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