now, and that's how you would make two components that would nicely fit into each other. Now let me just go back and look at these other commands. So if you ever option under here, we've looked at drawing with what was intersect. Now what intersect will do? If I select both fees? I select, Okay. It only keeps the part of the two objects that we're intersecting, so the two parts overlapped. It's only going to keep that. It's something I can't remember when I'll ask needed to do that. But if you did need to do that for whatever reason, then it is a very easy in handy way of doing it. But most of the time when I use this combined, it is to combine two objects into one object or to use cooked to cut out a certain shape. And then again, I might use that with the offset to create a bit of tolerance. But yeah, these, these kind of basic operations, V intersects a combines, cuts vaso what are known as Boolean Operations. If you hear that term, Boolean operation, and you'll see named by the software, this is what it means is this kind of simple 3D modelling or editing of the shapes 30. 30 Materials: Right? So we've almost done with part modelling now. But before we move on to assemblies, I want to show you the Materials section. Okay, So this is something people like to use because it makes your objects look a lot more realistic. But there is a difference between making them look realistic and making them act realistically. That's what we're going to talk about. Now. If we just click our object, it should ALL select. Again, if it doesn't go to selection broke priorities, body priority. You can see which one you're on because there's little tick there. Right-click. And you will see that you have these two options here, physical material and appearance. Okay? So let's click on physical material. If you don't see anything happen. It may be the menu can open, it's hidden here. You can just click on it. It will come out and you'll see you have a library. You can go to the Fusion 360 material library and underwear. We have all these options of different types of materials for each folder. So ceramics, fabrics, glasses, metals would, etcetera. If we go toward scroll down, you'll see you get different types of woods. Some just shows this, don't worry about it. But maybe the object you doing, you know, which type of wood is maybe is a walnut. Or it could be something else. For this demonstration, we're going to select walnut. If you just click it, you'll see you get, I'll go over it. You get this hand object is hand icon. If you left-click and hold it down, you can then drag it over your objects and you'll see your object highlights. And if you then just let go and drop it on the object. The object takes on that material. Service now is a walnut cube. We could have used something else if we wanted, we could have maybe used metal. Maybe it was maybe it was gold. Now, this gold here, how this looks, it looks quite good. Once you drop it on, it's very, very disappointed in it just becomes this Goldie yellow color. But don't, don't worry about that for now. It's giving you a representation in this, this is our design space, so we don't want it slowed down by It's photo-realistic looking stuff. We want to know from a representation that this is gold just by this color. But if it was to actually be shown photo-realistic gold, we would never get anything done because the software would run so slow. So don't expect photo realism in this modelling section. We can look at that later on when it comes to Rendering out things. Materials. You can choose a material to put your object dump. But if you remember, we had physical materials and we had another option for just cancel out. We had another option. Appearance. If we select the parents, you'll see is pretty much the same. It gives you the same options. Basically. You could put a transparent glass that probably wasn't good. Let's make it would again. So let's make it walnut again. So you can see it does exactly the same appearance and physical materials. But the difference is if I go to again, you don't need do is I'm just showing you if I go to manage materials which you can do under the tools and utility. If we go down to his word, walnuts and double-click it. So you get some information about it. You get the appearance. The appearance is how does it look? And it will tell you how it looks. And you can change a lot of these things. You could change your parents or you could change how reflective is the translucency, all that kind of stuff? I would say leave it as it is. For these Saved Materials just leave them as air. But you also get this tub hair physical. Now, you've got advanced and you've got basic. Let's just look at the basic properties. We have. All this information is so named description that's fairly self-explanatory. But then we have basic thermal specific heat, thermal expansion coefficient, thermal conductivity. You'll see they're all given settings, mechanical properties, the density of a damping coefficient, Young's modulus. If you don't have a clue what I'm talking about, what any of these are. Don't worry about it. This isn't an engineering course. It's the software costs. You don't need to change. V is on novae. You can just leave them as they are. But for reason this information is in if you were to make an object out of walnut. And this isn't just a Fusion for Mrs. for all. These guy is kinda software inventors SolidWorks. I'll asked if the software can do inspections and it can tell you will. This has got a weak spot. This is going to break first at this point. How can it know that? Well, because it knows all this Mechanical detail of the specific material. So this comes with the software. This is all being put in standard materials. If something is glass, it knows where, how strong it is. It knows all this kind of elasticity and how far it can bend before breaking all that stuff is built-in to the material. If you're doing simulations and not just how it will break, it can do things for thermal. It can say how how much heat it can retain, that kind of thing. It's very advanced stuff all that, it's not really part of this course. This is a uses, a software uses gotten not Mechanical Engineering course. If you give them this info, you can put it in. If you are Mechanical Engineer, you can go away and learn more about less than about the simulations and things. Most people use this software, especially for things that 3D printing, you don't need to know it. But what I am trying to show you is the difference between appearance and physical appearance. If if this was made to appear walnut, it would just look like walnut, but it would still just be it wouldn't have any of this physical stuff that would come into it. If it's been given a physical material, it's got all this and it can be used for simulations. So when you go slightly object physical material, so that's given it an actual material you can use with all that information, parents as just making it look like something. Why wouldn't you just use physical material? Well, it might be something to have a physical materials of walnut, but look red because it's walnut that's been painted red or coated in something red, if that makes sense. So that's why you have to two different options. You want to do simulations on something because it's made out of glass, but that glass has been painted. So that's why you have a two different options. You can set the physical material and you can set the appearance. There is things like the texture map. Again, that's not really part of this course. This is just a get you up and running with fusion. So you can vein. Once you know how to use Fusion, you can then go and learn all this advanced stuff yourself, okay, but that is a difference between physical materials and parents 31. 31 Components Bodies: Okay, So it's time now to move on to more than just simple parts and we're going to look at creating actual assemblies. Now, before we leave out some things we just need to understand about the filing system in Fusion. So I just want to show you this is again, this is something just to sit back and watch rather than trying to follow along. Quite important, you understand how the system works in terms of how it saves and shares with files that will make an assembly. Okay? So some of you will be coming from something like Inventor or solid works. And if you're not, if you totally new, stepping up from Tinkercad or something like that, just, just bear with me here. But in something like Inventor or solid works, you will have different files saved on your computer for each part. When you create an assembly, will then pull in all those files as parts. And together we'll go into an assembly file. Which assembly file? All it's basically doing is pulling him a different part files from wherever they saved on your computer. Now what that means is if you give someone an assembly, for instance, you need to make sure that all those separate files together. Because if they don't have the part file, a particular part file that's not going to load up. That's where you can get so much problems because if he if you work in my environment, you get used to work in like that. But That's where something like Fusion, which is based on line, it wouldn't really work as well. So what Fusion does Mrs. of how I know what I I I moved to Fusion from Inventor and this is something I found strange at first. It saves everything into the same file. Okay? Whereas with Inventor, you will start designing the various parts, saving them as files may call your different parts of men. Create an assembler. I'm bringing those in with Fusion. You think of it as working, move away around you creating your assembly from the beginning and creating all your part file within that same file. Okay, so it's all looked after here in this browser on my left-hand side. And at the very top, you will have your main project. This is your overall project that you'll design. An undervalue laugh. Any sub-assemblies and part files in this kind of hierarchy here. Now what I'm gonna do, I'm gonna show you a fusions, inbuilt kind of sample files that uses you can get to, at anytime. You can go to this show data panel. And you should get something like this. And this will show all your projects as demos. But there's also samples that come with the software libraries and all sorts of things. Now if you go down to this one, design samples, double-click that. And was wondering here called bike frame. If you just click on that and let that load up on your machine, okay. You can close about them. Now. This is the name would suggest a bicycle frame and It's been modeled in Fusion, service gives you an idea of a kind of things you can do. If you see this suspension here. You can actually hold down my left foot, grab something and move it like that. So you can see how this assemblies made to move in real-life kinda gives you an idea for the kind of thing Fusion is capable of. And this is a typical use of Fusion, something like this. Okay. But what I want to show you is on the left-hand side, you'll see now at the top we have bike frame V1, probably version one. That is the overall project miscible hair. This is your main assembly. Because everything. Now under here, we have these CVs, cube symbols, surveys are components. Which means this bike frame is made up of all these different components. So that's fairly simple. The difference between assemblies and components, It's like assembly in parts and some flunk inventors The assemblies for whole complete projects, if you like, of the top assembly. And then under here we have the components. And together those components make up the main assembly. But you can also have subassemblies. So it might have been met this spring. Here is piston and the spring very could have been saved as an assembly called suspension. In this case, they're all just put in as individual parts, but you could have a subassembly secret of parts. Maybe maybe five parts could have been saved in an assembly. I'm not assembly. Could have been saved inside this assembly. So you could actually have a hierarchy. You can have a whole load of assemblies when assemblies, when assemblies, and in those assemblies were components. Okay. So that's fairly simple. The difference between assemblies and components, it's fairly self-explanatory. The area where people struggle is the difference between bodies and components. Okay? So we've looked at Bodies, we've been using Bodies as would be Modelling are parts or components. The difference is a body would be thought of as an item, if you like, that makes up a component. Okay, So let's look at this. Let's look at this component here. We've got a swing arm weldment. So that's this part of the frame here, the arm. And that is a component in itself called swimming ham. So that might have been manufacturer of this bike frame. Might have these arms supplied to him from another part of a factory or maybe a different company and they're welded together so they come as one piece. In terms of his part file. If he makes a list of parts or it gives out maybe some graphical instructions or something like this is one part. The customer is never going to get this in pieces because it has to be welded together. So this is one part. But in terms of how this was made originally, before it's welded together, it's made up of different Bodies. Okay. So if we click on these, if we miss it, I can see by the way, you can drill down. Use a misfold this arrow here. Under the component, you can see how it's broken down into sketches and Bodies and also under Bodies. We can say if we just hover over, it will highlight. You'll see this highlights here. We have dropout, the earlier. We have dropout break. And then we've got body 27. So all these other separate bodies that are modeled individually, which together make up this component. Okay? But you want to keep things as individual component because that's how they will be. That's although if you like that, this idea is a good way of getting your head, you know, it works. You'll never you'll never be supplied as a customer with these individual parts because they're welded together, so they make up one component. But how this component was made both in real life and in Fusion, it was made with different Bodies. Okay. And you might want to keep those as separate bodies so you can, if you'd like, bring those out and do a design file to give to a manufacturer is making this component of the individual Bodies. That is where a lot of people struggled. Again, assemblies and components, fairly self-explanatory, but Components, Bodies. Yeah, you just need to think of it as the component is an actual part. You might give someone. Whereas Bodies is more about how that part is made. It's made, you've got a cylindrical tube, block marrow Bodies, which together make that component. Okay. So I just wanted to show you that. Again. If you don't quite get it with a lot of these things, you will just by using it, it will become self-explanatory. And it's, It's probably sounds more complicated to explain it, but it is just getting used to it. So let's look at another safeguard, our surface here. This is a component, this is frame. This is a mainframe. We can see just by looking at it, but it's not one body that you've got this yellow outside Chu but has these silver kind of inserts. And again, they would probably cut if you were to go out and buy this, they would come with it. You can tell just by looking at it, but they're not made of the same out of the same piece of metal, if you like. So frame and we'll go Bodies, let's say, right, well we've got we've got the mount here. Okay? So we've got a space in the middle, we've got a pivot bracket, bottom bracket. Okay. Yeah. So you can see it's different color. It comes with the frame, so it's part of a frame component, but it's a separate individual piece, if you like. So we've got this mount here. So each tube, you've got a carbon lay up, which will be the yellow on the outside. Those Bodies together make up the component called frame. I'm a component called frame is in the assembly called bike frame. Okay. So that's components, assemblies, and Bodies. Again, you can even watch this back if you don't quite get it all just the idea is half form the new brain, just go with it and it will become clearer as you use them. Okay? So now we're going to start looking at creates an assemblies and putting them together 32. 32 Starting Correctly: Okay, So one thing we need to be aware of before we start, this is just something, it's good practice really. And you'll see a lot of people actually do this. Now. Just so you understand why we do it, I'm going to, let's just create a quick, quick object here. Again when just a rectangle and I'll just extrude that out. You don't have to follow along here. This is just to show you principle what I'm doing. Now you'll see I've created this body, which I wanted to be a component, appear in our browser. We have this one component here called unsaved. This is how Fusion starts off. But this whole idea of top-down assembly, where we start an assembly from a beginning and then put individual components. And it's not really doing that because there's only one component. It's just showing it as a component at the moment. Why actually want to show a pair is an assembly, the whole project to be in assembly and for this to be a component inside. Okay? Because we've already got one. This is just the way Fusion does it. But it does mean that if you then let me go assemble if I create a new component, okay. I'll call this. Well, I'm going to cause component two. Okay. And in here, Chris sketch. And it's going to be a cylinder. Okay. I'll do to get out, we're just going to move it is Move command. Okay? So what we have now we have this component, which is component to the dot means it's activated so we can see it effect. Then we have what I want to be component one. So the blocks should be component one, the cylinder component to, but what is actually done because of way fusion stars, it's made this our whole assembly. And this cube here is actually just a body within this assembly. Now we can fix that. We could right-click the body. We could go to create components from body. Okay, and now you can see we have, all I need to do is rename that to component one. And you can see we have component to component one. And they ask is how I want it. And if you notice this icon has also changed to an assembly. And I can now, well, when I save this As test assembly 01, you can see it changes the name. So this is the kind of layout that I want. File layout what I want, we've got our assemblies and our assembly now, we've got components, we've got completed one and any components I add. Now we'll will go on to here inside this test assembly, and that's correct, but how it started was a bit strange. If I go and undo, we add this body. This cube was actually a, a body, not a component. Okay. And that's just a Fusion thing. There is reason behind it, but for most part, you don't is a bit of a funny way of going about getting your components under N assembly. So if I just create a star, again, I'll start a new file. For that reason, what I always do before I do anything else is I go to new component. You can just leave it component when you can always rename these straight away. Now, that has given us our layout is more useful tools. We have our assembly. So when we save this, Let's just say it's as two. So we have our assembly of the correct name, and even though everything is blank, we haven't drawn anything yet. We're here now ready to start our first component. Rather funny layout, Edwards, the body not being quite a component of integer, it just good practice really to start off light as it makes your life easier. So I recommend that again, if you forget or you don't do that, it's not a big issue. It can it's just a strange way of going about getting to the same place and this just makes it a bit easier to follow along. So we'll be doing this from now on. That's for reason behind it. 33. 33 Workbench01: Okay, so we're going to look at a project now we're going to design a work bench. It's actually something of a built in real-world or maybe four or five of these. But it's a nice little project just to get things together. Look at assemblies, look at how we use components and Bodies differently and paste and things like that and also will Joints so nicely. Project and let's get started. I'm going to create, I'm just in my folder I want to use, I'm going to create a a new project. So I've opened a blank project hair and all need to do is click Save. And I'm going to call this work. Okay, so now we've got our project here and we're ready to go. We already know. The first one. I'm going to do that. I'm gonna make some components first. So I'm gonna click the main root directory and I'm going to say new component. I'm going to call this first component side frame. Okay? So we have a new component here. Then I'm also on the side frame. I'm going to create another new component. And I'm gonna call this like. So. We have a bit of a hierarchy. We have our main project Workbench01. We have a sub-components side frame and a map. We have another subcomponent like will become clear why we do that as we go along. Okay, Now on the risk component, I'm going to create another new component. So we've got this hierarchy drilling down here. I missed one. I'm going to call like lung recurrence work you, Ms. Lake long first. So make sure that the dot is selecting this. So our current component is this like long because we've got dot there. We don't even where these are immiscible. Now can start our first piece of geometry and we're going to be using a piece of wood I, you built this out to 470, 5 mm by 35-millimeter section. So that's what we're going to use here, will do a sketch. I'm just going to select this plane. I'm going to create a rectangle and it's going to be 35 Tab key. So that's our kind of section size. I'm going to finish that. I'm going to extrude it. 900. There we go. That's our first piece here. It's a big split gray. We're gonna give this a material. So under Modify, you have this physical material. Fusion has been a bit. So if this doesn't, if you think nothing's happened, Nathans popped up because it's hidden. It's kinda hit itself. You can click this arrow and it will come out and it will dock in place. So you'll get all these materials here and Underwood, I'm going to scroll down. I'm going to find pine camera, hold down Moleskine, drag that onto the component. Now we have our like in Pine, I'm gonna hide that. Okay, so that's our first component. It's cold leg long and it has a single body. She's up. Now. We're going to be added a few different sizes of this same material. And it's the same size section, it's cut from the same pieces of wood. We could just redraw them every time doing the sketch. Extraordinary material, a bit tedious. And in Fusion, you're always looking for fast ways to do things. So we're just going to copy, paste these and then can change the length. And it will say was work. But there's kinda two different types of paste in Fusion that you need to be aware of some good demonstrate that now by doing both types. So I want to right-click escape out of any command to right-click our component and select Copy. And I want you need to do you go to the component above it. So the component, this is in you right-click. Now you'll see we have paste and we'll paste new. So I'm going to slip place first. You can see it's in the same assembly. It's pulling this leg. So now we have two legs of assemblies. In this assemblies, it looks like there's only one, but you get this transform, gizmo, these arrows and things, just pasted it over to in the same place, if you like. So we can just move it to a side anywhere for now, let's move it to the side. I'll select. Okay. The reason it's not highlighted is because we still only in this component. So if we go to the main component of both and we'll see both of them Now that was placed not paste knew. If I now wanted to change the size of this, I know it's 900. The easiest ways to use this PressPull command face. And you see it saying it's 900. Well, I want it to be 300. What's happened is it's changed me original as well. I'm originally is because when you select Paste, It's creating what it calls difference between a copy of them instance. This is how a 3D CAD world works. If you create, if you just paste, when you paste in multiple instances of the same object, if you edit any of those very will all change because it's the same object, just new instances if that makes sense. And there's times where you want to do that, we're going to do that soon. But in this case, I wanted to use this as a base to create a new object. So I want it to be able to change this one without this change if I just undo, go right back. Okay. I'm going to still, right. So now we just have a single piece. I'm going to copy again. I'm going to go to the assembly above. I'm going to right-click this time. Paste new. Looks like it's working the same way. I'm just going to drag it off. I'm going to go to the main assembly above I'm and I'm going to go PressPull. I'm going to talk to free hundred. And there we go. So when you do paste you, it's a completely different item that's just, you just use this as a basis for it, which is what we want in this case. So that's the main difference between paste and paste new. Also, what some people do is I might go, okay, I'm gonna go Copy and I'm going to go pace. I haven't got paste, knew a lot of people struggled to find the spectrum. You have to, you will only get paced new if you paste it in the assembly above in the hierarchy. Captures a lot of people are. So we have this new component here you can see its paces, a new component and this sub-assembly, I'm going to rename that leg lower. I'm going I'm going to right-click and do the same again. So I'm gonna go to the assembly above. I'm going to go paste new. We got another one. Move it there for now. I'm gonna do PressPull. This one. I want to be for 50. Okay. I'm going to rename leg. There we go. So now our leg assembly contains free subassemblies like long, like lower and middle. And that's what I want. So now we're going to look at joining these together 34. 