Learn Fusion 360 in 30 Days for Complete Beginners! (2019)

1. Welcome To The Course! (Course Introduction): Hey there, I'm Kevin Kennedy. And welcome to part one of Learned fusion. 3 60 in 30 days for complete beginners. I'm a product designer with over 10 years of cat experience, and I'm excited to give you this Beginner fusion 3 60 course. Absolutely free for the greater good of the Fusion 3 60 community. Now, in this course, I'll walk you through the core features of fusion 3 60 while three D modeling familiar everyday objects. This course covers the 1st 10 days and Part two and Part three will cover the remaining 20 days to kick off. This course will start off by three D modeling a Lego in day number one. Also be sure to check out product design online dot com forward slash fusion hyphen 3 60 Firm or helpful resource is So what are you waiting for? Let's go ahead and get started 2. Downloading and Installing Fusion 360 (free Personal Use): By the end of this short walk through, you'll have fusion 360 up and running with the free personal use license. First off, Be sure to read the license qualifications that I've outlined on my Web page where you're watching this video. The most important qualification to note is that the personal use license Onley allows you to make up to $1000 a year annually via the hobby or business that you're using. Fusion 3 64 If you are making more than that with your use of fusion 3 60 then you'll need to upgrade to a commercial use license. After confirming that you do qualify, the first step will be to go to the official Autodesk page for Fusion 3 60 for personal use , which I've linked to on this page. Once you arrived to the page, you'll need to select the orange get started. Now button the button will link you to the bottom of the page, where your then prompted to sign in with your Autodesk account. Now, if you already have an Autodesk account from another Autodesk product, then you can go ahead and use that to sign it. Otherwise, after clicking the orange sign in button, you'll need to create a new Autodesk account. All select the create account linked. Now the account creation is pretty standard. Simply fill out your name, email, confirm your email and then type out a password. You'll also need to select the check box to agree to the Autodesk terms of use and their privacy statement. Finally, once you have all of your information filled out, simply click that blue. Create account button. After creating your account, you'll be given the option to opt in or out of the marketing and other Autodesk e mails. Then you'll want to click the blue Done button. You'll then be redirected back to the personal use home page. From here, you'll see that it may take up to 30 minutes for your new account toe work, and I do recommend that you take a 30 minute break before trying to log in. In the meantime, if you haven't already downloaded Fusion 3 60 then you can go ahead and get that downloaded and installed. If you scroll up a little bit, you'll see either the get started text or the download Fusion 3 60 link. After selecting the link the website will automatically detect which operating system you're using, and it will then automatically start the download of the respective copy. At this point, you'll need to follow the standard process for installing a new application on your operating system. This will vary a little bit, depending on whether you're on a Mac or Windows computer. Once fusion 3 60 is successfully installed, you can go ahead and open it up. You'll then be prompted to sign in with your Autodesk user name or email along with your account password. However, remember that you do need away at least 30 minutes from your account creation after signing in your all set and ready to start learning and designing Infusion 3 60 to double check your license type, you can always find the about other desk fusion 3 60 option from the applications menu. The dialogue will then state the version of Fusion 3 60 that you have installed the active license type you have and the date your license type expires. With the current personal use license. Your license will expire in one year, but don't worry. At the end of the year, you'll then be able to renew your free license for one more year. You can then continue to renew your license every year unless the license qualifications change or you no longer qualify. 3. An Overview of the Fusion 360 User Interface: in this tutorial, I want to lay the groundwork for all of my tutorials by giving you an overview of fusion three sixties latest user interface. I've added several important details in a few tricks that weren't included in the original version. Be sure to stick around until the very end of this video, as we'll be showing you to pro tricks that almost all beginners wished they had known earlier. The Fusion 3 60 user interface can be broken down into nine main sections For your convenience. I've also outlined all of these sections on my website, so you can reference them as needed. You'll find them at product design online dot com slash 26. That's product design online dot com slash 26 When you log in diffusion 3 60 for the first time, you'll start with a blank project. The first thing you'll see in the top left corner is the application bar within the application bar. There, four key areas. First, you can access the dad of Handle, which houses your design files. The next item is the file menu, which lets you create export or share your designs. You can then save your designs or select the undo and redo buttons to river your most recent actions across the top. You'll also see the tabs, which represent each design file. Each tab will display a file name in the version