34 Workbench02: It seems a bit confusing. Don't worry, because it will all start coming together. To join these together, we go to assemble and you have this joint command. Make sure we work in the leg assembly, not one of those. I'm going to select Join. Now we get this dialog box here. We'll look at Joints in more depth later on. But for this case, we could do simple Joints. The way Joints work in Fusion. If you're coming from something like Inventor, you used to using constraints. You might have to two or three different commands to get something in the correct orientation. Fusion is much more clever than it will. Guess what you want to do and it allow you to do just want a single command. If you've not used anything like Inventor before, if this is all Complete, you just don't worry about it, just follow along. But if you are used to use in those kind of software, you'll see that this is much a lot easier, skips a lot of steps. So I want this piece to be this face of this piece to stick onto that face. And I want the bottom to be flush. The way we do is you can see if we hover over it now we get a face highlighted, but we also get points highlighted. The first thing you do is you slept the face and you'll see, depending which face I go to it. We're not pressing only thing here will just hovering over it. So hover over that. And I've got his face highlighted. Now, move to a point on that face and I'm going to use up midpoint of that and you'll see it snaps onto it. This is what I want. I'm going to select Up. That's our first selection. Now where do I want to stick this on a map phase? And those points to be snapped together. I'm not so second selection. Now, Fusion guesses as usual. Sometimes it gets it right, sometimes it gets it wrong. In this case, it's the faces are flush, the points are together, but there's going to two orientations that could have been at. There is this flip command which sometimes solve it, solves it, but in this case it's not. It's going to flip the faces. What we need to do is use this, rotate, rotate back round. It, snaps on the night. It'll stop at 90 and it'll snap, put one, a two. So if not, you can tap them, but it's a minus 182 and that is where we want. We can select, Okay. Now I stuck together. This one, I'm going to assemble. Joints. Actually likes it if you go all orientate it the same. So if I select this face and that point, because the face is facing each other, it will probably guess this better. You go. I'm not start that, but I don't want it in that position. I want this I want Ms. pleased to be 75 mm down. So we can use these arrows. Even though we've used that as a point to snap to, we can give it an offset from that point. In this case I want -75. I'm going to select. Okay. So that's stuck together now. And that is our leg assembly. So I like assemblies now complete. We can close up. We have it. So we can end up with four of these. But again, in Fusion, you're always trying to make, you don't want to repeat. Anytime you find yourself repeating the same kind of group of commands are redesigning their packs. May be thinking, alarm bells should be going off, saying there's a quicker way to do this. So this is why we have it in a site frame components. So I would like he's done we're going to go up on to our side frame components. I'm going to do a copy. I'm going on here. I don't want to not gonna change this. I also wanted to replace, so it's exactly the same. Just ignore this when it comes up. I'm going to jump back out. In this case, if this was to change, if our leg was to change, I would want them all to join. You're not going have a table, a change one-legged, not be able to. So I use paste not pasting you. And they will all update if one update. Okay. I've just dragged her out there for now. I've just put it anywhere. It's just off to the side. Doesn't matter. Okay, so now let's create a piece that's going to run in here. Again, we're just going to steal or copy one of my leg pieces. So if I go to like lung, Copy that Underside frame. I'm gonna go face mu. We have this place here. Okay, but I'm going to right-click, I'm going to rename it longer on. Okay. So most of the work you've done, it's already to the right section. It's already got this correct material. I just wanted to change the length of it. So if I highlight longer and I go PressPull, 900 is you won't miss to be 1,200. Mozart piece done. Simple. So now I will go to, I'm going to Copy. I'm going to go to side frame. And I'm going to paste not pasting you. I want this to be the same piece. If one of them changes on both to change. Thing about capture position that keeps coming up. Because we're going to use Joints, we're going to make things about don't worry about it. Okay? So now we have these long runs or inside frame, we're going to assemble a joint. And I won't go in here. But if you say you can, you would think you can kinda say, Okay, I'm going to not place. But it's not, it's not gonna give you a point. But because there's no physical point on this piece of wood, even here where it meets this, it's not going to see a point on this face that because if you just think of this piece of what There's, nothing exists that I know there's no corner or midpoint or anything. So we're going to use, we're going to have to use this face. So if I cancel that selection, what I can do is I can select that midpoint. I'm going to put it. There we go. I'm going to do with same again. Point on that. Why not? Now? I can hear now from the preview at only move the piece I actually selected. But don't worry, it will move because they're joined together. It will resolve that as it when you click OK on the only needs to do one joint here because it's because obviously joint it's going to see about one automatically. So that is our side frame. Complete. These down here, now, collapse as we have fought point assembly, sorry, it's done. So as you can probably guess, we're going to just mirror it about. We're just going to create a copy. That's gonna be merit. Way. We'll do that. As you've probably guessed, is to go Copy, go into our main assembly and select Paste. We want this again to update if the original updates. But you can see what's happened here. That was just fusion of in some kind of funny to an, as soon as I selected something in, it resolved itself. So we want to set these up now, but both facing the same way. I want. I want them to be married if we'd have just selected. So we could have said mirror. Let's go to Components. Side frame, mirror plane. From now through selected that I said, Okay, and that would look like that's been okay. But problem is with American Mound, you lose all your joints. It would have all come apart. Mirror isn't ideal for that. Because we paste it, paste it in new Copy. It keeps it together. And all we need to do now is do a join, join, join, midpoint. So about mid point. Now you can see we've got those together, but we don't. Obviously we want a table a bit wider than this. So if I go back to the joint we've just done and I right-click, I go edit joint. We can pull this apart, but in this case, I don't want my table to be 900 wide. So if we do, we've got 35. 35 here, 70 side, some two times 214900 minus 14276. So I'm just going to put in 760. Okay. Let Fusion resolve at all. I'm gonna, I'm gonna do a check here just to check my arithmetic, which is often wrong. We've got 900 35. 35 Workbench03: Okay, so there's our legs out. Now what I'm going to do I'm just going to take one of these like you to one side friendly, right. But I'm just going to ground it. But the moment everything can move about in space, which is not really good, you want to stick something down. Trying to build a table in space at the moment, if things floats and Abrahms is select one of these iframes. I'm gonna go ground position. Now it's all stuck down. Okay? I'm not too worried about where this is in terms of the origin because we've got enough geometry now orients I, everything's about, so that's our side firms. What I want to do now is write some kind of stringers that will fix these together. So let's go into one of A's. What's going to leg. Let's just copy one of these like long medoid is permanent. One of these longer Romans. So Copy. I'm gonna go into the main Workbench. I'm gonna go paste new because will be changing this. And I'm going to do a PressPull. Unless wants to be 900s. I'm going to rename this stringer. I'm going to right-click Copy. I'm going in our main Workbench, I'm gonna go, we want these to all change if the original dose. So I'm gonna paste four of them. Move it around. Now we're just assemble it. Okay. So we go joint. I would just do the same for the other side. I don't want to mirror these because I want to keep the Joints. Have to redo the Joints anyway. So the last one okay. I'm not as our table so that it's a frame for our table. Now, you can see under our main Workbench we've got two sub-assemblies and Australia's. Now what I wanted to do is I want to put some, I want to put a table top and also a piece which water flows like a shelf in the middle. We can do about just using our geometry hit rarely. So let's do a sketch. And I'm just going to select it on here. Again, we're working on main Workbench. All right, So girls sketch. Now I want to go to an EQ. I want to draw Sheets of what. It's going to follow this corner here. But I haven't gotten any geometry in this Sketching. And it's one to project the points. But we can see. So I'm gonna go to project and I'm going to project each corner to subpoint. And also this corner here. It was enough. Okay? So I'm gonna do a two-point rectangle from that point. And I'm going to do another rectangle and I'm gonna go, alright, so do smaller rectangles from these points. Now I can go to Trim and I can start trimming out these lines because you've got two rectangles. You're gonna have to turn out two lines, each one. Just make sure by highlighting, you can see what it's trimmed. Trim, trim. Trim And trim that out. Now we've finished sketch. Know to say extrude. For some reason. See this time it's gone right way along its center line, hasn't slept through it, so I just need to sweat as well. And before I if I just do this now, it's going to start doing crazy things. And it's just Fusion is because it's on the join would return to join it to these existing components. But we want here is a new component. Okay. Now you see it works. And I want not to be 12 mm Sheets, maybe 12 mm fit. Okay. For our tabletop. Rename, that will be Shell. I'm and I'm going to create sketch. I'll tell we'll talk will be easier because it's just a rectangle. Say that no. So we're going to project not point. Not point. Okay. The rectangle, let me sketch. Extrude. Again. Doesn't matter. New component, 12 mm. If you wanted, you could have offset those lines. If you wanted a bit of overhang. Sometimes you might want a bit of overhang on the top to put clumps advisors, I'm like kind of thing. You could have done an offset, my rectangle and use but instead. But why not? Let's show up. Let's go to our Sketch. Edit Sketch. Offset. Put a 20 mille. Okay. Let me just sketch and you just need to reselect that. Would you extrude? Now we have a bit of an officer split that are actually you have these nice that cuts out. The only thing I want to do is go back to our scenarios. Bring her out. Mahogany. And I will rename this straight. Other reframe, rename that. And that's it. That's our workbench Complete. So fairly simple design there. Like say is good design until a few of A's. But we've looked at a few things that we've looked at. Assemblies were flipped up the pastes, the difference between paste and paste new. Why would use each different one? And we've looked at Joints and seen a few issues that crop up and how to get around them. One thing, if you think it looks a bit strange, we've got a perspective view on which is why these kind of handles look funny. So we can change that, which is also on prospective will make it look a bit more realistic if that's what you want. Again, it's a bit of a personal preference thing. Sometimes it's beauty, it's working. So I hope you enjoy it. But let's move on to the next chapter. 36. 36 Joints 01: Okay, so now it's time to create another model and put some of this stuff together. I want to teach you about some more Joints. We really need to good model to do this with. And we can use that to just put together some of the constraints we've learned. Just solidify it in our mind. Okay, So first thing, we started a new project. I'm going to go new component. I'm going to call this component device body. We're going to create a small device like a machinists would use as something that again, it will be but very basic. But I'm not here to do 30 our courses and make things complicated just so I can put it out. That's no good tweet anyone, you just get pods. So it's gonna be a fairly simple virus, but it will do the job of teaching us some more Joints. So this component would be called vice body. And that's active. Now I'm going to create a sketch on here. And I'm going to use a center rectangle, which I will make 50 by 175, okay, into that. And now I want to put some lines on Ultimaker cutout on here. So I'm going to do a to point rectangle. I'm just going to snap onto this line anywhere and just randomly puts it in there. For now. I'm gonna go trim and I'm going to trim both those lines out. Now I can get rid of its diagonal construction lines because we don't have a rectangle anymore so they're not needed. And let's have a look at what we've got in terms of constraints. We can see we've got these parallel constraints here. Parallel there with everything seems to be set. Right? Angles are parallel, co-linear. It still blow. We need to put some dimensions on this side. This will need to be, let's call this. Let's 35, okay? And this side will be small, this will be 20. Okay? Now this cuts out here will be 40. Go. It's still blue. And you might be thinking, well, it's all constraint now. But the one thing it doesn't know is where it sits in space in terms of the origin. So we need to set it in terms of the origin with some dimensions, okay? And I want it, I want to keep it as symmetrical as possible. Again, always try and where it symmetric with this line, this point here to be in the center, which means this line here I can put dimension on, which will be half of 175. Okay? Now, I could get a calculator out and I could work out what is half of 175 and type atom. But we Fusion, you can just type 175 slash to divide two. So that's 175/2. And press Return. Easy. Ok, and you'll see the vertical lines have gone black because now constraints, so we just need to give it this dimension here. Amigo, it's all black now and it's all constraint. And we've got our first component sketch where we can finish the sketch and we can extrude it now. And let's make it 120. Okay? So this is our Vice body here. Now, I just want to set it. I'm going to make this the front. Okay. So you pull down menu and you'll have set current viewers for now. You might not see that because it's often on another monitor. But when you click this button, you'll get the option to set the current views from now as our front. So I'm going to create a new component. I'm going to call this slide. Okay? This will be the piece at slides in and out as you twist advice. So let's create a sketch on this plane here. And let's project. I'm going to project that point. I'm not lying. I mean, I can do a two-point rectangle from a point. The line. And all I need to do now is give it this dimension which I will make, will make 25. Okay, that's black, that's constraint. And I can extrude this now. And I'm going to go same height to bring it up to that level, but 40. Okay? So now if I make everything active, you can see the whole thing. And I'm going to save this now. Has vice model. And you'll see it changes the name, their vice model. So we've got vice model, we've got our Vice body, and we've got our Vice slide. So we need to make our turning mechanism that we will turn to push, vice forward and backwards. The moment is just sitting anywhere. Now this is a good time to talk about the position. We've seen this error message come up about the position, current position. And I can show you this now I'm just going to click undo that. So you can see we've got our two components here. If I go to component view, you can see we've got the virus body and we've got the vice slide. Now the advice slide has gone underneath the vice body. We don't actually want that. We want the thighs slides so I can left-click and drag it. I'm going to put it onto the main model. So that brings it out from being underneath this body now with two separate components here. But they're going to remain where they were drawn. We drew this slide by doing a sketch off here. It's actually in the correct position. So we've drawn it in the correct position. We could have drawn out here if we knew the dimensions. But it's in the correct position. And what Fusion will do is it will capture that position and it will remember it. So even though this isn't joined to the vice body, if I was to drag this out, a new command will come up here. This position. Now, I have two options here. Maybe I drag that into the correct place, in which case I can capture the position and what that will do, it will take us a snapshot and say, Okay, from now on, this part lives here. This is a new position. Or maybe I just dragged it out like we did to show, but it's not joined, it's not part of it. And really I want to put it back now so I can go to revert reverting to their and I can do is however many times I want, I can move it all over it. It's not undoing. It's not, it's not moving it back to a previous position. It's reverts it back to the captured position. If I was to move it there and then select capture position. Whenever I click revert, it will move back here. Okay? So just be aware, don't you don't. Sometimes earlier on we will capture him a position just to be able to proceed because we haven't learned this yet, but a lot of time you will just let it revert to the original place, which we'll do now. So what's I want to do now? I want to create a hole right in the middle of this phase here. This is hole is going to be in the vice body. So I want to make sure active, I'm just sat part that component. So I want to put on the middle of this face, I want to put a point which is just like getting a center punch and creating a Mac. So I'm going to get both of these blue lines up by hovering over midpoints. And we know now we're in the center of this phase and we can put that matter. But when you get these blue lines is just a guide of where to put it. We haven't constrained it properly. So we do need to constrain that by putting on dimensions. Okay? It will be my correct place because we use those blue lines so we can just okay them. But we do need to specify it. If it hasn't got dimensions or anything when it's not, it's not, it's not fully constrained. So we've got our center punch map where we can finish that sketch. Okay, so now I'm going to select hole. I'm going to select that placement is at point a single whole face is where my point is where it's gonna be this on a threaded hole. And the distance will be to that face. There we go. Okay. Now the size, I'm going to make it 20 mm, 25, 25. Actually know 2025. I'll be very big. It doesn't really matter. It's just example. I'm going to start it 20 and I'm going to click Okay. And what we're burnout is a threaded hole. So it sounds of his vice body. I'm happy with that now 37. 37 Joints 02: Okay, so let's make, let's edit this slide. Let's make this slide active. And I'm going to do a sketch on here on this face. Now I want this circle to be the same diameter here. So I'm just going to project it. I want it be in same place, same diameter. So we can just project this. I'm to face which we get there. Now for this one, I'm going to finish the sketch and I'm just going to extrude this in. And I'm gonna go minus minus ten. That will do it. Okay? So we just have a little hole for our metal rod through here. It's going to screw for this and it's just going to sit in there. Okay. So let's go and let's make our whole model active again. You can see these holes line up because I used it for the projected vector, do a sketch. So now we need a new component. So we make sure we're on our main model first. And when you go to New Component and I'll call this, let's call it. Just call it robs. Simple. And this will be just a simple. I can do it on this face and I can project the circle. Okay, finish the sketch. Now all I need to do is good. So that circle, and I'm going to make this we know our, so it wants to be, let's make it a bit along. Let's make it one at okay. I'm gonna make it 182. So now we have this new component there called Rock. We come over this in and out, even though we made it, we use this to sketch it is still movable. Okay, let me just revert back. Now I'm going to put a thread on this and I want it is ten millivolt. So for the idea is the end of this rod will sit them up Tamil hall. There'll be some kind of bearing thing in reality that would let it turn, but we're just going to let it sit in there and it's gonna be threaded so it will screw on here. So we need to put a thread on this rod, but not all the way. Okay, so let's revert it back to this position and let's create Fred. It's asking for a face. We just select that face. And it's asking for a profile. Won't miss isometric profile. Select it and when you select the face, it automatically chooses the best one. Okay. Now I don't want it to full length because I want I want a blank section here for this to slot into an I also want a blank section on the N for some kind of handle. So offset, Let's go with ten will be the handle side. So actually let's go with 25. So we'll give it a 25 offset. Now the length of ten mill here, well, we do that by specifying the length. So if the length was all the way to the end than the Frederick Goetzmann. So we want to bring it back. Let's say. Yeah. Okay. So we have a thread on this rod, which is 150 mm long and it starts 25 mm in. And if we're okay, there we go. So now we can make, our model is almost there, but I want to put some kind of handle on this. So how can we do about well, I want I want to put a hole through this rod. What I can do is put this. If I go to construct, we can put a plane on. We've got all these planes here. We've got axes, which is basically a line, and we've got points. Okay? So I can put a tangent plane on this that we can specify an angle. I'm going to keep it at zero. I'm going to okay, that, and that lets us put this, this plane here. For one side. We commend sketch on here and create a circle. I'm going to make this. I'm going to make it 5 mm. Okay, finished sketch. So we have that kind of float in midair. We can now use I'm just going to drag that out. We could give it a distance if we wanted -20. Okay. It's gonna cut a hole fruher that we wanted. And that's all threaded rod finished. So it can go back to the main assembly. And we can see now we are kind of getting somewhere. It's beginning to lack of bias. We just need some kind of pen to go through here so we can turn it. So let's do a new component. We'll call this pen. Okay? And I'm going to draw this. It doesn't really matter where we draw it. I'm going to draw this on my origin playing just so we can see. This will be a circle of 5 mm diameter, not 50. Need to change that. Five. Okay, Finish Sketch and I'm going to extrude this out. This will probably be quite long, so you can turn, Let's make it, Let's make it 100 mm. And okay, that will go. So I'm going to activate the whole thing. You can see. Most of this was modeled in place. This pin wasn't. We purposely did it there. So there's demonstration if I go to revert, now it will go back to where it was modeled, which is wrong. Now, we can pull all these apart. And sometimes it's easy to see where things are supposed to go when you do it that way 38. 38 Joints 03: But I'm going to do some assembly now. I'm going to do some joints. Okay? We're gonna look at this. So this is where we want it to be. To do this demonstration. We can, we can pretty much see how it needs to go together. So let's assemble it. Let's go. We're gonna do a new joint. And it's going to tell us about this so we can continue, we can revert back, we can capture position. So if I just go Continue, it will revert back, which is okay. We can do that. If I have clicked on. Again, if I click on capture position than it would have set out this new position for us. Okay. I'm just gonna go continue. I want to show you also let me revert back under joints. We have joint and we have as-built joint. What's the difference? Well, the joint will just let you drag one component from anywhere, another component from anywhere and join them together and that will be joined him away. You're specifying as-built joint when you want you can use that when you want to put items together already in the correct place. So let's say this rod and this face are already in their correct place. We could say as-built joint and it will it will know that they're staying where they are. Okay, but we want to, we want to do a bit more of an intelligent junk, so we want to add a movement here. I actually sometimes like to just drag them away and then capture that position. And I know now, but these pups need assembling. If I was to start putting them together and then go through the reverts and back to here. Okay. I know that these need building. It's a bit like assembly, not having your components on a tabletop ready to be assembled. So let's join them together. I'm going to create a joint. It's going to be that circle. And let me want to look in here. And I want that circle. And it's going to put those together, but that is a rigid joint at the moment. So we want this to be able to turn and we want to imagine there's some kind of bearing and mass of this rod can turn independently of that block. So we need to add some motion. We're going to use this revolute and you'll see it, animate it now. It's exactly what we wanted. We wanted back turning there. So we can okay that. And now there is some animation here. It won't do anything when we try and drag it because we haven't grounded any elements yet. What I'm gonna do while we're here is ground this vice block. Okay, So the next chunk we want, we want to put this, we want this to slide inside this hole here. Okay. So let's have a look. Let's go to joint. I'm just going to click on Continue here because we've gotten to this now. It's tall, it's gone. Only partially visible saying it can't be moved. Okay. So I'm going to select the face and the center point. And I'm going to select this here, which is putting it in. And it's animated moment, we've got it still sit on a revolute. So I'm going to change this to a slider and you'll see now it's animating how it thinks we want to do this. If you need to, again, you could just click this Play button here. So that's actually correct. That's exactly what we wanted. We want it to slide through that hole. And if I click Okay, now, you'll see because it's joined to that block, this will move up as well. Okay? So that is in there like that. Now. But the moment this is set to outside, okay? We've told it that there is a rotation joint between this piece and this piece. And it doesn't really know, doesn't know what item it says. It's taking the best guess, it's doing well, but it isn't perfect. It doesn't know what advice is. So we want the other way around. We want this to stay still and we want to rotate. Well, what we need to do is join this and this together. So let's go assemble and we'll just continue for now. I'm going to select, I'm going to select this face. Might corner with that face and that corner. Now it's tried to put them that way. I don't want them that way. I want it flipped. So it puts some scholars, if you can see what it's doing, it's either join a gentleman face-to-face, or joining them side-by-side. We want it side-by-side, but we want some motion here as well. We want to be able to slide. If we animate that it's the wrong axes, we don't want it to slide in there so we can change this x-axis. That's correct. If we have split, the y-axis would have been incorrect. So we want the x axis, we want this sliding here. And don't worry about it. Moving through the object will settle that loads as well. Okay, so now it's doing what it did before, but it's not going to let us rotate this. Okay. So we're getting there. And let's put our opinion now. So remind ourselves a full length. We'll measure from that face to face. It's pretty sure it was 100, 100 mm. Okay. I'm going to assemble, and I'm going to assemble. I'm going to click on continue on this face inside. You'll see we've still got a motion on, we still got a slide emotion on because this pin will be free to slide through. But again, we're going to select the different axes. And that's what we want. Okay? And here I'm going to do an offset in the z axes of -45, which will just bring it in the middle there. Okay, so now we're getting somewhere. We have our pen here. We have advice, but something's not quite right here. This should turn this spice 39. 39 Joints 04: So I just need to do some adjustments here. One thing I'm going to do is edit this joint. I don't. Whilst it can slide. For our purposes here we don't want it to slot, we want it to twist rather than slide. So I'm going to right-click in the history, the last joint, I'm going to make this rigid. Okay. I'm not will actually make it rigid at that point. But we still can't turn it and there's a reason for that. So we put a rotation joint between these two pieces. But we haven't got rotation job. We need to be able to rotate inside the body at the moment it slides in the body, but we haven't taught it can rotate him, his body. So Fusion won't let it do something unless we've told it to. This joint here needs to be amended. And it's this slide joint here. Okay. So let's edit this joint and let's see what we can do. A slide in joint which is fine, which is what we wanted. But what we need to do is slide and rotate. Okay? So here we have some over Joints with cylindrical and if you highlight it will tell it, it will tell you what it can do. It can rotate and move along a single axis. Okay? So cylindrical, and if we click it, you can see now it's doing exactly what we want. If I play that again, is rotating and it's sliding. So I'm going to okay that and now let's see what we can do or we can rotate and we can slide. Okay, so now it's, it's kinda get him there. We do have a bit of a problem. In that moment. It seems to be made of thin air. This is going through the other object. So we need we need to tell Fusion. This, this object here cannot actually pass through another solid object. We can do that with these contact sets. So we'll click on Enable contact sets. Let new contact set. So it's asking for Bodies over Components. So that's fairly simple. Just click on these two and we click Okay. And now you'll see like a teacher and stop. If you were to get your mouse and false it. This isn't a simulation, this is just a modeling tool at the moment so you can false it with your mouth. And it will punch it through inside. But just if you just do it gently, you can see whether contexts, contact sets are okay. So this is looking nicer now, but we've also got something else, say this turning, which is what it needs. But there's no connection. In real life, you will be turning this and this will be moving forwards and you turn it the other way and it move on. But the moment is just two different. Joint is rotating and sliding. Well, we can also set up, we can do that with this motion link. Okay? So what I'm gonna do now is I'm going to capture this position. I kinda like that half open, half shut. So I'm going to capture that same motion link. It's asking us to select the joints that we want to tie together. So we want to tie together this slide in joint with this rotating joint here, okay? Um, what we're going to say is the cylinder joint, sorry, this, this cylinder will rotate freely and 60 degrees for every 10 mm of slide. Okay, well, what might be okay, Let's try that. That's OK. And now we can see, but as we, as we move this rotation here, I think looking at it, it's rotating the wrong way. Okay. So let's see if we can edit up. We just click on reverse. We could have said it rotates free. 60 for every 20. Mm is not going to lose preview it. But if we okay, we move this. I'm not looks, that looks better. So you can see now the alveolus is actually working as it should. We turn the handle and the thing slides for omega, That's the power of Joints in Fusion. And if we want, we can make this look a bit better. By making it. Let's just make it a different color. See if we've got something here that's make it as blue here. I'm in. Let's go with a kind of still proned. We just make it look a bit better, so we'll get rid of that. So that's our Vice. Now, you can see how easy is, how easy Fusion makes it to make not just models, but actually simulate things and see if I were. And you would not only do this to see if it worked, but if you wanted to show somewhere who came up with this design for a new type of bias and you want it to send it, you can actually let someone say how it will work. And technical drawing is something I started years ago and it's a good skill to have. And we'll look later in this course about how you can create a technical drawing to send someone to model, but you cannot be able to just show someone. This is always going to work. It's something that Fusion is grateful. So they go, that's Joints 40. 40 Insert 01: Okay, so now we go into look at insertions are missing insertion menu here and see what we've got under here because there's some good stuff. So derive, this lets you insert kind of components and sketches. Let's say something we're designed yesterday wants to bring in as part of this assembly, we can insert a new partner, a saved part, sorry. So that's fairly self-explanatory decal. Now this is great. This will let you put an image onto something so it could be like a logo if some physical to be made with a logo, if you wanted to actually 3D print a logo, something you can do about here. So it will ask you where it is. Again, it's looking in your online directory. So if you want something that's on your computer, you can click on Insert from my computer, I have the era form 3D Logo. I'm just going to use fat and it's asking for a face. So I'm going to put it on this face here. Now you're gonna get all of these options you can fill in. But again, it's easy to just use the kind of smart editing tool because it's fairly explanatory them what you're trying to do, okay. You can scale it, you can rotate it, and you'll see all of these changes. I'll do it. And you can move server. That's gonna be okay. You can make it opaque here. So maybe it was just a slight logo. I'm going to click. Okay, and there we have. So that's you decal, that will let you put logos and things like that. Okay, So canvas, so what canvases, if you, let's say we wanted to supposing I wanted to create a new component here. Actually let me start a new drawing. So this is generally something you'd use for my organic modelling or maybe we're trying to create a model of an airplane and real-life airplane, or a car or something like that. You can insert these canvases. Again, Insert from your computer. Let's go. So maybe you wanted an airplane. You might choose about face and scale it up. Okay. I'm going, you might have another canvas, the front of the airplane on that face and scale up and you would have to make sure you've got these scales correct. But you could then start sketching. And you can use this as a kind of template just to roughly, I'm not going to try and do this. But it would allow you to then model with the kind of template sitting in my background, but you could sketch over and get a correct size. Again, I'm not gonna go through that. It's just to show what it is coming from a background from something like 3D Studio. I'll, one of them are graphical packages like Maya or something like that. This is that you would have done this. You'll know exactly what this is trying to do is giving you something to model. And this is used in things like film, special effects when you, when they modelling something from Star Wars as a spaceship or something like that, what they would do it with go to an artist who would draw it with an actual pen, proper AP, Drawing, and he would do what they call a free view. So into a side view, front view, top view. And then if it came to an Modeller, who that kind of thing probably wouldn't be done in Fusion. But if it was maybe wanted to do it in Fusion for whatever reason, many would take those Drawing side view, front view, Insert them as canvases and many would sit anyone who model around that. Okay. So that's what cameras does and it's not part of your it's not been an output to anything, you're not good. This is a bit like construction lines. This is just something in my background, but it's allowed you to draw. So it's not actually physically new drawing become this. Okay. Insert mesh. So let's go with new here. If you're into 3D printing, you'll know about STL files and you can download STL files from various places. Some might give you a one to print, to 3D print. Maybe you want to make some alterations to that. You haven't got the actual model, you've just got the output file, which is STL, which is just a 3D print file. And you can download these from websites such as Thingiverse. You could import that mesh in, into your drawing. Okay. So have I got any STL files? I should have Asian hornet chat. That was one. So we can import that. And you can see what it looks like this was a K just was actually add some home. It's fine outside my office. So I downloaded an Asian hornet, Chuck cage, and this is how it will look. This is how it comes in. So that's been downloaded from by someone who has made it available to 3D print. And you can bring that into your model. The 3D print guides will light up. Let's go file new. So Insert SVG. Svg is kind of a basic image. Maybe you want, maybe you add Outline of something you wanted to bring in. You can bring my any news is a sketch so you could over Outline of your car might be Sketching, maybe. Maybe it extrude that in, Printing out as a cue in and I don't know, or mouse mat. Dxf, same thing. This is what AutoCad guys will know what this is DXF. You can insert something joining autocad 2D. You can bring that into your sketch. And when you could extrude, again, these aren't rarely. We don't really need to show, you'll know what these are if you use them. It will make sense. If you don't, you probably don't need to know 41. 41 Insert 02: Okay, So one of the, one of the best Insert Options in Fusion is this one down here, which is Insert McMaster-Carr component. Okay. So some of you may know who McMaster-Carr are. Some of you may not it, but basically a large supplier of all sorts of hardware and components and that kind of thing. That primarily us. But I'm pretty sure you order from them, but probably do a website in every country. I've never actually ordered anything from them myself, but I've user components alone. Okay, So let's have a look. If we go down, now, this is going to look a bit different when we click on it, okay? If we go down, if I click on it, it comes up with this catalog of parts. If you just installed Fusion, they haven't used this option before. When you click on it, it's going to cope with something a bit different. It's going to basically before you can use this, you need to create an account with McMaster-Carr. Okay? Now I've got an account name, it's all linked, so it will come up like this. All I can say is you just follow the prompts. It's asking for to set up an account. You may need to register C. I need to login him. I've got an account, which I'll do. But you probably need to go and create a whole account and go through the thing with confirming your email and I'll let you, I'll let you do about so you might want to pause this chapter and do that and then come back to it. Okay, so hopefully you're locked in. Unlike mine does it should say your name there, whatever username you've created. And you should now have this catalog here. If you have any problems with creates an account with McMaster-Carr. Unfortunately, there's not much I can do in terms of that. So please don't contact me with an issue with McMaster-Carr because there's really nothing I can do. I'd love to help, but I won't be able to. You'll need to go through McMaster-Carr Fusion, help to get any issues with that resolved. But hopefully, you've all got to this stage eventually. And now, once you've set it at once, That's it. If you've ticked the box to keep you logged in, you won't need to do any of that. You'll just be able to go down to Insert McMaster-Carr component and it will log you in. There you go. So I'm gonna move on and I'm going to say we're all at this stage. So what exactly is this? Well, it's a catalog of all these all these parts here. So you got I mean, you've got everything. Tools. If you want to show Tools, is electrical parts, fabrication parts. These are the things I'll probably use most, which is a fastest. So things like screws, bolts, I bolts. Um, it depends what kind of thing you doing, what industry you're in, but you can have valves, you can even have furniture. Is hardware here. These would be good to put on the bottom of a Workbench01 made so you could level it. Maybe wanted to user. You've got all sorts foods like hinges. So these are used quite a lot of what we've got, all these heating stuff lubricated, some things, some things that difficult too much and how you would actually put them into a drawing. But you might want to show that just for whatever reason you got your pipe fittings here. Power transmission. Again, it really depends what industry you're in. You also have raw materials, so things like your metals, you could have still round tube, low-carb around children. So if I go back the main site, I'll show you how Let's put in if we wanted to bolt, so we just wanted to I'm just gonna go with any for now. Let's just go with that. I'll show you how to insert something. You choose the size you want. And you get all these options. So there's all sorts here. You will probably find what you're looking for on this, I would imagine because it's such an extensive catalog. And let's say this is okay, this is a bolt we want, this is one we want to use. Okay? It's a bit clumsy how you get them in. But what you have to do is when you've selected, you can see it saying add to what it can actually order your parts for it if you've got it setup with your payment. Once you don't need design, you can already a part you need. But let, let's say we've selected our part now, we want this and we want it in our drawing. What you actually have to do is click on this product detail here. Again, it is a bit clumsy this part, but you'll see you get all the details of it and you can see all as if it's what you want, okay? Yes, it's what I want. Let's say it's what you want. You scroll down the bottom, you get this pull-down menu here. And it's asking for all these different types of C can bring it as a PDF. If you using Auto Cut, you can bring them by the way, this isn't, if you look at it, this thinking, wow, this will be great for my auto color. There are some flight. You can just go to website and you can get a lot of this stuff. So this is just a Fusion plugin on now, you can bring it in as a DWG and get it off. Get it for AutoCad. Okay, but what Fusion for bringing it all, it's use a 3D step, okay? So select 3D step. I'm going to select Save. Again depending on your computer and everything. But there you go. So lots of bolt, which is, it's asking us it's got this normal transform. Thank basically asking this way you want it okay, Well Move Copy. So if you're just okay, it, it brings it in omega and that's a bolt. So if you were making connections, you don't actually have to model any kind of bolts off fasteners or anything you can get on McMaster-Carr, you can just bring it in which makes which really speed, speeds things up. It might be one to put nuts on Matsui and bringing him. I just randomly chose the size of bolt so I can't remember what size it was, but we could bring in you bought that and once it's in, once you've got this part and it comes in as a component, as you'll see. You can do all the things like copying that. You could if you add a bolted connection. So that might be a washer or two washers and a bolt. So once you've created that connection, you can then, just like you do have any component, you can select those for those three components. You bolt, you wash it, and you know, create that into a little sub-assembly. And then you can duplicate those. Some if you had ten holes with the same bolted connection, you could just duplicate, copy that bolted assembly. Offer our L drawing. So it makes life so, so much easier 42. 42 Insert 03: As I said, there's raw materials. So let's say we wanted some steel tube. We can have all our shapes here because slipped round Chu we get always. So maybe we want it this which is a chrome molly stuff. So maybe we want this 1 " diameter tube. Okay, we can go product detail. When we go to the bottom. Sorry, we need to select the length. So let's go the scope of a 1 ft length. Now we get the step file. It's not coming up with this. So Insert then it's probably needing more information to narrow down the actual part. In this case, it needs to belong. So that's a clue. If it's not giving you that option, it probably needs more information from you. When you've got just select Save America and it brings it in. May, you've got a 1 ft length. Now we're working in millimeters. So generally if I did this, how I like to work is too. You can use PressPull amiss. If we select that face, we can change it to whatever length we want. We're gonna be in millimeters. I mean, it's going to ask us for new distance. Well, because this is fate that we import it as a one-foot them. What I tend to do is make one workout. The millimeters I need to add to round that up into same liter section. So I've just changed it, but you can, all you need to do is go inspect measure from face-to-face. Okay. And it will tell you the length is free. Oh, 4.8. So I'm just going to do a quick 1,000 -304.86, 95.2. Okay. So if I now was to go PressPull a mess and go 695.2. We should. So we've got one-meter length of this now. And what I would generally do if I'm working with this, you can see this is our pipe previous, our component. So I would rename that for one to one diameter, something like this. Again, this is up to you, but I'd call this 1 m. Okay? I'm not going to use that as my default. So I know that's all made section I wouldn't actually use in my model. What I would do is I would copy of that, paste it. Okay. I mean, you could imagine your first component was a four meter length. You can just rename this. Just rename this whatever you want. So pipe one. And you know, this is a meter. So if you wanted to for me to length, it would simply be a case of PressPull in free files and millimeters. Okay. I'm that would give you your for me to length. So what I would do is copy that. Go to your main assembly, paste new, and then rename that, for instance, Bipolar one. Now this will be all component you could actually do something with. So I'd always keep the base of a material. This is just how I tend to do it. If you, if you're using if you're going to use lots of these types of pipe. And then putting 3,000. If you're going to use lots of these types of pipe to make some kind of frame out of the same same specification. Yeah. I've one as your base. Which news a meter long and you could keep copying that. And then make sure you go to your moon and pasting new versions. And each time you would then be free. Move it off to create different sizes. Okay. But you'd always have this base here which you knew was 1 m, which will make it easier. So you could just copy that and add or minus whatever size you want. Hope that makes it. I've gone off on a bit of a tangent. I know I'm supposed to be showing you as McMaster-Carr, but for the raw materials, that's how I tend to do it. Just bringing and a lot of them will have, it depends what you click on, but not all just in inches. There are some metric dimensions. Okay? So some things, I'm going to a bit random which ones are and which ones aren't. I might struggle to just find one. But a lot of things do come in metric sizes, so you don't need to go for about process 43. 