number. However, if you have a large number of files open, then you'll only be able to see the name on hover. This works in a similar manner to the tabs in your Web browser. Let's talk about the data panel a bit more as this could be treated as the second key component of the interface. If you toggle open the dad of handle, you'll see that you can create new projects. You can then create new folders within each project to further organize your design files. The data panel also allows you to manage other users who are collaborating on your projects , but note that there are restrictions based on which license type you're using. Any time that you're coming back to the dad of handle toe, open a project, you'll simply need to double click on the file or right click and select the open option in the upper right hand corner. You'll see the user profile and Help section, which is the third main element of the Fusion 3 60 interface. It's here where you can view your job status. Fusion 3 60 update statuses and online offline status is under your user name will be a handful of account settings and preferences. As you continue to learn fusion 3 60 you'll want to familiarize yourself with the default preferences, and you can change them to better suit your workflow to the right of your user. Name is the help icon, which gives you quick access to the forums and helpful troubleshooting articles. Next you'll see the main toolbar. The toolbar allows you to select what type of work space you would like to work in. It's important to note that the tools on the toolbar will differ in each workspace within each toolbar. There are also tabs, which further organized the tools into logical groupings. As you start to discover your own common work flows, you can customize in rearrange your toolbar features. Next, you'll see the Fusion 3 60 browser, But first, before we discuss the browser, let me know what types of projects you're learning. Fusion 3 64 Comment three D printing, woodworking or other down below in the comments. The browser list objects in your design, including planes, sketches, parts, assemblies and so on. You can think of the browser as your file structure. Within the browser, you can change the visibility of objects as well as changer document units. Let's now talk about the View Cube or the Three D Cube in the upper right hand corner. The view. Cuba allows you to orbit your design or view the design from standard view positions. You can either select faces, corners or arrows, or you can simply click and drag the view cube around. You can also hit the home icon, which is next to the View Cube, to view the model in the default home position. The middle section of Fusion 3 60 is where you'll be doing, sketching in all of your design work. Therefore, this section is referred to as the canvas. Within the canvas, you can access the marking menu, which is also referred to as the right click menu. If you right click, you'll see frequently used commands along with the ability to change workspaces without having to go to the upper left hand corner toe. Fully utilize the marking menu. You'll want to memorize the position of these features at the top. The marking menu intends to give users the ability to right click and drag at the same time towards the feature that you want to quickly access. For example, all right, click and drag towards two o'clock toe. Activate the press full command. The second to last section is the navigation bar on display settings. The navigation bar contains commands used to zoom pan and orbit your design. These will give you a little bit more control than the use of the View Cube. On the other hand, the display settings control the appearance of the interface. It's right here that you can turn on and off the ground, shadows and other effects. Turn grids on or off, or view your design from multiple views at once. Last but not least, we have the timeline at the bottom. The timeline lists the order of operations performed on your design. Double click on timeline features too quickly edit their properties. You can also right click on operations to make additional changes. Because Visionary 60 is a Parametric modeling program, you can also drag the operations around to change the order. They're calculated. However, you'll want to be careful as changing the order can also cause heirs or problems with your model. You've now made it through all nine of the key sections of fusion. 3 60 To reward you, I want to share to pro tricks that are always overlooked by beginners. First is the ability to set your home position to the desired view. If you're working on a more in depth project such as this bike frame, then you may find yourself wanting to set the home position to the area you're currently working on to set the home position. You'll first want to orient the model to the desired view. Then simply click the karat toggle next to the view. Cute, you'll need a select set current US home, and then you can choose either fixed distance or fit to view. The fixed distance will set the view to how your model appears in the canvas, whereas the fit to view option will ensure your entire model is within the view. If I now change the view in select the home icon, you'll see it reverts to the new home position. This can save you a ton of time as your modeling, especially when working on more in depth projects. You can also reset the home position back to the standard isometric view. The second pro tip is with the grid that you see while working. Infusion 3 60 by default. The grid is adaptive now. This means when you zoom in and out your grid, spacing will change accordingly. There may be a time where you're designing a product or object