43 Insert 04: So again, my main page, we have all these things, hinges where it was a hinges. They was and why. Okay. So you could bring in a hinge. You could choose one, and then you'll be able to bring that into drawing. And if you look very detailed, but they'll give you what you need. So you could then, if you were to use these exact component and maybe older it from McMaster-Carr. Let's say you were making a box Symphony wants to hinge. You can bring this in and it's actually go your whole space. So you could set out your whole splicing based on the actual pi it was going to build. Okay, so just, if we're starting new design, just to show you how this would work. In action. I'm just going to create any guy at random. But of plate just to show you, we're going to put in a hinge. Okay, So we'll go to Insert McMaster-Carr, some hardware hinges. And I'm not going to be very, again, I'm just going to select random hinge here. So far. So you can see we've got this hinge and then we could join that. So put a joint and select this face and corner onto the face and corner. That will do. Okay, So there you go. So that's how you put your hinge on. Now, let's good as this is a bit, it doesn't really come with all the joint some revolutions and things that would be a bit too much to ask for. Mcmaster kept stop doing that for all the various different types of software. You have to imagine all these different freely suffer, work with different in terms of Joints. So it would be a massive task for them to do that. But you can do about yourself. You've got the Bodies here. So Joints, remember, Joints only work with components and this at the moment is one component. Okay. This him. So you would have to, you'd have to find it in the browser. And then look at the body service hinges made up of free bodies. So you've got that side, you've got that side, and you've got the pin. So what you could do is you could create components from the Bodies and make three separate components, and then apply your Joints and then save that as a sub-assembly. Okay, we've done all that so I don't need to go for it, but that's yeah, That's why don't expect these hinges to work perfectly when you download them. But there you could do things like show them and maybe you wanted to put a recess here for the hinge to sit on. This would give you that size. So that's kinda thing you use them for. If you want to do any kind of Animations or things like that, you need to do a better word, but that's McMaster-Carr. I hope you appreciate how much work that would save you in terms of modelling all this stuff. But yeah, it's great. Okay? 44. 44 Drawing Sheets 01: Okay, welcome back. So now we're going to look at how we can output our designs, okay? And there is, I would say, four main ways you will output your design. You've, you've come up with something like this. Now you want to share it with the world. So you might be sending it to someone to fabricate, send it to a manufacturer. Maybe it's someone in the same company. Maybe there's a machine shop downstairs. You've come up with your design. How do you get it to them if you were to just send a mess? Even though there might be able to move it back. We're not going to be very happy. It's not going to give them much to go on in terms of manufacturer, you would need to create a traditional technical drawing. Okay, so we'll look at that in this first section. The way you can check, firstly, you need do is change your environment. So you'll see it says design, and that's what we've been doing so far. We've been using these commands to design something in the design environment. But now we want to go into the drawing environment. So we can come down here and we can say jarring. And this is from design. So we want to create a drawing from our design. So we'll click that. You'll get this box here. And it's asking you what designers do you want to do it from? So we want our full assembly design here. We could just select an individual component. If we wanted to join of an individual, individual component. We will be doing that as part of its design, but we want the whole thing. We need to give the fabricates of a whole thing so he can make it. So the drawing, we're going to create a new drawing template. So if you were to go into a company that probably have their own templates setup here and that would be in terms of the company logo on my sheet and that kind of thing. If you find yourself doing a lot, you would save yourself, save your standard sheet or as a template. But this is, I'm doing this as you are with a freshly installed version of in Fusion. So we're going to go from scratch. Standard service, ISO as, ASME. Generally that's the American and the ISO we use here in Europe. But again, this isn't really a drafted and engineering costs. This is a Fusion costs. You leave it on ISO is me. If you don't know what the mean, you probably don't need to know what it means. So as a unit, so do you like to work in inches or millimeters? Again, it's a preference usually between the guys in America who use inches, European measurement units, which is generally millimeters. So I'm gonna leave this in millimeters because we did our Designing millimeters, size of a sheet. Now years ago, when I started drafting, 24 years ago, we all did everything on lab sheets. So a 1.0 and these were big, cumbersome Sheets that you ought to fold up all roll up. And I'm not quite sure why. I think it was a throwback from a drafting days where you'll be on the drawing board. So I'm we'd be something drawing board with pens not on there was nothing like this around him. Mda is you'll be using pens and if you might have mistake, that's when you've always remember the benefits of cad when you've got an undo button because it may old days if you made a mistake with pen, you have to get a blade out and scratch it all out. So we use, to use a zero and A1 generally as a throwback from when we was on a drawing board, the big shape nowadays it tends to be A3 and A4. Why? By a large scale plotter, when you can just use a normal, a free prints. I think that's what's driving most of it. So we're just going to slit diaphragm here. And I'm going to okay, that you'll see everything changes. So fusion has taken us into a whole different environment. Now the drawing environment and all our commands are different. We have a sheet here that it's put on, which is a Fusion default. It's almost like we're in a different piece of software. Everything is different. Well, that's because fusion has these different environments. It's the same really, it's just different commands that you might need. You don't need one of the old commands now because we're not Modelling, we need a whole new set of commands. So first thing it's going to ask as and if you see it highlighted here, it's asking for the base view. This means, okay, well You want to do a drawing of your assembly, but which view D1 as your main view? Again, we've got some options here. So it's given us a preview of what it would look like. You can see straightaway, this is gonna be too small to conduct to convey any information to anyone. That's because our scale is set to one to five. Now, I'll model on a free sheet. It's not about begging real-life, we didn't is only a little advice, so on and I appreciate it doesn't need to be one-to-five. I'm going to see what actual size looks like, which is one-to-one. Well, this view is quite good, but we're gonna get a few views on here, so it's probably too much. So let's go to wanted to, and that's probably about right. Okay. I'm gonna put this view. I'm going to put it in the top-left and I'm just going to left-click. It'll be further ado. I'll show you the other options here. So if you remember, when we designed this, we set one phase to the front. Well, we could choose any face we want here. And it will show us a preview we could have. So we could have kind of a is symmetric faces. It's not very good one, but we'll get a 3D view like that. But generally you all first, this, this is the option for your base view. Your base view wants to be something like top or from. As the base view. I'm going to use this one. I'm going to the style. We have the style here, visible edges, hidden edges shared. It is best if I just put this in and I'll show you those after. So I'm going to okay, that you'll see it puts it in and it puts it in just a simple line drawing and matters of style. If I right-click that, I could go to edit view. I can change your style now so I can select the hidden edges and you'll see what that does. It put some the edges that are actually hidden, but it shows when this dashed. Just so you can see the representation. We have the shaded view which colors are in. So we have our blue metal on our Chrome handle, so it's made up colored. And then we have both so shaded and hidden edges. So that conveys the most detail. The shaded view can be a bit. What I'll show you what I like to do for these views. I like to leave them as the hidden edge views. So just with non-shared review. Now, why is our base view? So that is our first view. We want to view it from a few different angles. So what we do now is we go to the next one along which is projected view. And if we click that, it's asking us to which view we want to project. So we just click our base view. Now without holding any button down, you can see if we move to this side, it projects where view of that side. But if we move to the other side, it will project. And if we move up, we will be looking from below. And if we move down, we'll be looking from above. And also we can go diagonally and get these 3D view so we can jump to these views out. So what I'd like to do is maybe take that view and then a top view and a 3D view. And I'm going to right-click, I'm going to click Okay. So now we have our four main views to create this assembly. Okay? And what I like to do with the shading, I like to just have the 3D view as the shaded without the header notes. So this is kinda like a real service will convey the information you need in terms of dimensions and things. But then this will be like a snapshot of how that will look, which is always good. Okay, so that's how you set up your main views. Now, one thing about this, we don't, if we just sent this to the fabricator who will say, Well, okay, this this drawing shows me how to put the pieces together, but you've got 1234 pieces here. I need details of how these pieces are made individually. Okay, I'm not sure if this menu would come in. 45. 45 Drawing Sheets 02: So at the moment, all four of our components are ticked. But if we, let's say this was just our drawing of how to fabricate this vice body. So we'll untick everything except the vice body. Now you can see this is what this is more of a fabrication drawings for that actual piece. And that's exactly what we want. Okay. So now we need to start labeling it still only a picture if you like. So first thing I like to do is put on the dimensions. You can see here we have this dimension. If you pull this down, you can have different types of dimensions. So angular dimension, linear dimension angles. But then we have one button which is just dimension. Well, this is kind of a, it does all of them rarely, but it tries to guess sometimes. There might be times you need to specify if it's not giving you what you want. But generally this is quite good. You can just click on that dimension. And let's use our way. Let's zoom in on this view here. So the dimensions we'd need to make this. We can highlight line, you'll see it comes up and if you left-click on my line, and it gives you the dimension. And now you can just left-click again to drop it. Left click, Align, Left click to drop. What I'm gonna do here is I'm going to click Align. And instead of dropping out, I'm gonna click another line. And it allows us to do a dimension between two lines. Now, maybe some people saying you do not dimension to a dotted line. Again, this isn't an engineering costs, it's a Fusion course. So there you go. A circle. If you just click the circle, you're gonna get this diameter rollout there. Okay? And I think that would be enough dimensions on there. You can then move to another and we can go here. We can go. You wouldn't need this because you've got the overall and you've got these two. So you don't want to put on more dimensions when you actually need actually we need to put it, we do need more on here. We need to put in where this hole is in terms of phase. So we'll put those two on. Now, if you want to move dimension after you've put it on and I like to jog my diamond just outside of the actual component. You can just left-click you dimension and you'll get these grips so you can you can move things about that. Okay. And again, please don't email me saying you call yourself an engineer. You haven't done me tolerances and things that this isn't an engineering costs. So let's put it on I'm dimensions just roughly so you might need, so you can learn how to do with dimensioning ago. And now you might need some labels. So you can have text and you have lead a text. Okay, So later texts would be something like you might put it out. Okay? It will ask you for an edge, so we'll use our edge. Now it will ask you for a bot attack. So we might put here, I'm just going, I can't remember what Fred, we use. You but you would actually specify the Engineering Fred and the pitch, all that stuff. But I'm just going to write for it or you can write what you want. It gives you the idea. So that's how you do lead a text. But each of these would want a title so you could just quit normal text, just text. You can just get to come up with a normal textbox. So you might right side view here and underline it. Okay? So again, some texts there. Front view. And you get the idea. Symbols. Well, a few different symbols. You might want surface texture, that kind of thing. Again, a lot of these commands, if you know what they are, if you're coming from my background and very obvious what they would do. If you don't know what they are. You probably don't need to know. Geometry. So these are things like accent lines and center marks. So generally a circle like that, the whole, you would put some kind of center mark and you can just click it and it does that. You might want a center line in the plum view of a whole. So you can click two lines and it'll put a line in the center. Again here. Okay? So Move, Rotate, delete this, talk about actual view so you could split up, you can move it around on the sheet if you wanted. Detail View. So maybe we were just looking at actually this whole we need to put a lot of information here. We haven't really got room. We could do a detail and you'll see these on drawings. It's like a zoomed in section. Okay, so let's do a detail of this. So we slept apparent view, which is this one. We got this box here. So I will detail, Let's just draw a circle around our detail. And it's going to put this here. Now. I'm just going to okay, this. Sometimes you need to move this around to get a correct view after. You'll see, as I move this detail view, what is in this view changes. I want the circle. So now we get the circle. We can edit this view and we can say, okay, it's shaded or it's hidden edges, whatever. But now it's going to, you see it's put an a there. So this is saying this is detail a. And it's put on this title. And you can change the scale. Some of this was wonderful. You could do it. So that was actual scale. So that's a detail of this whole okay, I'm just going to delete that. And if you don't eat that because even the detail goes as well. So you have sections. Again, if you know what, these are, pretty self-explanatory what the due. You could create a sketch on here. So you could just create, if you wanted to create a little sketch just to convey something when you could do that. I mentioned you've got things like if you were to, if you wanted an angular dimension, you could just click two lines and it will give you the angle. Okay? So for this, this would be our Vice body 46. 46 Drawing Sheets 03: And you would probably have a lot of text on here somewhere, which will be on notes, which were kind of convey all sorts of information is going to miss would say all sorts of things about what it's made of and tolerances and things like that. You love seeing those if you work with joins. So here is your title block. Double-click that, and you can edit this. So you could say vice, all the details. You could you could say who drew it, what date, who approved it. You're drawing numbers in again, this is if you're in a company, this we'll probably all be standard yet have standard join numbering systems and all sorts of things. I'm not as alpha, I spot it. So now you need to do it for the other components. And you can create another sheet down here with this plus, okay. Okay, So then you'd have to do another base view and the representation. And this one would be one to two. Okay? I'm, this might be your slide. So this is just a slide here. So you could project that for something like this, you'd probably have, now you'd be thinking, Well, I can fit everything else on here so you could have another base view. And you'll see you get a new menu for each view. So this might be the rod, for instance. Okay? I mean you would be afraid of you. Okay. And then you select the live a base view. Yeah. I may be admitted. Exhibit its actual size. And this will be the pin. Now the pen, because it's set on my model to be at an angle. It looks a bit strange when you can modify it. So you can rotate this project. And you would do all the same kind of dimensions on here. You might do you-all view because it's got a thread. You would probably do this as shaded. So you can put dimension on the actual Fred UW length from things and ended up drawing, look like this and follow the same kind of standard Amen for an assembly drawing. Again, similar. Let's do a similar setup here as our first one. I'm going to make this shaded. I'm not going to put our text dimensions on the dimension you have on this one naturally would be anything for the assembly. So wherever they sit together in this case, you probably wouldn't need I can't think of any you'd meet. But yeah, maybe if you want it to show how far in MS. Within that whole you could pull up distance, that kind of thing. But what's it won't be important here is which part was which. So here you could put a table. And I'm going to run out of space here. So what I'm gonna do is I'm going to, I'm actually just going to delete that view just so you can see. You'll see I input the table and it automatically filled it in. And it's put these balloons on there. If you don't like where it's put them, if it's interfering with something else, you click it and everything is editable. Okay? Everything is editable. Maybe you won't ever blown on this view. You can click here balloon. And if you click an object, so it's automatically give them that number one. Well, that's because I clicked on my body. If I was to click on this rod here, it will give it number three, which is where it's so intelligent, it actually knows what you're clicking on. Ok. And you can do that in any view. This table here, it's filled in for part number is give it the file name, the material. Remember we actually assigned physical materials. So it's done that for us. It's filled out in furrows description. So if you double-click this and make sure it's highlighted and double-click. You can select which columns are included, so you can give it a name. Maybe you didn't want a number, you just wanted to pop name so you could do that. Okay. Mass. Well, because we gave it physical material rather than just an appearance material, it's actually knows the mass of that object because it knows the dimensions of it and it knows what it's made of. So here we get into the kind of power of fusion. Midst of all this is all pulled in from the kind of information stored in a file. So the name is the file name and description would be the description that's saved within that in the properties of that model. I'm not sure ****. And again, you would fill in all the things like your joint number. We don't need to go into all that. I'm not trying to purposely put up this course. I'm trying to make it as concise as possible. And there you go. That's giving you the tools here so you know how to do me certain image as well. So I could insert a logo and then I can just adjust it normal. That will be your drawing. So you can output, you can output this now as a PDF. You could output it to DVG so you can send it to AutoCad, which the cat guys will like. Dxf, which was a CAD system. You could output to CSV. Now CSV would be a table. So if we went back to this view, it would ask us for this table. Okay, and we could output that and send it to an Excel or Google Sheets. Someone could use that in Excel, so someone could employ it straight into there. So again, very powerful in terms of working with other people to just print it, output to a PDF and send it to a principle. That's your drawing sheets. That's how you do all this stuff, and that's how you can communicate your design. As a technical drawing. 47. 47 Image Rendering 01: Okay, so let's look at our other methods of output here. And I'm going to save this output here. Okay? So, okay, so let's look at our other methods of output here. So we're now Drawing Sheets environment and where we're under this kind of untitled. You see we've got, it's opened up a new tab here for this. So this is our model appear under this tab. It's still there. And this is our drawing sheet. So we can save this vice model drawing. And you'll see it changed it to Vice model Joints. So we have Vice model, which is a model, and now we have Vice modal joint and that saves, this sheet is saved. So if we go back to our model, let's look at the other output options. Generative design is something advanced. It's not really going to be part of this course. It's something I'll probably do it and maybe not cause me it's some kind of shot add-on for it later on it. But what is it allows you to create designs that fit. So let's suppose we have this bias model and we didn't have this. It would have allowed us to create this based on our existing model. I appreciate that sounds really complicated. Basically, if you have some components and you need to design a frame around those components, it will help you do that. So if you give it the requirements it needs to fix to these pieces, it needs to do this, it needs to do that. Then Fusion can actually come up with parts fire. Again, that's getting put advanced. So the next output we're going to look at is a rendered. So let's click on Render. Now this is where you've done your model and you want to show someone how it's going to look. You want to put it on a Facebook page or you want to send it out and putting new glossy brochure. You haven't actually made it yet, but you know, it's going to look so you can do a render of it. We've already given it the materials. We just need to set up our scene. So let's look at the options we've got here. We've got a parent's. So we're going to apply this to Bodies components. Yes. Now we've already assigned materials, so we don't need to sign up for materials. But if you have them, if there were some parts that hadn't yet been assigned materials, this is where you could do it in your you don't need to go back to model. You could do it here and you can see we've got all our same material folders here with our materials and we don't need that with this already assigned materials to this and those properties are in there. So let's set up our scene. Okay, so what do we want? We've got our environment, so how bright you want the environment so they can be completely washed out like that. It can be lights off like that. So how it was I think it was somewhere around there. But background. What do we want him a background you can see at the moment, we've got this gray here. We can choose an environment. Okay? Now we've chosen environment. It looks like not much has happened. But we've got, we can go to this top there and we can select an environment, okay, from Fusion 360. So cool white environment. Maybe. Give us this here. Let's try that ground plane. So the ground plane is, you can see the shadows being cast onto the floor. So this part is setting a flaw. If we turn ground plane off, there is no flow of this part is hovering EMEA. And because we put our environment on, you can see there's some stuff in the background, but this part is hovering emitter. Let's turn ground plane buck on just so we get those nice shadows. Floods and ground floor anyway, do reflections. When I turn that on, hopefully you could see the floor became shiny and you can save as a reflection MELAS. We can change these settings here, roughness. So how can a hazy or sharp reflection to be camera? So you get an into kind of real image settings here that people who are into photography and things would need exposure and focal length. What kind of thing that fulfilled? For that you need ray tracing, ray trace, and if you don't know, it's a type of Rendering aspect ratio, so you can have it widescreen Mrs. for your actual how you're going to save it out. I'm not will depend on I suppose what you were outputting it to. So these are yellow Render Settings. I'm going to close that decal. We've already put decal on it. Okay? So we've got that texture map. Texture map controls sweat, our objects. So this is if any of you are coming from a 3D Max or anything like by going, you'll know what. It will appear quite simple to infusion for texture mapping is an advanced really. But for what it is, it's quite good. It's basically saying it's a way of imagining if you add a texture on here. So if it was made of brick, you would have a bricks and mortar in-between. If it was made out of a textured surface, something like wood, but you might have a wood grain and it might affect bumpiness on it that it was showing. And this is how that's projected. Okay, So this is quite advanced stuff. And again, it's not really, we don't want to get an hours and hours into this because most of you won't need to change it. A lot of this stuff. You just make it look good basically, if you're using when materials are inbuilt in it, in Fusion. A lot, but it's taken care of. Let's go to this income plus render. Let's click that. And what that's basically doing is showing us a preview in our Canvas. So in our editing area now my computer is fairly good, but it's still going to take awhile. If you've clicked this and you compute, it seems to have died, or it's making all sorts of strange noises, then I don't know what to say. It's down to the speed of your computer really 48. 48 Image Rendering 02: So okay, so income is, I'm not going to press it. Well, this will do is it will render this out now. And it will, my computer will stop making all sorts of noises. It's quite power hungry Rendering. You can render out as an image where it saves it as a file. Or you can render here where it is, which kinda does it in the design and the current view. Okay, so let's look at our settings first. We've got advanced settings. We've got fast. Okay, so fast is materials and lighting are simplified and we have advanced. So let's go too fast. So if we click on Canvas rendered now, it's going to render this in the Canvas, which means in this Design View it's not going to output it to a separate file. Before we do. Let me just show it. You've still got all the main folder options. You can still turn things on an off if you want. At the moment we've got the whole model, but we could, maybe we just want to render the actual body. So we could just activate that. Okay. Um, that would render out, but just the body. Now it's showing it hasn't disappeared because we're not Rendering. So Rendering is a separate process which we'll do now. And if, if we click in canvas render, it will render it in this view. So let me click it and see what happens. You can see starts processing the image on. It's making a photo-realistic image of our object. Perhaps. We perhaps should have put this environment on. You can see this. What this is, is our environment reflected in that reflective surface we made. Okay. Let me stop. So if I stop that now, if I go back here, Let's go back to my environment. I'll set up, I'm going to just gonna go solid color instead of environment and the background I'm going to make. Let me just gonna, I'm gonna actually do a white background brightness. Okay? We've got our ground plane. I've got reflections. Okay? So let's try and do is render now. Okay. So let's go to a nice view here. And let's do this render now. You can see it's just surrender and he's just makes it look a bit more photo real. It is very resource hungry on your computer. So this is going, what happened when you press that button is going to depend on the speed of your computer. If you're, if it came up straight away a lot quicker than mine, then congratulations, you've got a better computer and I have, if you compute to start making strange noises, then maybe it's not as good. It went bang. Don't blame me. But that's Rendering. And it's still going. I'm going to pause this. I'm gonna, I'm gonna go click on Render and bring up the render settings. Because what rendered are usually does is rendered out as a separate file, a separate image. Now Fusion lets you render, remember nothing is saved on your machine. So this is, this is in Macleod. This is an Autodesk service. You can choose to render on your machine all Rendering, the Cloud render on McLeod. Okay, let's just look at this. It's going to tell you how many credits you need. So Autodesk kinda comes with so many credits and it allows you to use those credits or bimodal credits if you use the kind of Rendering. So let's put it on local for now, so it doesn't cost us anything. And again, I'm just gonna go. You can have video if you make an animation. So we'll look at that. If you can have video renders, you can print mobile web. Okay. So let's see what happens when we press printer. Okay, So it's finished this. So let's click it and have a look. Mary's, so as renders go, it's not very, it could be a lot better and it wouldn't be a lot better if we change the settings and spent a lot of time messing with the settings. And I'll model as well. We'd probably have kind of fill it nice affiliated rounded edges on hair and things, but yeah, it would also be a 50 our costs, so we don't want nobody got lost rendered. So render is used to create these photo-realistic images that you would show off your lightest design with 49. 49 Animations: So the next output is animation. And you would use base if you want it to create a nice video to show someone a bit like the render. If you want it to put it onto Facebook, you wanted to send it to one. Maybe you just want to show someone how it would move. Just a quick representation of maybe this is a solution to problem. You can send them a little video and show how your design actually works. Or it doesn't even need to be a movable designed to do is you could just, maybe you wanted to show it from different views. So you could have a single part, rotate the camera around it, and then send someone is quite handy thing to do. So we're gonna look at all here. So this is your storyboard down here, and it's a very basic video editor. So if you've done any video editing, it will look familiar if not, don't worry, it's very, very simple. So the thing to remember about this is animation environment. Anything you change here is not changing your design. If you move things about, all you're doing is changing how it's going to move on a video. You're not changing your design in any way, so don't worry about that. But how it, how it starts will be driven by your design. Okay? So in this case, our, this is kind of half-open. How shall I want it to be fully retracted? So I'm gonna go back to Design. I'm gonna grab my virus and I'm going to put it there. Okay, So when I go back to animation now we've got a nice starting point. And our animation wants to show this vice closing. And obviously as it closes, this moves. Now you're Joints that you're doing your design. We've already set up a joint so that when this piece moves, this rotates, but the animation, it doesn't. You need to drive that kind of separate image animation. But it's very simple and we'll do that now. So this here is a playhead, so this is at a certain time and you can see where we've already actually recorded something. When a zoomed-in have recorded me zoom in and we'll go back to zero. And I'm going to right-click and delete that. Okay? Okay, so to animate this, we need to add actions to the timeline. One thing you need to remember is this will move independently to how you set up your joints in your design. So when our design, when we move this, the rod turns, it's all joined to do that in our design, but in our animation it's, it's kinda separate. Those things don't happen at the same time. You need to set it all, everything you want to happen, you need to specify again, okay. So I'm areas and fat is because you're not actually changing your design, the animation of design, you need to think that was totally separate things. What you do here when you move things here, it's not happening. It's not affecting your design or so. We're going to set up, we're going to go to Transform Components. And first I'm going to click on this, just this slider here. Okay? I'm gonna, I'm gonna fast-forward to five. Let's go 5 s. Okay. I'm just roughly, just roughly. And I'm going to push this to that end and I'm going to press Okay. And you'll see it puts on this component here, okay? Now, one thing that can happen, I'll just do if this view, sometimes it's set to online, that means it's recording your view. So if you were to zoom in and out, you'll see it adds a view to your timeline. So hello, I'm Pause and if you've got any view here, just right-click and delete it. Okay? So what we've done, we've got this slider here. This is our animation and we've told it, we've taught it that this component here over these 5 s or so, it will move forward to the N. Okay? These two will do separately because I am going to rotate as well as move. So let's go to the start and then we'll do another transform. Slept with pen shifts, let the rod, okay. Now of the same period of time, this is going to move forward as well. Okay? So the way I like to do it's not to try and put an accurate distances and dimensions and times of things. I just get something in my timeline and then you can edit it and make it all fit afterwards. Okay, So we know at roughly moves in that direction. And we've got rotation here as well. So I'm gonna go split transforms because we've got a separate thing going on. We're going to put a rotation and I'm just going to, again, I'm just going to put a rotation of a certain random degree, but just so we can change it, okay, and I'm going to press Okay. Right now you'll see what's happened. We've got the move for the pen and Marad and we've got this rotation. It's not going to look right at the moment because the rotation is happening after. Okay? So that's correct. They're all moving together the same amount. But when it's rotated. So this is what made about just getting your actions onto the timeline. Because now all you need to do, if you just move this slider, if you go to the end of here, you can click and drag. Over. Rotation will happen at the same time, okay? If you want to edit as you can right-click Edit action. We can see that this slider here will set to move -19, the X distance, so that's slope. Now you'll see if we go to the start. Okay? So this animation now, it will all move together. We've got the rotation and we've got the movement. Okay? So playlists and we can test it. Okay, so that's the animation. I mean, it's not, It's not perfect in terms of animation, but I'd say definitely that if I should turn way more than it is for that amount of movement and revise. It will be spinning around a lot faster, but you can change our Vitamix settings. You just change a number of degrees. It's turning per action, which we've shown you do so anyway, that'll do for the purpose of this demonstration. So now what we do is we publish it. You can, you can publish which storyboard we've only got one storyboard axis down here, it saved down here. And we'll just going to, let's just say save settings as they are. I'm going to OK. It's going to ask us where we want to save it. If it's my computer, I'm going to click Save and we'll see how this comes out. So if any, it will go through and it will publish your video. Okay. Now I'll show a video playing. Okay, I'm not so animation or video file, so you can send that to someone now. Some of them, you know, design. But on Facebook, whatever you want to do, but that's animation 50. 50 3D Printing: So what I'm going to do now is I'm going to good to go to a data panel where we can see our items. If you don't see this, if you should click on Home, you'll get all these way. You can import the standard samples and things should be one. Fusion mastery mask is basically where your Fusion name things automatically. I don't know where it gets an angel, but suppose that you all for your items. So these are the items we've done. And let's, if we go to our Vice Modelling, we did. And minds copy me animation pane so you can just go back to design. Here we have our Vice. Okay, so I'm going to go down, I'm going to select now, I'm going to select manufacturer. So fusion is made for people to manufacturer parts in things like C and C. A milling machine or to make a milling machine, The 3D printed map kind of thing. And this manufacturer, this is where you get all those options. So milling, turning, and this is where you can set all your profiles. This course really doubt many of you are going to CNC milling machines at home. So I'm not going to go too much into that, but this is where you would get it from. If you're in my industry, then you'll know what this is about really familiar. Okay, how you can slip these. Again, it's a bit advanced for this course, but what I'm going to look at is 3D printing, which comes on the best additive. Okay? So a 3D printing is known because you're out in material basically, so it comes into additive. So let's look as if we wanted to 3D print miss now. So we'll just need to, Let's look at the setup. First time. We're just going to set up some of our options here. So machine, well, this is basically a 3D printer. You can save your 3D printing machine in here. I use a free Pro, which is very common machinery machines. So select that. And you'll see It's already started to add some actual settings here. And you can edit all these princesses. Again, this isn't a 3D printing costs and showing you how to get your models out as an STL or LA. And then you probably, if you into 3D printing, you'll know how to take that STL into your slice and software. So that's a setup. Okay, so you slept the model, MS, I'm just gonna, I'm gonna 3D print a base. Remember this is made of different components. I'm going to choose a base. I'm going to okay that. And you'll see what it will do is it will show our item on the base. Okay? Now we can turn off the others just to make it a bit clearer. Now we can slip position so we have place parts on platform, built on move. So this you would want to print it. We have Y around for instance, so you can rotate it. Again. All this is available in your slicer. A lot of people would choose to do this kind of thing unless licensed software. So you don't have to position it here. You can put it on your BED like that. So now it's sitting on the bird. Select your print settings. Now, again, how most people will be taken out of here into their slice and software. So how, how many ever print settings you want to change in here and how many you want to leave for you slices up to you things like your influencer pause. Yeah. I don't print direct from Fusion to my printer. I go through my slides and software. So for me, it's all about getting my STL file of my designs. So here will go actions. Export for EMF. This. Now what's, what's happening? This is kind of work and as you're slicing software, most people like to just get them model out as an STL file and then use slicing software to do a lot of this stuff. And so This additive is section here under additive is if you want to set it up to send straight TO machine, and this is where you would be, this is where you would do all that. For me. I prefer to do it a simpler way. So I would, in my design file, I would go to Tools and make. And you'll see you've got 3D print. That was a tick box here, center 3D print utility that's kind of sending it to for instance. So you untick that, select the component. And I like to put it on high. You have got a few options that you click OK and you'll see straight away you get STL. So you can now saying that out, save that as an STL file and you can open my aim QRA or whatever slicer you use. Again with 3D printing, 3D printing, you'll know where to take that from there. But that's the easy way to second to 3D print. Again, the other one be manufacturer. This is if you're going to workplace them, they send me stuff down to the workshop, to their CNC machines or industrial 3D printers. You might use this generally for home hobby use when you've got a 3D printer, you've got slicing software which you've fully affair with and you know how to use to just stick with the easy way which is make 3D print. Amigo. There's even a second here. You could get quotes from people. These are companies who will 3D print things for you. You where we set. The easiest thing is to just get yourself an STL file and then find someone to print out if you can't print it yourself. Okay. So that's 3D Printing. Under this Tools menu. There is some things that will do the analysis. Remember when we gave material physical properties, this is where you would do, again, not very advanced. I will do separate sections on this kind of stuff for this beginner's cost. That's it. Rarely. You don't need to know about 51. 51 F360Parametric01: So we're going to now look at parametric modelling. And initially I'm going to run through the theory behind parametric modelling and then we're going to gradually get more into it using some simple examples onto something a bit more complex. Okay? So first of all, what is parametric modeling? So basically, parametric modelling means you are creating your design based on a series of parameters, rather than just doing individual dimensions and building something the way we might have done previously. Other way you might be doing up until now, you can actually input parameters which will affect other parts of your model and allow that model to change automatically. Now I appreciate if you haven't used this before, you may have no idea what that was all about. It's one of those things it does sound more complex than it actually is. The best way to see it is to just get used to using it and look at some examples. So we'll look at that now. Feel free to follow along, but you can just sit back and watch these first few bits. I'm just trying to get over farrier K. If, if you learn better by doing, then feel free to follow along, but you don't have to by all means, just sit back and watch. So I'm just going to create a simple sketch here. And it's going to be, let's do a center rectangle. And you can see as normal, I get The, the option to put it in the dimension. So I'm just going to make this 100 top over 100. Okay, So we've done a 100, 100 rectangle. Simple. I can finish that sketch and I might extrude that by, let's say ten. Okay, so we've got a very simple body which anyone can do. And this isn't parametric at all. This is just a design. So let's look at how we can turn this into more of a parametric model, how these parameters work. I'm going to go up here now to this Modify tab. And you can see you get this option, a change parameters. And if I click that and we get this new box. And we have three main titles. Here. We have favorites which we can ignore for now, okay? User parameters and model parameters. The first thing we need to understand is what the differences between user parameters, model parameters, and we'll go through those now. So model parameters, these are automatically created as you are modelling. So all you, all things you've done in Fusion, even though you may not have opened with parameters box, these would have been filled in as you work a lot like your history here. So it says unsaved, it's just because I haven't saved this drawing. I'm going to click this here. And you can see we have these commands. These are the things we've done. We create a sketch which was our cube, our square, sorry, then we extruded it. So if we expand this again, we can see when we create our sketch, it consisted of two-dimensions, which it calls D1 dimension one, d2 dimension two. They will both 100 mm. And then we extruded it along the distance D free to millimeters with a taper angle before of zero. When you extrude in Fusion, it always gives you an option for a taper. Most of the time we don't use it, but it's saved it anyway. A zero. So we can see it's automatically assigned these D1, D2, D3, D4, and it's done. Let me order that we created it. So the first dimension was 102nd, 100's of this was our square. We create a sketch, we've been extruded it along to 10 mm. Assignment D3, the taper angle, even though we didn't do it, it's assigned, saved it before. So we have the option to add that later if you want by changing here. If we were to go along and do more modelling, it would automatically assign that D5, D6 and so on. So every dimension you do on you include it, automatically assigns that this D value dimension, one dimension to our model parameters here we can actually, if I click in here and change that to 50, you'll see it's extruded 50 mm. It's changed that dimension free to 50 mm. As well as the history. You also have all this going on in here, these model parameters. And it's perfectly possible that you can just go in here and start changing things when you want to change. But what you've probably already seen is it's hard to know what is the one, what is data? In this case, it's a very simple model. We knew that this extrude along distance that we changed the 50 mm. We know it's referring to this thickness here. With our sketch. We don't quite know, although we can take a good guess because of the order it does X and Y. But we wouldn't, wasn't 100% sure that 150 would be Y axes until we did it and sell how it changed. We weren't 100% shot at D1 and D2 corresponding to this X and Y. Again, we could have taken a good guess just because of the order is always X first and then why? But you imagine if this was a more complex design now, and you open this and everything was just called D1, D2. You could kind of follow the history and guess what might have been the correct extrusion or sketch you're looking for. But without things being named, knowledge is very difficult to know and you want, you're not expected to know. It's just this model parameters is fusions way of saving everything so you can reference it. What you would do is you would go to user parameters and you can see next to use the parameters we have this plus sign. This allows us to add a user parameter. So what is a user parameter? Well, it's just something we've specified to make it easier for us to see exactly what things are 52. 