based on a grid or set of increments. If that is the case, then you can set the grid to stay fixed to a specified increments. Select the grids and snaps option at the bottom well, then have to select set increments, and we'll have to switch this to the fixed option. You can then to find the increments of your grid, and these will no longer change based on your view. 4. Day #1 - Fusion 360: Lego: Hey there it's Kevin Kennedy and welcome to day number one of Learned vision 3 60 30 days. By the end of this tutorial, you'll be able to create a Lego brick. We'll take a look at how to create a sketch, how to use the extrude feature, how to shell an object and how to create a rectangular pattern to start off. Let's open up the data panel and create a new project folder. Click on the data panel icon in the upper left hand corner and after it opens, will click new folder. Entitle it Learn fusion 3 60 30 days. This will create a new folder where we can organize the demo files. We can also double click on the folder to open it and then create another folder, this time with the title day number one hyphen Lego. It's important that you start to create a habit of organizing your files. Otherwise, as you create more models infusion 3 60 you'll find it becomes harder to find the file you're looking for. For the sake of simplicity, I'll be using the Fusion 3 60 defaults for this entire tutorial. Siri's to make sure your settings air set up the same way you'll want to click on your name in the upper right hand corner, go to preferences and then click the restore defaults button in the lower corner of the motile. Then you'll want to click. Apply to make sure that the defaults air saved and click OK to close the motile. The last thing to check is your display settings. Head down to the display setting section and go to the visual style fly out menu for all the videos in this series, I will have the visual style set to shaded with visible edges only, which makes it easy to see all the outside edges of the model. The last thing will want to do before we get started is set the units for this file. If you've played with Legos before, you're likely familiar with how small a standard two by four Lego brick is because it's a fairly small object will want to make sure that we model it and millimeters instead of inches. To change units, simply toggle. Open the document Settings folder in the Fusion 3 60 browser, and as you hover over the units, you'll see a button appears that says change active units. Clicking this button will give you the change Active units Dialog box and then you'll want to select millimeters. Once you select millimeters, go ahead and click. OK, now let's get started with three D modeling the Lego Brick, the first thing we'll need to do is create a new component. Now we're going to do this because it will help keep all the sketches embodies group together, and this will help further down the line. If you want to make copies of the Lego, I'll go much more in depth into bodies and components and why we're doing this in Day number 13 of this Siri's To create a new component, go to the assembled drop down menu and select new component. Then you'll see in the new Component Dialog box that we can name the component. I'll type out Lego for the name and I'll click OK now. The first step in creating the Lego block is creating a new sketch in CAD program. Sketches are two dimensional drawings of shapes that we can churn into three dimensional shapes. Under the sketch menu, you'll notice that there are a bunch of predetermined shapes that can help save us. Time for the Lego brick will start off by clicking on the two point rectangle. When you start creating a sketch, you'll have to choose a plane to sketch on. In this scenario, I'll choose the top plane sore Lego is sitting top side up. Then I'll click on the center origin and drag out with my mouse. As I drag out the rectangle, you'll notice the dimension boxes pop up. I'll type out 15.8 millimeters for the with and hit the tab key, which will lock the dimension in place. Then I'll type out 31.8 millimeters for the length and hit the tab Key toe lock the dimension in. Then you'll see that we have to set the rectangle in place. Our click in the upper right hand corner. To set the rectangle, you'll find yourself using a number of different commands as you model Infusion 3 60 Now, any time that you want to exit, a command, simply hit the escape key on your keyboard. At this point, we have a nice two dimensional sketch, which represents the outline of a Lego, and we need to make it three dimensional to make it three dimensional will use the extrude command, which is one of the most use commands in the model workspace. The extrude command can be selected from the toolbar or by hitting the keyboard shortcut. Letter E. After activating the extra command, you'll be prompted to select any profiles that you would like to extrude in. Our case will select the rectangle and then, for the height will type out 9.6 millimeters and click. OK, I'll go ahead and hit the home icon in the upper right hand corner. It's located just to the left of the View Cube. You'll see that clicking on it will give us a nice perspective. You in the home position, we can see the thickness that we created with the extrude command. If you're connected to the Internet, Fusion 3 60 will automatically back up your files. But clicking that save icon just above the toolbar will save versions, which allows you to go back to a specific version later on. Let's hit that save icon in the application bar entitle our project Lego. You'll also notice that it displays the version number next to the title name. Next, we need to create the bumps on