52 F360Parametric02: So we've used the parameters you can make it easier to identify exactly what you're referring to rather than just have it a D, whatever it is, we're gonna look at adding some user parameters. Now, I'm going to add one. I'm going to call this, I'll just call it width. You can have different units for use of prompts. I'm going to leave it to make it simpler when leave it on the same unit, I recommend you leave it on the same. And for expression, I'm going to put in the same dimension, okay, so 100. Now comment if you want it to be a bit more descriptive about exactly what this refers to in a more complex model without Chet, without getting along nine, you can put a comment in here like a description. I'm just gonna leave that blank. It's not needed. And I'm going to add another user perimeter. And this one you might guess is called length in millimeters. And I'm going to give this 150. I'm going to click Okay. So we've added to use a parameters, one for web form, for length. We have given them an expression, but not actually doing anything. We're not driving anything or being driven by anything because we haven't connected it to this dimension. The dimension here is always D1 and this one is always d2. These ones we've created aren't connected, so we need to connect these together. And the way we do that, if we find D1, which we want to use for our width, we click in here. Now instead of typing in the value of 100 here, I'm going to type in the name of our user parameters. So if I just start typing, you'll see even the first letter I type it will come up with, I guess, of what it thinks we want it too big because it all, it knows that we're going to reference V is here, so it's guest width. I'll do my hair just by pressing L is guest length. If yours is a more complex design, you might have to put in a couple of letters, beautiful guesses it, or it might go a big list of options, but it could be, but it does look up here to see what you could be referring to. Okay, so now I've connected this user perimeter of width to two dimension D one. So wherever I put in here now, will automatically update this model. Okay? So now it's easy to see what these referred to. We have the width of our model. We have the length of our model. We can just open up this box of parameters. Once you've connected them up, you could even close that down. So you just work with views of parameters. And now we know that we just have width and length, but I'm going to add another one here, which is going to be thickness in millimeters. Actually, I'll need to open that backup. So another one, thickness in millimeters and the expression I'm going to put in ten. Then it'll be this extrude of D3. Here instead of ten, I'm going to type two. You see already brings up our list which has grown as we add them all, so thickness, okay. Now this change parameters box, it doesn't float around, it doesn't lock into a colony. Do have to keep you do as I did where accidentally close it all, need to close it to do something and then reopen again. But we can see now we've connected thickness here to D3. If I change the thickness to 100, it changes our model. So here we now have free parameter, user parameters which are easily identifiable, which we can just change in this box. And it automatically updates our dimension of D1, D2, D3. So that is the very basic principle behind these parameters that you're creating. Easily identifiable terms that make it easy to change your model. And you might wonder why you need that. Well, you might, you've probably seen if you've gone to a furniture shop, look for a furniture catalog or something like that. You get items such as desks, cases kind of thing, and they come in various sizes. So you might get a desk. It's the same design desk. It looks the same. It's made the same way, but you get an option of different lengths and different widths and different heights. Server might have a bookcase which is the same design. It's got a name of a bookcase. And that bookcase design comes in many different sizes. If you were designing my, you could do that with parameters. So you could, you could have the same design but easily go in and say Right, I just want that design in a different width or a different height, different thickness, whatever. You could do that through these parameters. So it makes it easier to change things. If you imagine just having a Design You've just done with sketches and things and you'd have to, you wanted to change it, you could do it just changing sketches and Extrusions, but you'd have to work your way through the history and can work out what's changed. Parameters is an easy way of doing that. But it doesn't just stop there. It's not just an identifiable thing. You can actually use mathematical expressions on these. So maybe I wanted height of S over length, as we've called it, to be two times the width. I can use the expression here. So I can actually type in if I type in W, you'll see again, like we did down, it comes up with width, goes from guesses what you might use. And I could say width and then do a times to press Enter. And you'll see this changes now. So we've set this user parameter up. So whatever the width is, the length is always the width times two. So now we only have two things. We need to change the width and the thickness because the length is kinda taking care of itself. Whatever we change the width, it's just time to maybe the thickness was the width divided by two. Width divided by two. So it's half the width. Again. So now we've only got one parameter we need to input because our design is all tied together. And this, again, this might be how a bookcase or desk is designed so that it's always like us and now it only comes in different options of width. Let's change this to a files and let's change this to 50. The same. It's keeping its same shape. It's just changing kind of scale based on the width. The only option we need to change to make lots of an infinite number of different items. Is this and everything else is tied together. So your design now is based on parameters. It's using the parameter of width to get the length from the thickness. And now we're getting more into this parametric model. And you can see the power of it, okay? Now these expressions, you can do expressions down here. I could actually say that this D1 and I could put this in here like that. I don't recommend that. The way to look at this is to these model parameters are just you telling it what D1 equals, D2 equals that kinda thing. I wouldn't put inputs in here. Certainly, you might see people doing it. My preference is to put your inputs so your expressions in the user parameter and leave a model parameters once you've linked them together, just kinda leave them. And let the user parameters do either work for you. Otherwise, if you start doing them in both places, it's going to get very confusing very quickly. But that's kind of overview of parametric modelling and it's very basic case. We're going to look at some mile kind of complex examples as we go and where we might use those. But hopefully that's giving you a good overview of just the basic theory behind it. And you're getting quite excited about possibilities and seeing a whole new power in this software Fusion and what it can do. And if you're a carpenter or an engineer, you might already be thinking of a stuff you usually do. Maybe the time that you could have saved on previous designs or future ideas how this can be implemented. It's a very good thing to start using the very powerful and saves a lot of time. So next we're going to look at a very simple example, real-world example where this might be used 53. 53 F360Parametric03: Okay, So start a new blank project. I've saved it off, just call it pipe stop again. Either follow along or just watch or save it as what you want. What we're gonna do. Now, let's say we've got some, we work with metal tube in, maybe it's electrical conduit, maybe it's Plumbing. Whatever. We have a lot of this stuff without to maximum end-customer. We 3D printed some handcuffs. This is something I've actually done just because I have these sharp metal tubes laying around the white to make some cuts. Firms are 3D printed some different end caps, but the tube comes in different sizes. So this is a perfect and very simple case for parametric modelling. First thing I'm gonna do is create one. So I'm just going to sketch on there. I'm going to create a circle, center diameter, and I'm going to make this 2,525.5. I'm and I'm going to offset that. And it's going to be 2 mm. Okay. I'm going to finish our sketch. Now. I'm going to do an extrude, and I'm going to extrude both of them by 2 mm. So we have this kind of disk and then I'm gonna do another sketch onto this face here. I'm going to want to see the previous sketch. So Icon Project, which at that line, okay, Finish. I'm going to extrude. I'm going to pull this out. 25. We go. This is let me go to that sketch service now, it's an end stop that you would have on a pie. And I'm just going to make it look realistic. I'm gonna go select component and then let's give it a material. I'm going to make it. Let's just make it for this. Let's just make it a plastic gay. So use a one plastic. I'm going under Options. Appearance. I'm just gonna make it red plastic and apply that. And apply that. So we have this red plus it now, and I'm going to put it on to that red plastic endcap. This is gonna go over the end of a 25 millimeter pipe. And our dimension, if we bring up our parameters, Okay, you'll see that we created our initial diameter, 25.5, so it's half a millimeter bigger than the pipe, so it will slide on and off. You might, depending on your Friday, if you were to make this depend on a 3D printer, you might already have this, might be 0.25 depends how tuned in you print it, but for this example, will leave it. Now. Let's create some user parameters here. First one I'm going to use is pipe diameter. So this is a pipe diameter. This is basically going to drive the whole thing. And it's gonna be a pipe diameter of 25. Okay. Then I'm gonna do I'm going to do another one. Goal is length. I'll put 20. We made with 25 long. Okay? I'm just going to put 25 minus allow. Let's connect some up. So our initial sketch with this 25.5, I'm going to call this pipe diameter. Ok. And you'll see what's happened now. It's made it smaller because this 0.5 we added, we did down here. Now we've got pipe diameter. Well, our pipe diameter is 25. So I mean, we could say to ourselves every time I need to do a different pipe diameter. If I want to do one for 30 mille pipe, I need to add on 0.5 and met this 25.5 and always do is you don't want to be doing that. You just want to type in what the damage of the pipe is and let these parameters, That's the whole point. Do that themselves. Okay? So we're going to add in an expression, we're going to add it down here because it's not something that's going to change. It's always going to be adding this little tolerance. If it was something that will change a lot. And you want it to be able to change that 0.5 tolerance to let, allow it to slide on Loft pipe. You could put it up here We're user could change it, but this is something that it's always going to stay. So we can just say pipe diameter plus 0.5. Now whatever we put in here, we're going to get that. If I OK this and I do a measure of diameter, It's 25.5. Our parameter is set up and working correct. Okay, So now we can just say where I want to do one for a 30 millimeter pipe and it's done. This will be 30.5. So now you can see all these weeks it can save this file. We can come in and just easily by typing in here what our pipe diameter is. We can easily get an end cap for that pipe. And the length, maybe we want one. Let's see if we start getting up to larger pipes. Hundred mille. Maybe we won't want a bit longer. So then we could change that to 35 mill. Now nothing's happened because we haven't connected the next one. So we need to connect our extrusion. And it was a second extrusion is 25 here. So we'll, we'll put in their length. You can see that changes now. So we can easily change in length. We don't have to do anything rarely here in terms of an expression. Just driving it from the length is driving this extrusion here. Maybe we want it to fit them this up. So maybe we wanted to be able to change the thickness. Let's add form for thickness. Okay? And I'll just put that in for now. So the thickness will actually be this dimension here. Now by changing the thickness, we can change the thickness of that. But we did actually want, we've got two thicknesses, say we've got the thickness of the outside kind of extrusion, but also this first bit would address the end piece if you like. We want that to be to change. So if we make this thickness greater, we met the thickness of SNPs greater. Well, that's down here. So it was our initial extrusion. We could put it in there, so you can put these parameters in as many as you want. Now, that's changed. So if we go to change from us, if we change his fitness again to ten, it will change the thickness of SNPs and thickness here. So we have these free parameters we can easily change and everything else. Kind of works. These ones are fairly simple. We just put it in a kind of dimension which is carried down here. But this one, it's adding that tolerance far as it's adding that 0.5. So wherever we put in here, so wherever we put in here will add fat. And that's where again, you start to see the power of these. You can add these expressions and make things work. Now, if we save this file into our library, anytime I need a pipe stopper, I need one for a 45 mill pi. I'll just come in here and I just change that to 45. I can leave unless it's a big change. I leave these as they are. I'll go ahead and a 3D printer. So that's pipes up and that is basic but useful real-world case. So hopefully now you're starting to see where parameters come in. And yes, you could go down here and you could change your Extrusions easy enough. But why? When you've got this and if this was a much more complicated design, you'd see by linking them together, which will do in another example. It makes your life a lot easier. So if you've just been sat, watching and following along, hopefully you get that now, might want to, at this point, either Copy what I've done here or look around you and think what's an item? I, you, I print a lot of different sizes or I could do maybe you've got the drill bits and you want over different Holes for different size of jail. But as you can use parameters a, you could all sorts of things. So if you can't think of anything, don't worry, we'll do more examples, but you might want to stop now and follow it along the best way to learn anything to do it, you might run into problems. You might get confused about what put in a user parameter, what you put in a model parameter. Generally, as I've said, things that aren't going to change over time. This was always gonna be the same tolerance and put that down here. User parameters put in here. But what you could have done, actually, you could have made this even more intelligent. You could have added a new user parameter, which was called tolerance, which would have been nought 0.5 mm. Then in here, instead of putting nought 0.5 in, this is probably better way to do it. You could have just said, this will be pipe diameter plus tolerance. And now you've got the tolerance. So if ever you want to print this onto another printer where it's a bit more refined and maybe this was a bit low summer pipe. And you want it to go down to 0.25 tolerance, just put it in there and it works out. Okay, so that's work that out. If we measure this, we'll see now it's 45.25. Okay? So that's probably a better way of doing that. Again, things down here aren't going to change, but things are pair. Must best way to remember it. So there you go. And now we'll look at some more complex examples. 54. 54 F360Parametric04: So I'm going to run through another example now of parametric modelling. And again, it's going to be based on a real-world project. We're going to design a bookcase. And I'm thinking of a case where you might, let's say you created furniture for living, you designed and built furniture. And we've all seen these big stores that sell all different kinds of household furniture may have different designs. So you might have a bookcase and a range of different bookcases. And each one, each design of bookcase might have a name, let's say Sven or something like that. Okay. And within that design of bookcase, you also have different sizes. So you might have a bookcase called spin, which is 2 m high. That's quite big bookcase or you might have a bookcase and again it's called Sven, and it looks exactly the same and it's got the same design, but it's 1,500 mm I, and maybe have wanted a meter. So you can have a choose your style and then you choose your size. But the items in the same style up, constructed the same way. So it would be a lot of work to redesign the whole project for each size that is the same style. And we know now using parametric modelling, we don't need to do that. We can just create our original bookcase in that design and incorporate the parametric items server, each different size of bookcase, which is the same design, can easily be generated. So we're going to look at that now. We're going to follow along and create this bookcase, which can then be changed using parametric design. So first off, the way I like to work, I think first off is just trying create. Choose a design which is gonna be all kind of base model. And then create your bookcase, a man, edema, parametric stuff as you go. But after you've created via items and you'll follow along with me and you'll see you once you get into, as you create your own way of working, which may be the similar or maybe not. But for me it's just easier to see what you're working with. A man, look at it and adding the parametric items later as you go. So first thing I'm gonna do, I'm going to create this bookcase and I'm going to create the It's going to be 1,500 high millimeters that is, and a meter wide. Okay. Just like to use rounded dimensions for the base model just makes it a bit easier. So when you're looking at this, the way I like to do it, it's think of something which determines the actual size. If you were doing a desk, for instance, desks are usually measured in the width and length. And then the height is usually the same across all sizes. Put its width and height of the top of the desk. So I would draw the top of a desk as a base part of a model with a bookcase. It's usually width and height. So I would try and get something to start with, which is close to the width and height as possible. And that will usually be like the backboard of a bookcase. That's what I'm gonna do. I'm going to create that first. So first off, I've got a new project here. I'm going to save this. I have a folder hair just called parametric. I'm going to call this bookcase 01. To spell bookcase. There a one. I'm gonna save that. Then to start it off properly. I'm gonna go here and I'm gonna say new component. And this component will be backboard. Again. How you name it, you naming styles, you naming conventions, totally up to you. Copy me, I'll do it the way you want. It. Really is up to you. Again, you don't even need to use the same dimensions. May, might be in inches, you might be doing it's something bigger. But if you want to follow along, feel free to change as much as you wish, just please don't get yourself into a bit of a pickle because you've changed too much. Okay, so I'm going to call that backboard. I'm going to select, Okay, now I can do a sketch phase there. I'm gonna do a center rectangle. I'm going to make this 1,000 by 1,500. Okay, so that's our sketch of our Blackboard. We can finish that sketch. Extrude. This would probably usually be a very thin piece of almost card type would. And I'm going to use distance of let's actually Good how wave? 2.5, okay, so it's just a thin piece on the bat, if you like. New body. Okay. So there we go. There's our Blackboard. I'm going to give it a, let's just make sure we're selecting component. I'm gonna give it. The material I'm going to do is while we go. So physical material, it's gonna be word for this Blackboard. Let's go with something, just see what I forgot. I'm not gonna be doing any kind of analysis on it. So it is just a kind of how it looks. I'm just gonna go with mahogany. I'm gonna do our bookcase and mahogany might end up being a bit dark. Hopefully it won't make it more difficult. See dimensionally, if it does, I'll change it. So how about for now? But as I backboard, amount is the actual size of the bookcase, as in this bookcase is a meter wide by 1,500 high of about Bodies or so. Right? Now, I'm going to put in the outside frame if you like. So why this is going to be design? I'm going to have side pieces which start at the bottom. And I remember don't go quite to the top. The top piece is gonna be overwhelmed. I'm a width, but the bottom piece is gonna be inside the side pieces that make sense. Just follow along. But I'm going to start with a top piece. And what I want to decide is a thickness of the pieces of wood that make up this water. I'm just gonna go with ten millimeter. It keeps things easy, keeps the calculations easy to follow. Okay. Again, if you were doing this yourself, you would know if you'll build a miss, you would know what size, what do you want it to use and what was available, but we're going to use ten mill thickness for this. I'm going to create another component now, which will be top. Let's just call it top piece is the best name, but I'm going to call it that. Okay, now I'm going to do a sketch on this surface here, and this one is going to be full length. I'm going to tab over to the length which was 1 m. The size of a shelf. I'm gonna I'm gonna make it free hundred. Okay. Finish Sketch. And I'm going to extrude it. And it's going to be 10 mm. And this component is also bring this out. It's going to be mahogany also. So if I go back here and turn it all, turn everything on. You can see why that top shelf here, and we just need to join it. So let's assemble this. And we'll do a joint. And I'm going to go for the surface. And that midpoint is going to go on here. So it's gonna be this surface and this midpoint. It's not at an angle. That's our top pizza. So now one outside pieces, outside pieces are gonna go from a bottom of it, of this base down to the floor. We can work it out for now. We know that the whole height of this is 1,500. If we want to check out, we can go under the Blackboard, under our sketch. We can just turn it on. We can just look in their 1,500. Okay. So we know it's 1,500 high. So to get a base which goes from a bottom of hair down to the ground. It's gonna be 1,500 minus a ten millimeter thickness of this. I'm going to go new component. I'm gonna call this side panel. Caps Lock is on side panel. Okay, I'm gonna go Sketch, Sketch here and we're going to make this. It's gonna be 1,500 minus ten mille, which is 14, 90 by 300, which is the depth of our bookcase. Finished sketch. I'm going to extrude it. Tamil, make sure it's on new body and bring them all material again. Unmake it Mahogany. Okay. Minimize that. And then we can go back, turn everything on. Let's go to assemble joint. It's gonna be easy to use a top piece for this. So we're gonna go new joint, we're gonna use this plane. Not my point is going to go against this plane and that midpoint. And they would go, I'm gonna, I'm gonna do a copy. Make sure it says Create Copy. I'm going to drag it out there and click Okay, I'm going to assemble. And then I'm going to just join that. So assemble joint and we just do the same thing. So we use this plane and that midpoint against this plane. So starting to look like a bookcase now 55. 55 F360Parametric05: I just want to go through something and you might be already thinking about this. Now when we took our height of this panel, we already can start thinking about parametric design here. And if I go to the change parameters box, Okay? I look at our model parameters. We look our side panel where we did this height of 14 90. We can already start and cooperating parameters here. We could just say it equals the height. We could say equals 1,500 minus the thickness. The thickness being our Extrusions. I'm Mel I'm that would automatically work out, but it would be a clumsy way. How you want to think of parameters, you always want to think of going back to a single item. Here we have extrusion ten mill on the top piece, we have Extrusions ten mill on the back bar. That's different about two-and-a-half meal, but we have the ten mill we've already put it in twice. You don't want to do about parametric design is all about having one input. Okay, So the way I would be doing this already is I'll be adding a user parameter. I'm not user parameter. I would be calling thickness. Okay? We've got to fitnesses because we've got the blackboard as well. So let's just call it main thickness. Again, it's up to you what you want to call it. And I'm going to turn him the guy. And if you want to, you can write in missiles the thickness of the main components, something like that, but that's ten. Okay, so we've got a user parameter which is main thickness, and now we have our top piece extrusion. We can call our main thickness. And with our side panel, that extrusion, we can go out main fitness and nothing's changed obviously. But we started to drill down into these parameters now because it all we have combat to a single parameter, which is S. If we change this to 15, you would see those fitnesses changed. Now when we go to our side panel. Okay. We could say this was actually 1,500 minus main thickness. Ok, and you'll see if we inspire, I forgot to measure. The length is 14, 90 still. Okay? And that's driven by our dimension here. But again, we've got, we still put it in dimensions twice. And this is a mentality need to get my mindset where we've got 1,500 here and we've got 1,500 on the backboard sketch. Okay, so remember says that initially you want your main item first, so you ever, it's your desktop on the back of your bookcase and everything is driven by that. This is our size. So I would add another user parameter here called width. We're going to make that 1,000. And then let's have another one called bookcase height, which is 1,500. Um, this will be on main way of driving everything. So when it comes to doing a different design, if you want to do design which is 2 m, all you do is change this user perimeter here and everything in your model parameter is going to change. That's how we're going to set this out. So we want to look at where we've typed in this 1,500, where we've typed in either of these, to be honest. And so this will be, if we do Bay, it will be bookcase, height minus nine thickness. Nothing's changed. Sometimes it looks like it's changed is because that was highlighted. Isn't highlighted. It can confuse you a bit, but nothing changed there. And what have we got here? We've got fringe of millimeters is our debt. So let's add another debt. So bookcase that and we'll say 300. And that might be something you want to change in different models as well. So if I press B, I can just slept bookcase depth. So that is our side panel. Now, our top piece can also incorporate those. So here I want bookcase, width and press be bookcase that you can see. It tells us what it is. So really don't, you don't want actual numerical values in here if you can help it, sometimes you will if it's just a one-off, but generally I like to keep the numerical values up here and have the description down here. Blackboard. So that can be width. Alright, I'll main, main kind of project name. So we've got our Blackboard, which is now the backboard thickness. That's probably not going to change because it's the same material gonna be used as a case where you might just keep a numerical value down here. Feel free to, I'd, I'd want to pay if you want, but that probably wouldn't change. That will be the same across all styles. So I'm going to keep that. So that is our Blackboard, our top piece. So that looks okay and our side panel. So already we've incorporated parametric design into this. And already if we wanted to change things, we can just go to our user parameters and say, okay, let's make a two meter bookcase. If we click Okay, you'll see that it changes and it keeps the same style. So let's just go back to 1,500. Now, I'm going to incorporate some. Obviously it's not going to hold up many books like this, so we're going to cooperate our shelves 56. 56 F360Parametric06: So I'm gonna go new component and I'm going to call this shelf. Do a sketch. And let's just do it here. And just for now, I'm gonna do 300. In fact, now we can do our, let's say because this needs to be slightly different. Because we can't just call it. But if we just did for hundred depth, it's not going to incorporate the bat bought it. This needs to be the depth minus a backboard, okay? So you can do it straight here. You can do your parameters in y-dimension here. And I'm going to do bookcase depth minus here. Now we've realized, now we do, We should use a parameter for our backboard fitness because we're gonna be due to the duct in it. So Let's just go in depth for now. And this one can be bookcase width minus main thickness. We need to change this. So I'm going to finish this sketch and I'm going to extrude. Again, this is kind of deduce it and working out the parameters needed as you go along is just a normal, the normal workflow. So I'm just going to create this. I'm just gonna finish it by giving it with physical material. And then I'm gonna go and edit this parameter. So I'm going to use a parameter called thickness, which is 2.5 in our Blackboard. I'm going to set up there. Then for our shelf sketch, it's going to be bookcase depth minus. Okay. So that ties it all in now and I'm going to, I want to put this, Let's say I want this at the bottom. So I'm going to assemble, it will do a joint. I'm going to use this face. I'm not midpoint. I want to put it into this face. Let's zoom in this face and that midpoint, okay. I'm going to flip it. So it's sitting in that gap there. Again, I've seen, I've seen an era we've made which we need to fix. But what I'm going to do, I'm going to say I want to offset it on it appear with bit of a plinth. So just so I know which dimension I need to change, obviously Z February, if ever you're unsure which you want to change as move it in the direction you want it to move and see which of these changes. I'm going to do it -50. I'm going to set up. You can see what we've done. This piece here. Actually comes, it goes through this side panel and some of you might have guessed why. Some of you might have been ahead of me all the time. The reason is we are when we create it the size of this shelf, we said we wanted it the full width of our bookcase minus this thickness, whereas it should be minus two fitnesses because there's one either side. Okay, so let's go to our parameters. Let's go to shelf. And let's say it's width minus main thickness times two. Let's view all. There we go. So just, just using these kind of mathematical type expert, very simple mathematical type expressions, you can incorporate these parametric design items. So that's the main outside of our bookcase. What I also want to do, even though it's plinth is probably going to be the same across all designs. Just to tidy up, I'm gonna do a new one called Plymouth height. I'm going to set that 50. Then for the So it won't be in here. We go back to this assembly, edit that giant, and here I'm gonna do minus. Because you can use these parameters in all sorts of places, not just for the actual dimensions of a physical item, you can use them when setting out things like this. So now we have -0.5. Now I'm going to create bit of a plinth just to go in here, which is going to be set back. So Let's do a new component. I'll call this Plymouth. I'll just create it on this panel here. It's going to be the height is going to be blunt type, and the width will be bookcase. Width minus main thickness times. To decide we did with the shelf. I'm going to finish sketch. I'm going to extrude that. Again. Now, when we're doing these Extrusions, we can just say main fitness. Okay. I'm going to assemble by puts in face and that midpoint, that face amount midpoint. Okay, let's flip that. And then again, use an arrow to see where we want to be. I'm going to set this bumps because set this back minus nine fitness. Okay. So we've got a bit of a recess. They're just both design and we just need to give it all physical material. So acumen along now, I just wanted to check these parameters. Again, just looking for numerical values, which might trip us up later on. It's easy to miss, especially when you're doing thicknesses and things. I think we've got on there, so we've the shelf and we do have a thickness. We actually give it a 10 mm. We could just use main thickness, Plymouth Extrude Sketch. So these are all tied in with parameters. Now, I'm going to look at cave. I'm going to save 57. 57 F360Parametric07: A map. We have the main kind of outside of our bookcase, but we want to add more shelves in here. And we want to make sure that when we change the sizing of our bookshelf, our shelves, kind of distributed equally. Okay, so we're going to look at now the way I'm going to do it. I'm going to do an array. So this is a shelf here on the bottom, obviously that needs to stay in the same place on top of his Plymouth. And then we others are going to be arrayed off of that an equal distance. Now, in order to know where, how we arrived them, I'm going to create a user parameter which is the size of this voids of avoid being the empty space inside. So I'm gonna go two parameters and I'm going to create a new parameter which is void height. Let's capitalize up properly. So height. And this expression is going to be, it's gonna be the bookcase height minus main thickness times two. Put in brackets. Minus plinth fight. Matt should equal 14, 30. So I'm going to okay. That you could do on if you wanted to do over shelves, you could do another one for width. I'll just do that just to show you will need it in this example, but void width would be, this will be a bit easier. This would be the bookcase width minus nine thickness times two. So if you're not following along what I'm doing here, I'm going to describe it now. This void height and void width, I'm trying to get the open area inside wherever shelves will go. Void height or created a parameter. And it was basically the height of a bookcase minus main thickness times two, which is this top piece. And the shelf and plinth height, which worked out at 14:50. And you can check that by just doing a measurement here, 14, 30. Now, why it's 1430005? I do not know. Let me try that again. From that face. Face. 14, 30. There we go. So it was just I think it was going from aligns. It's doing something bizarre, but it's 14, 30. Okay, So that worked out great. So we've got, we've now got a parameter which is our void height. So what we can do now is we can say, I want to create a pattern, a rectangular pattern on it. It wants to be, in fact, let me say component, which is this shelf direction. So I'm going to click Outline, I'm going to, it gives me this arrow. I can then pull it out. The distance types. So it's gonna be we can have extent or space in do we want the spaces in-between our Doyle and extent? We want extent in this case because we're going to use the whole thing and the distance will be void height. So now what this is doing is it's copying the shelf over the distance of vita and it's divided in it. So we've got three items. But you might see you might notice something is doing is it's actually including MRSA first item, but then it's putting one at the top because it's splitting this Void hi, into and give him three atoms. It will do one at the start, one at the end. We actually get this extra shelf. And here, now, looking at this, free isn't enough for, let's go with five. Now we don't want this one at the top here that this is causing a problem. We've done everything we want. It's divided this by using void height, but it gives us this extra shelf and you wouldn't have What you can do when that happens, you can click this box suppress here and this will let you actually delete individual ones. You see these tick boxes. So if I untick that, then it's taking that one out. Now. It does mean it hasn't shuffled them all up. It doesn't mean we've got an extra space here. Okay. That's okay. What we can do. If I okay, that we can go back to our parameters and we can look at void height. And instead of in main fitness times two, we can just have it times one. Now that, that will sort that out because it has taken the main void to beat from the top, okay? If I inspect and measure that height there, we get free 50. If I measure that height there, we also get free 50. So that's solver on. But there we have it. So now we have a bookcase. If I close this, which is created using parameters and our shelves are spaced using this void is this idea of creating a it's kinda like a phantom element, a phantom component that you created. It's a component that doesn't actually exist. Void height and void width is talking about this vote doesn't actually exist. It's not physical item rarely. But you give yourself you give yourself fees, parameters that can then be used for other things. So we to lay the shelves out, we did a rectangular pattern using void height to divide it by the number of shells and that's equally spaced one. If you wanted something width wise, maybe you wanted some dividers. You can do the same again. But now we have this bookcase and using parameters. Let me just make this a bit easier to see. This box is quite annoying the way it doesn't nest somewhere. Because if you can nest it down the side, but let's Fusion care of everything. But what we can do now we can just change these. If you want a different style, bookcase and bookcase height, you can change that if we go for a two-meter bookcase. When it's changed and our shelves, if we measure those, they were free 50 now 475, but we've got the same number of shelves. Divide it up. You can say false 75 over all space for same. You can now sell this bookcase in a variety of styles. And your design files will all come off this one drawing. And you might want to 1 m high and maybe it's only 800 wide. But it's all change and it's all tied in, makes it a lot easier, okay? 58. 58 F360Parametric08: So what I'm gonna do next, I'm going to do actual drawing files face. We're going to carry on with this project. We're going to carry on using it as this example is if we were in a workshop and we made this, and we're going to do, but we can't just give this to the workshop guys. We need to make some proper drawings. So we're going to create some proper Joints who's now and then we're going to see how the parameters affect those. So let me save this. And then we'll look at that next. Okay, so we've created a bookcase. Now, as we said previously, we need to give something to the guys and we'll workshop to actually manufacturer. So we're going to create some manufacturing drawings. You probably know how to do that. The beginners course, if you've done that, we did go through that. If you come in at this as an experienced user, you probably know that. So we're not going to go into too much detail how we create the manufacturing jobs. We're just going to see how the parametric design effects Vose. So let's begin. We'll go to Drawing, and we'll go drawing from design contents, full assembly, a new joint ISO units. Okay, It's unplug from a free level. Do we go so it's already populated. It's got my name. Michael. My mother calls me Michael. So that's in here somewhere taken from my Autodesk account. No doubt. Let's see. We're going to so I'll leave that you know how to populate that. We can do that later if we need to put for now, I'm just going to create our main view. So our base view will be our bookcase and wanted to 20 is a bit small. Let's go on to turn. Now that looks okay. So this is gonna be all kinds of assembly drawing. First. Let's plot that I like that. I'll let the elbows views after. Let's do a projected view to the side. And then one, a top view. Let's have a 3D view, kind of like that one there. So I'm aware I like to do it. Let's have fees. Show the hidden lines. So let's show those hidden lines. Okay. And so these ones, I'll have kind of why a space? Well then this one I'll have just a shaded. So this would be like and realistic view if you liked, and these will be for manufacturing. We will give it some titles from front view. No, I'm not. Don't want to get too in depth about how to create these because we have no or we've covered it in our cost. Okay. So we've got some titles there. How are you doing? What you call them? Again, you when you normal workflow. I just wanted to show how we do is now actually I want to project it just because of I like it. And for my OCD, I want to project the left side. I want the Blackboard on the right. I just think it looks better. I know Fusion projects it the other way, but I just, I like it the opposite way. So I'm going to delete that. I'm going to pull out him there. Again. This is my preference, so it's entirely up to you. I just prefer it that way. So now we can start adding some dimensions. We want our overall dimension. And I'm gonna do another overall dimension. So it's gonna go from that corner down to there. And then I'm gonna do the individual shelves So again, in a real manufacturing environment, you might have done these dimensions to the center. So rather than actually dimensioning of a void between the shells to make it easier for the guy making it. You might have done it from the center point, the middle of via, to the middle of that and just laid out a sentence. Hydro is up to you. I just want to demonstrate how the kind of parametric stuff affects these dimensions so that we have it. And let's solve one for the Plymouth. Okay. I'm going to put one just to show kind of internal width. I'm going to have an overall one for the depth. You'll see our depth is the fall. It's adding this. Okay. Now we could have used are permitted to deduct the back, the back thickness from everything to get a depth. We could do that, in fact, probably would make sense because if we bought a bookcase, which was a debt-free hundred and it ended up for you to we might not be happy, but I'm going to we can go and change that. Okay. Something seems to be happening with our shelves. They are not quite reaching the Blackboard. I'm not quite reaching my front, so we'll investigate that. But I just wanted to put a dimension. The internal then a setback of a Plymouth. Okay. So we have a few things that aren't tighten up and we're gonna go and fix those now. We're gonna go back into our bookcase. The first one was this depth. Let's go to our parameters. So bookcase depth of 300. Now that should mean that all our items, so our top piece, when it comes to the sketch, it it shouldn't be that it should be of a bookcase depth minus back thickness. I will okay. That. And then side panel should be bookcase depth minus thickness on our shelf should be kept. That is bookcase depth back fitness. Okay, so now if we measure this, it's 297.5, which is correct. Our shelves which weren't quite fitting. Hopefully, this would have solved the issues we were seeing. So let's save that. Go back here. Now you'll see image a little noise don't have you heard about, but we get this warning is going to tell us things have changed. Which is click this here. And it updates it. And you'll see, if you saw a change to 300, you'll see now, things are looking okay. So this is correct. I'm going to put a new dimension on here. Again, you don't want these to all be numerically. You don't actually want these to say main fitness of his life. They don't mean anything to anyone apart from yourself. But hopefully you saw what happened there. The way we change something and it outdated this joint and that's what we're going to look at it, that's how it's all going to work. So I'm thinking now what dimensions would for guys making this need to know? And it's better to have a bit of overkill here. The not have enough 59. 59 F360Parametric09: Okay, So we have a assembly join. It tells them the overall dimensions and how they lay out with shells. The only other thing they'll probably need is a kind of the materials. So let's do a parts list. Okay. For now. Might need to know smaller cells, a bit more room. Okay, let's tidy this up. So a lot of blown onto this piece. And we'll add, see what the wide array works. It sees it as one item. So I do like to add them on each one. Again, we've probably doing more than we need to miss abouts costs. This might be familiar, but it's, it's all good practice. So one is backboard. Item two is the top piece free side panel. We've got two of those four is a shelf forgot followers and then Plymouth. Okay. I'm going to edit this. Actually. I'm going to actually edit this. I don't want description. It makes it a bit better for us. I'll do. This would be assembler. Let's try it out by moving it. So that shows us how to put this together. Now we're going to, now we're going to create another sheet. And this one is gonna be a component design. So and for this when we only want the backboard. So this is going to be the manufacturing joint of a buck box, let's say ten. Okay. I'm just going to just so they can have the thickness. I'm going to do that. Now I can put dimensions on. Let me go and create another view. Let's do this from a top. Again, wants to turn. And for this one, I'm just gonna have a top piece. For the thickness. Again, this is fairly self-explanatory what I'm doing here, so you can just sit and watch this. You don't have to follow along. Just want to show you what's gonna happen if you haven't guessed already. So that is our top piece. And let's create another one for our shelf. So top view to turn And then we'll do one for the so just be careful when you do if you've got more than one item, like we've got two side panels here. Don't select them all because when you do, y'all, I'll show you what will happen when you go to do your projection. You don't want it's going to do both. Both of them where they asked you to sweat one of them. Now and then I think we just need one fall. When again, it's tidyr on if you're doing natural drawing, feel free to rearrange it, make it a little better, change your heights and that kind of thing. It's just, it's just to show an example. So now I'm just going to go ahead and create some titles. Side panel. Okay, that's enough. So you get with just you know, what's happening here. We've got surveys are our component sizes. This is what will be given to the workshop. And they will be able to cut these out. And then we have our assembly drawing, which also comes with this kind of bill of materials is parts list, so it tells you the quantities needed. So with that now, obviously you will give him a load more information about the type of wood and things like you probably have notation in here saying what kind of what it is and how the edges are cut, all sorts of thing. But we don't need to go through that. This is a tutorial and parameters, so we've done this now, and this is bookcase R1, which is 1 m by 1,500. So you've got your design file, so you go ahead and you could export these now, export them out to PDF. And then let's say we change this title here to be bookcase, 1,500 by hundred. Okay, Let's just finish that. Now you go to Export, export that as a PDF. I'll save that as 1,500 by 1,300. Okay, I'm gonna save that. Now Fusion, we'll go ahead and export those out. If I open the PDF, you'll see I'll get to Sheets and it's all those sizes. Okay, so now we go about to Fusion. We go into our model. Okay, So if we go to Change parameters and now we're going to 800 wide by 1 m high. So we get same style, but different dimensions. When we save this, now, we've got our update button. You go, so now Fusion is updated, but you are going to need to do a bit of just rearrange and your texts and things in terms of where it's positioned just because obviously it's made things smaller but important thing is all these dimensions have changed automatically Now 800 with seven at your your parameters and all these individual items, the sizes of the shelves or size of always, it's all done automatically. It's all changed itself. So that is a power of parametric design. It can save you so much time. You can then export this Sheets and you would call this, obviously you would export it at all. So files and hundred. And then you go and you create yourself another set. So you can, from that one model, you can now churn out drawings, manufacturing Joints for a host of all different sizes that you save in this one file. Now you might save this when you change it, you might save a model and the Joints as individual sizes just because if you're shuffling a lot of things around it Can you don't want to be doing that every time you change, so you can go ahead and save as it's up to you. But that's just an overview of how parametric modelling ties into your design files and hope you can understand how powerful this is and how, how much time it can save. Going back to when we use to do this kind of thing in auto CAD in the early days or so much work involved in creating all of a new models and all the new sheets and all that, and not just time, but each of these stages, you can get errors creep in, so you might forget to change these dimensions. I'll one damage sheet, that's where air is coming in and areas go to the manufacturing facility of a workshop. And that's when money is wasted because things haven't. Just because one-dimension is, you forgot to update one dimension. That takes all those areas out by using parametric design. It's not just a time-saver, it's a money saver and it's just it takes out elements of error that can creep in. So I think that's enough of parametric design. Hopefully, you can, you're already thinking of all different ways that whatever it is you do with Fusion or you want to do probably thinking of all different ways you can incorporate parametric design. I would say go away and just do as much as possible. Look at something you've already created if you've already used it, if you've done with beginners cost and you've created lots of things to look at those again, revisit them and think, how can I incorporate parametric design into this or come up with a new design for something. Maybe a desk or table will be perfect. I'm trying to model it using parametric design. Remember, the aim of the game with parametric design is for your model parameters to have as few actual numerical values as possible. Okay, That's the way I like to look at it. Some people might disagree and say if something is never going to change, you don't need to. You can just leave it as a numerical value here. Yes, she can. But it just, you don't know if that will change them. If future you might want to reference it, you might just want to deduct it from another dimension. So I do like to have my user parameters here and non-numerical values here, but each design has its own kind of rules and that's up to you. So, yep, I hope you enjoyed it. Next, we're going to look at a different element of fusion. But that is parametric design 60. 