the top of the Lego. To do this will draw a circle on the top. Select the Centre Circle Command from the sketch drop down list or by using the keyboard shortcut Letter C. Then select the top of the brick and you'll see that fusion will automatically orient the view based on the sketch plane, making it easier for us to sketch. Click on the top for the center point of the circle and drag out with your mouse, then type out five millimeters. If the tab key, it's locked the dimension in place and click with your mouse to set the circle in place. Now we'll hit the keyboard Shortcut Letter D, which is short for Dimension. We'll want to add dimensions or measurements to the location of this circle. Click the center point of the circle and the outside of the rectangle. You'll notice as I drag out with my mouse, I can type out a dimension. I'll enter 3.9 millimeters and click Enter All right click to select repeat sketch dimension, and I'll repeat the previous steps in the other direction. This time also entering 3.9 millimeters for the distance. At this point, we could go ahead and draw all the other circles one by one, but it would be much more efficient to use the rectangular pattern feature. But before we use the pattern, feature will want to add thickness to the circle. I'll hit the keyboard shortcut letter E for extrude. I'll select the circle and I'll enter 1.7 millimeters for the thickness. Now using the View Cube, we can look at this from a different view to check the thickness that we just added well. Now want to use the rectangular pattern feature to create the rest of the circles? Go to the create drop down menu, find the pattern fly out folder and then select the rectangular pattern feature. The first thing in the dialogue box is the pattern type. It defaulted to faces but will want to change this to features which will allow us to select the extrude feature in the timeline and you'll notice that it turns blue when it selected for the direction will need to select something that follows the length of the brick so we can simply select one of the edges. Then you'll see that we can type out four for the number of copies to pattern in 24 millimeters for the distance. You can also activate the other direction by selecting the other arrow. We'll want to type out to for the number two copy and eight millimeters for the distance, and you'll see that it gives us a nice preview. If everything looks alright, you can go ahead and click OK in the dialog box. Next, we'll want to hollow out the bottom of the Lego. To do this, we can use the Fusion 3 60 Shell Command, which allows us to easily hollow out three dimensional bodies. Use the view cube toe, look at the bottom of the Lego, then select the Shell Command from the modified drop down list for the faces. Slash body will want to select the bottom face, as that's the area that we need to shell. Then you'll see that it prompts us to type an inside thickness of 1.49 millimeters. You'll notice that it gives us a nice preview of the shell and we can click OK to confirm the results. The last thing that we need to do is create the three center columns at the bottom of the Lego that allows Legos to snap into one another. We want to make sure that we're creating them off the inside plane of the Lego. I'll select the plane as you'll see highlighted in blue. Then all right, click and select create sketch and again, fusion will go ahead and reorient this view based on the plane of our sketch. We'll hit the keyboard shortcut letter L for line, and I'm going to select construction in the dialog box now. Construction lines. Let us create sketched geometry that is on Lee used for reference purposes. To create this line, I will move my mouse cursor over these recess circles and you'll see that it lets a snap into their center point. Then I'll draw the line across to the other side, snapping into the other CenterPoint. Now I'll use the keyboard shortcut letter C for center circle, and we'll have to turn off construction in the dialog box or by hitting the keyboard shortcut. Letter X. I'll set it center point of the circle at the centre of the line, where you'll see the triangle glitch appears, which represents the midpoint or center of the line. Then I'll drag my mouse cursor out until it snaps into place tangent to the circles that we created on the top of the Lego and you know it's tangent. If the tangent cliff appears, which is that circle with line next to it, I'll go ahead and use the offset feature by calling it with the keyboard shortcut. Letter O or by selecting it from the sketch drop down list to offset the circle, will select the outer circle. Then I'll type out one millimeters for the offset distance. And if the offset circle is on the outside, we can hit the flip button to move it to the inside. And, of course, click OK to confirm the results. I'll hit the keyboard shortcut letter E for extrude. I'll select the circle and I'll type out 8.1 millimeters for the distance. After clicking OK in the dialog box will need to use the pattern feature just like we did to the top circles. I'll select the rectangular pattern feature from the create drop down list. The pattern type should be set to features as we use that last. So all we need to do is select the extrude that we just created in the timeline below. Then for the direction. All Select the edge again, and I'll type out three for the number of times to copy in 16 millimeters for the distance , and I'll click OK now. If I use the View Cube to revolve this Lego around, you'll see that we have completed the overall Lego brick. The last thing will want to do is add a Fill it to some of the edges, making sure that the edges aren't sharp. The Philip Command could be activated from the modified drop down list or by selecting the keyboard shortcut letter F. Well, simply need to select the lines that we want to fill it, and we'll go ahead and add a fill it of 0.2 millimeters by typing that out in the Dimension box. 5. Day #2 - Fusion 360: Beer Bottle: Hey there, it's Kevin Kennedy, and welcome to this revised version of Day number two of Learned fusion 3 60 in 30 days. By the end of this tutorial, you'll know how to three D model a beer bottle. You'll learn how to insert a reference image, create a fit point spine, use the REVOLVED feature and add the appearance of glass to get started. If you're following along with the 30 day Siri's, then you may want to create a new folder within the learned vision. 3 60 30 days Project. To create a new folder, click the new folder Button and the data panel, then label this folder Day number two hyphen beer bottle. Simply type that out in the input field and then hit the enter key on your keyboard to confirm the name change. Creating folders is a nice way to further organize your project files within the data handle. You can also create a folder for day number one hyphen Lego, then select the corresponding Lego file with your mouse right click on the file and then select Move from the list of available options to move files around all you have to do is select which folder they should be moved to, then select that blue move button to confirm the change. Next, I'm going to hit the save icon in the upper left hand corner of the toolbar. This will open up the Save Dialogue Box, in which all type out beer bottle for the file name before clicking the save button. I'll make sure the number two folder is selected for the location settings. If it's not selected, you can hit the carrot icon to toggle open all of your folders, and then you can select the corresponding number two folder, which ensures that the file will be placed there. We're now ready to insert our reference image, which will use to draw the shape of the beer bottle to download the reference image. For this tutorial, head to my website at product design, online dot com. Ford slash number three. That's product design, online dot com Ford slash number three, and that you are a will automatically redirect to the page with the resource is for this tutorial. Before I insert the image, I'm going to create a new component which will nest all of the images, bodies and other reference invoked in a nice component folder within the Fusion 3 60 browser to create a new component. All select the assembled drop down list, then all select new component. This opens up the new Component dialog box, where we can type out a component name all type out beer bottle for the component name. Then I'll make sure empty component is selected as we don't currently have anything in our design. Lastly, I'll make sure the activate box is checked, which activates are component as soon as we click the OK button. After double checking, those settings are click the OK button. At this point, we can enter the reference image, which will use as a guideline. We're essentially going to trace over the image now. The beer bottle is a fairly simple object. However, You'll find reference images to be a great way to reverse engineer parts or designs, especially with more complex objects. I'll select the insert drop down list and then all select the attached Candace option. This opens up the attached Can This dialog box. You'll see that the first option we need to define is the face that a reference image will be placed on. If we had other parts in her model, then we could select a face of the model. However, we don't have anything yet, so we'll need to select one of the origin planes. I'm going to select the XZ or Jim plane. Then I'll click on these select Image icon, which opens up the file folders on your local machine. From here. All select the image from my Downloads folder and I'll click the blue open button. You'll notice the image is fairly small upon attaching it to resize the image. I'll just click and hold the corner manipulator or the scaling icon, and I'm going to drag away from the image to make it larger. However, you'll realize that this method is not very accurate. We'd rather have the exact dimensions of the image, so I'll show you how to calibrate the image in just a minute. First, I just want to point out that after we selected the image from the file folder, you may or may not have noticed that we have a number of additional options in the attached campus dialogue. We can now flip the image, if needed. Scale the image, change the opacity along with a few other options. For now, I'll simply click the OK buttons. We can calibrate the size of the image. To calibrate the image will have to right click on the file in the Canvases folder. As I mentioned at the beginning of this video, the component we created will group all of its relevant parts. Therefore, we'll have to toggle open the beer bottle component. Then we can talk, will open the Campuses folder, and then you'll see the image we attached. We can now right click on the image to select the calibrate option. The calibrate option lets us define two points on the image, and then we can define the distance between the two points. First, I'm going to hit the front side of the View Cube in the upper right hand corner toe. Look directly at the image. Then, for the first point, I'll click in the lower right hand corner of the image. For the second point, I'll click in the upper right hand corner of the image. You'll notice immediately after placing the second point that the Dimension Input Field opened up within the input field. All type out, 240 millimeters. And