60 SheetMetal01: So in this section we're going to look at sheet metal. And in Fusion we have this tub hair, sheet metal. This will allow us to model sheet metal items in basically in a way that manufactured so you can construct the finished item if you like, with all the folds and abandoned when you can unfold it. So you can see how that would be cutout of a flat sheet. So let's have a look at how this works. And they workflow involved. I'm just going to create a simple box here. And I'm imagining this is something like you would have on an instrument panel. So it wouldn't be a case to hold some kind of maybe electrical panel and then that will have Holes to screw or river into the front, but it'll become clear when you see it. So let's get started. First off, the way this works. Up until now when you're doing solid model and you'll draw a sketch, you will extrude it to a thickness you want, and you'll add for thicknesses as you go. With sheet metal. Obviously, items, single items and parts will be made out of the same thickness because it's made out of one piece of sheet metal. That's just the way Fusion handles that is, we tell it the type of material that's being made from. Then it automatically applies those properties across the models. And I'll show you what I mean now, the first thing you want to do under the sheet metal tub under Modify, we have a sheet metal rules. And Mrs. way, you can tell it what material you're using. And you should have a library, Fusion library with some presets of different materials. And if you've added some like averted one here, this is like an aircraft aluminum. You can add your own and you build up your own library. If he was working in a factory that use a certain type of material, those have very unlikely there, but for now we're going to use these default ones. We're going to use this aluminum in millimeters for this example. If you just expand that, you'll say you've got a thickness of 2 mm K factor. So, well, what is K factor? We're not gonna go into too much of the kind of engineering around this. But basically, if you were to bend a piece of sheet metal 90 degrees, the internal side would be under compression and the external side will be under tension where it's bent. I'm a K factor is a ratio of wherever midpoint between the toes. But don't worry about that, Don't worry, I'll just leave that as the default. In fact, we're going to leave all this as default here. So you can have a look at some of these. The way it's going to work for bend radius usually uses a thickness, as we're saying that there's a kind of bend radius and then the lover leaf shapes. And don't worry if you don't know what this is. We're just going to show how to use the sheet metal. So just leave it all as default. So we're going to use aluminum, aluminum millimeters. So to start our new sheet metal project, we're in a new untitled project here. And we're going to right-click that. We're going to go new component. And under this new component, you want to make sure premium standard, you change it to sheet metal. And then you can select one of those presets, Slightly aluminum millimeters. I'm going to call this I'm just going to call it box. And you've got parents that will show me that it's under this project here. Will okay. That I'm going, I'm going to save, and I'm going to call this box. Okay, so now we've got our main projects saved as box. And in there we've got a sheet metal part. You can see SheetMetal01 because it's got the sheet metal icon. And that's called box one. We've got the rule there. You could change out if you wanted. And then you've got your origin as normal. You can turn that on if you want. Make sure we're in this box and we'll start working. The first thing we're going to do, as usual, we're going to create a sketch. I'm going to create it on this plane. Now I'm going to do a center rectangle. And I'm going to make this 50 by 100%. Okay, I'm gonna, I'm gonna Finish Sketch. Up to now. This is usual workflow for doing solid modeling. But whereas we would now do an extrude office and give it a thickness, we're going to use this flange Command K on the crate. You've got flange and it should behave. Quick. Select. So you've got a couple of options, just going to leave it on this edge fungi and where it's asking to select the profile, we're just going to select that main profile. And you could choose a side if you want, depending what side just sketch was, or you can choose the center I'm just going to live on sidewall. It's gonna be new body. Okay. I'm just going to click Okay. So you'll notice we never actually gave it a thickness dimension. It's taking that thickness from the sheet metal rule, which is two millimeter thickness. This is like this is the bass part of our box, if you will. Now we're gonna go to flange again. This time we're not going to select the profile. We're going to select an edge. You see it's also asking for edges. So I'm gonna select that edge where you can select more than one edge. Okay? So I'm going to select all four edges. Now I'm gonna drag this up and you'll see what happens. We start getting an ad. It's as if this piece here has been bent up 90 degrees. It's moving. So instead of Extrude and it's actually creating these flanges Office main base piece. I'm going to make those 50 mm. And I'm going to okay. So if we hold down shift and we do a bit of an orbit, we can see what's happening here. It's actually bent this as you would, and it's got some of these notches here. Okay. So this is how it handles the bend when it cuts out the shape and you might not want that. I don't want that in this case, I want to change this so you can go to modify sheet metal rules. You've got in this design, you want to use this one. You see the pencil you can go to Edit. If we look at our bend conditions here, we've got the different shapes. So if we've got a corner condition on a free band intersection, we could change that to foreground. I'm going to change that to round one. We can save that because now you'll see it's got a circular shape rather than those jagged edges. And that's the kind of thing that is part of the continent of design rarely rather than using fusion, but it would make that less of a stressful kind of bend. But you can change that so it's all changeable. But what I wanted to show us, these changes take effect throughout the drawing. You change the rule and it takes effect on all your kind of bends and your features. And that's how the sheet metal tends to work. So we've got this box now. I'm going to do another flange. I'm going to select these edges here. I'm going to come out, and let's come out 20 mm, 15. Okay? 61. 61 SheetMetal02: So you can imagine that this could be made out of a flat piece and then it would be used. So I'm thinking this will go on to a main sheet with a cutout and you'd have Holes here where you'll be able to bolt it on them. We can add those now, so we could do those in just the normal way. We can use normal kind of workflows as well. So photo a sketch. I'm going to select this and let's go project these two lines. These two lines. Okay? I'll create a line. Let it snap to midpoint. Midpoint. And another line, midpoint. The midpoint. And I'm going to make both of those lines construction lines. Because I just want to drop a point onto the mid point. Now we can do a rectangular pattern. So slope that point. We're go misdirection and let's go. Symmetrical, will do the spacing change if it's an extension, just a space in-between. So let's put some Holes. Do what five Alex about, right? We'll go with 30, 35. Okay? Will do same again here. Rectangular button, symmetrical. 522 looks about right? Well, okay, then we can just mirror of A's now. Mirror those points. I'll use the origin. Like if your origin isn't turned on, you can turn it on there. So I'll use the origin is a mirror line. Will do it again on these points. Okay, so now we can finish sketch. As we've done before. We'll use those points to create Holes. We'll select those points. Now, what it's gonna, it's gonna default to the last use. So as you click in these bonds, you might be getting huge. Holes are tiny ones. I just select them first if you can. And then you can edit the size of them. So I'm going to go 2 mm since it's two millimeter thick. And let's do 0.5 mm diameter. Just simple Holes straightaway through malonyl-CoA. So now I've got a sheet metal part, simple as that. You could keep adding to this if you want. So imagine this would hold something like a display screen. Something like I imagined it would be vertical because she probably display screen with wires coming out of vaccine problem, we need something. Let's do a sketch on this back face. We'd probably need a whole for wires and things to come out. Let's make our 45. Finish. This type of modelling now is just the same as we've been doing. So he just extrude up to that face cut. Okay. So now you've got a hole there. Maybe wanted something on my bottom. Let's just do I'm just going to do this roughly. Random 20 mm finished. And we'll extrude as well. To this face. I'm that sheet metal. That's how you design it. You can keep growing. You could do more flanges office if you wanted. Hopefully you can see how this would be. But the good thing about sheet metal, save that you would want to send this to your cutting department or company would make this way and they would be good to miss out a flat sheet and then bend in it. Well, we want to see how that would look. So once you've finished doing your model, Like this will go to Create. And you can see here create flat pattern. So I'm going to click that and it's going to ask for the stationary phase. Now this basically means if you imagine you're going to fall to his flock, which is a piece of it's already flat, if that makes sense. So I'm going to use this face there. I'm going to click Okay. Now what is done is it's unfolded it and it is used the rules from a sheet metal rules to work out the radius is this line is way it would bend it and this is where it would start and end either side, if that makes sense. We've got our cutouts here. And remember when we changed the corner, how it goes, jacket corners. Hopefully you can see this relief that we changed. Now we'll change it to round. And this is what it means. It's just a circle. You would basically look where these two lines meet. And it will drill a hole at this diameter. And that allows it to bend in both these directions given that relate to not creating any stress. And that's how it will look as a flat pattern. Now, up here, we have this toggle. So you can create the flat pattern. It's not going to come into your let me finish that. Okay. It's not going to show down in your timeline. It's not something that comes down here. When you create a flat pattern. It's in your options is something you can turn on and off. Like a different display type rather than an actual operation. Just want to show some of these options here. If we go back when we went, when we did these flanges, for instance, let me, you see we have these edges that meet each of them has quite a nice detail like that. When we look at our flat pattern, it cuts them out at an angle to allow it to do that. You may imagine it might be something you don't need. If we go back to when we created these flanges and edit feature. These are the four edges and Mrs. the type of flange it did. So we can have some options in here. Full edges, what we've got at the moment, which will just extend that edge out. And it's done this kind of angled detail. If you play about ways you can see symmetric, okay, So what does it? It just creates the default. It will do full length, but it comes straight out. But you see you get an arrow, you can actually, you could do some kind of tabs like that. Maybe it's just told it in place you didn't need the full length. You just want it to small little tab. You can see you've got dimension that you've put it in here. So 20 mm. You can change it to a tab like that. Two sides, this is a bit, these options symmetric two sides of this is like we've been using all along when we're doing it. Extrusions and things. You might want these lengths to be different. You might want it to be down here, in which case you would use two sides. Symmetric will do it symmetrical. Both sides, we'll do the same length or two offsets. So instead of giving it the distance of the tab itself, you can give it a distance from the edge. You can see it works out. It's kinda band and how it's going to work with ALL according to the rules of putting. If we just go back to full edge, see these maters here. Maybe you didn't want that. You can just have them as normal, straight out flanges. We okay, that will give leave these you could change depending on how you want to show. What these will do is zeros will show the data. If we go to a side view, you see how these bend works, that you can change it to be the size. When we said this was 50 mm here at 90 degrees, whereas that measured from K. And that's all well then you can see it changing there. And you can also change the way it's bent. So does it bend Outside risk dimension adjacent to it, tangential to it. Okay, So play about those. You can also flip it so it will bend inwards if you want. Let's OK. And now I'll hold it too near the edge. So we'd probably want to adjust. Pots are no sketch that I do that. So let's edit the sketch. And you see to change a button, you find the icon. Right-click Edit rectangular pattern. I'm just going to change this distance to 25. This 117.5. Okay? So now we've changed those flattened j's and any changes you can do, You don't need to do Pattern again, you've already got it here. You can see it's got a yellow hazard. I come up being something has changed. It needs to redo it. And you'll see when you click it, it redoes it and it's taken those angled might is off 62. 62 SheetMetal03: Now, what you might want to do if we save that, go to a drawing from design. And you'll see we want a new drawing from scratch. Sheet size or family okay, that let Fusion do its thing and load up. And it's bringing him a title block fusions a bit slow today. Good Hold Fusion. Okay, so it tries to put this kind of bags view in here and one-to-one will fit. That will just get the normal options. You've done all this in the drawing module. We'll begin his course. But there you can see it puts this flat plan and you can add things like dimensions. Now because it's working out radiuses and things that we're gonna get kind of funny dimensions here. And do it from that center circle also, we want, probably want dimension between those. So it's gonna, it's not gonna be rounded off because it's, it's taken into account radiuses, things from this curve. Then you won't want to do out. But this is the general gist of how you do it and you can make this, you might want to radius here. Shows them how to Drove up. You probably have radius. Let's put a dimension that this cuts out. And under Text, you can just bend. Note, if you select one of the bend lines, it will say bend up 90 degrees, two millimeter radius. And it will add those automatically. You can have your whole and threatened notes. So sweat one of you Holes, 22.5 diameter times two millimeter deep. And again, you'd want more dimensions on here, but I'm just showing you you can use the same technique used to create your drawings for other parts, but you can use that for you. Sheetmetal01, this will be handed to send to a company who could cut out this, bend it for you. That's a great thing about Fusion. You can design quite complex things on Fusion, send them out to a competent, there would be able to work if you put all the other dimensions needed on this. Now, told them what materials to make this phi and send it up to you. Can say that they have it. So that's the drawing. You can go back to your box. Finished pattern. Maybe in our drawing we want to do another base view, which isn't a flat button. Let's do the review like that, like a 3D view is to show it. Okay. I'm not sheet metal. So the best sheet metals, fairly simple. It's just remembering that all of these options are in the real. Sometimes it can be hunting around on how you change something halide. It's just in these sheet metal rules. Okay. Don't one thing to watch out for is if you want to change a sheet metal rule, you can do it here. If you want to change the actual rule you're using. So let's say we didn't want to be alum and you want it to be still. You can change it and it will update the whole design and everything. Everything's updated to still. You'll need to regenerate the flat pattern just by selecting it. But go back to aluminium, okay? If you wanted to actually change any of these details in the room itself, the thing to watch out for is when you go to modify sheet metal rules. If you were to go down here and find aluminum and change it. You change in the library, you changing with default on safety Fusion library you don't want to do about, you just want to change the instance of that rule in this drawing. So you want to do it under here in this design aluminum. Okay, I'm that way you're not going to change it for use forever. If you did want to change it in your library, that's how you do it, but most of the time you'd only want to change it in that time. Most of these other tools are pretty self-explanatory frets and it's the same thing. Chamfers Fillets. It's the same thing as you get in solid modelling, what kind of thing? So you can do Joints. You can have more than one sheet metal part and you can join it together. You can create whole complex SheetMetal01 assemblies. But it just works the way normal, solid modelling dose. The thing I wanted to show you in this section was of a sheet metal specific tools. Okay. The way uses these flanges on the sheet metal rules to create these paths. So hope you enjoy that. Again. Best way is just have a play about with it. It's very handy if you using sheet metal 63. 63 Summing Up: Okay, so I'm gonna call into this beginners cost. Now, We've learned so much on here, but still things we'd haven't learned. Once you have put in practice the things we've learned in this course, you can create most objects. You, then it's only when you come up against things where you find it difficult. You might want to branch out into other areas, service, things like this, far modeling. If you do a lot of organic shapes and curves, surfaces, you're going to want to get into form modeling. I'll do some separate tutorials on that because it's not something everyone needs to know. There's also things like sheet metal. Sheet metal tools. If you're working with sheet metal fusion is very good. It makes it so easy. You don't need to be doing the extrusions that we've done. If you-all go into, if you've got a machine that's going to create some fun out of a folded single sheet. It will actually create that and unfolded again. I'm gonna do a separate section on that separate course on mini-course surface modelling. Similar thing if you're doing organic surfaces, curved surfaces, vehicles, that kind of thing you might use surface modelling. So all those are going to come in separate kind of mini courses. But for now, you've learned the basics. The basics of fusion. You've learnt most things. We've gone right into creating animations, which is a lot of crosses wouldn't teach. Um, you have the ability now to take most objects you can see and create a model. I'm fruit, maybe free to print Matt, I'll send it out to be manufactured. You can, if you have an idea in your head of an invention is something you can put that down and you can make it move. And in animation you can send it out and make a video. This course has covered a lot, and like all these software, when you first start learning it, the limitation really comes from your imagination. It takes awhile to build up that modelling mind freely model in mind if you're coming from other software you might already have. And you just wanted to know how to use fusion. So now you've got what you need. You'll have enough confidence now to be able to even things we haven't gone through, right-click and see what it does because you know how the browser works. I'm a history and that kind of thing. But if you're new to 3D modeling, my advice now would be to look around you in your home or in your office and just look at random objects and start thinking, how can I make that free day? You'll quickly find, but most things can be broken down into cylinders in cubes and just fill it to the edges, rounded edges. And you can actually come up with quite complex looking objects, fairly easy. But for everyone, I teach 3D modeling tool. I always say, Look around you and start modeling objects and don't pick easy ones. Don't just pick something because it's basically a cube or a cylinder. Push yourself as you go. I'm looking now, my doll, humble. It's a cylinder and a cube and maybe a sweep for the actual handle. And you could model that fairly easily. My 3D printers are all made up of frames and parts I could get from McMaster-Carr and cylinders and cubes. I could model that, for instance, visited a farm, which is, which will be a challenging thing for the actual blades. But it's all doable because it's just a revolve and pattern. So start doing that. Start looking around a modelling. The worst thing you can do when you own any cuts software is to learn it and then not use it for a while because you need to embed and solidify the techniques into your mind. So yeah, just for the next few days, weeks I will just create when you get some spare time, just look at random objects around you on your desk or in your home, or things you actually need modelling and just start modelling them. And if you run into any trouble getting in touch, we're going to have our own website and community which we're building fairly fast now. It's all in the process of being constructed. And we hope to have a big community at some point with their farm 3D, where people can help each other out as well as I'll be on there as much as I can and helping others out. Like I said, I'm going to be releasing mini courses. Skill-building course is going more into detail with specific aspects. They'll all be available on our website when it's up and running. And it'd be great to see you there. And it'd be great to see you involved in the community. So I hope you enjoyed the course. If you did, please leave us a review. L helps get the word out there about us. And if you want to do any of our other courses, have a look. What we have available, whether it's AutoCad, inventor, invented it would be the next step up from fusion. If you are going to get more serious, it works more or less the same way. There's just a few fundamental changes, but it isn't free. This is your industry software. If you get good at fusion, you feel like you want to do is for career, it might be worth doing the inventor cost just to see the differences. And you could probably good at fusion, you would easily be able to transfer to Inventor once you learn those fundamental differences. And you'd be able to put up, stop looking for work. Because if you're good on fusion, theories are going to be able to do an inventive jump. So there we go. I hope you enjoyed the course. Please leave a review and I hope to see you again