after typing out the dimension, I'll hit the enter key on my keyboard, and this time you'll notice immediately after hitting the enter key that the image was scaled to the appropriate size will now be able to trace the image, creating our model at a 1 to 1 scale to start off the beer bottle. I'm going to draw a line down the middle of the beer bottle. I'm only going to draw half of the image as I'll show you how to use the REVOLVE Command to create the entire three dimensional shape. I'll activate the mind command with the keyboard shortcut Letter L as in Lima. Then I'm going to click on the X Z or Jim plane as the plane to sketch on. I'll click at the middle of the top of the bottle for the first point of the line, and I'll click at the bottom of the bottle for the second point with the line command still active. Want to create the bottom of the bottle? Now, the reference image that I selected is at a slight perspective because the top and bottom of the bottle are not completely flat, so to ensure that my bottle is flat. I'll continue drawing lines by drawing a line straight to the right. I'm going to type out 30 millimeters for the length of the line. Then I'm going to hit the tab key, which locks the dimension in place now walking the dimension ensures that we don't accidentally change it as we move around our mouse cursor. At this point, I can click to set the line where it snaps in at 90 degrees, creating a horizontal line with the line commands still active, all dry line heading towards the top. I'll make this line 134 millimeters, and then I'll click to place the line. Then I'm going to hit the escape key on my keyboard to clear all commands. All now want to use the fit points plying tool to create the curvature of the stem with the bottle. Before using the spine tool, I'm going to create some sketch points, which will make the spine tool easier to use. I'll select the sketch drop down list, then I'm going to select the point command near the middle of the list. The Point command simply lets us play sketch points every time we click with our mouths, and the sketch points can be used as reference points. When we create other types of sketch geometry, I'm going to zoom in on the stem of the bottle by using the center scroll wheel on my mouse so it's easier to work with the image. Then I'll simply click to place a number of sketch points at all of the points on the beer bottle, where I feel that the curvature starts to change, ensuring that the points are spaced out as evenly as possible. Once all the sketch points are in place, I'm going to activate the Fit Point spine tool. I'll select the sketch drop down list and then I'll find these blind fly out folder. You'll see there's a folder, since there are two different types of spines. All select the fit points plying option from the list, which activates it. Then, to draw this line, I'm going to click on the bottom sketch point and I'll make my way towards the top, clicking each sketch 0.1 by one. Once all of the sketch points are selected, you can either hit the enter key on your keyboard. Or you can select the check mark icon that turns green as you hover over it with your mouse cursor. It's important to note that you cannot hit the escape he right after creating your last blind point. Although the Escape key exits most commands after sketching out geometry with the spine tool, it will not only exit the command, but it will also delete the recent spine geometry. Now, this is something that I see beginners getting confused with all the time. So just be aware of this as you work with fusion 3 60 spines after hitting, enter or the check mark Weaken, then hit the escape key to make sure we don't have these flying commands still active. This will let us further define the beer bottle, shaped by dragging around the green manipulator handles of each blind point really quick. I just want to point out that to create that point spines, you don't have to first create sketch points. You can simply click to place each point of the sline. However, I find that sketch points make it easier to create fit points blinds. I'm just going to look at the spine and how it follows the reference image. If I see any of the areas to be off quite a bit, then I'll simply click on the green spine. Handle points, and I'll drag them around until I'm happy with the overall shape. To get the spine handles of 1.2 appear. You can simply click on that one point, and to get this blind handles of all the spine points to appear, you can click on the entire swine. You can also click in drags flying points to move them around. I'm going to double check that the top slime point lines up with the top of the first line that we drew. If it doesn't, I'll simply click on that point, and I'll drag it around until they're snapped to the same grid line. Next. Ah, selecting line command in the toolbar. I'm going to click to connect them point of the left line, and I'll click again on the in point of the spine. After connecting the two endpoints, you'll notice our shape has become a closed profile, which is signified by this orange background Highlight. This means we can use the profile shape with the REVOLVE Command as it's required that you have at least one closed profile. I'm going to select the create drop down list and then also elect the REVOLVED command from the list. Then you'll see that because we have only one profile, Fusion 3 60 will automatically select it. If your profile isn't selected than, be sure to click on it to select it. Next, we'll have to select a revolver axis. I'll select the Axis selector in the dialog box, and then I'm going to select the inside straight line of the beer bottle. You'll see that we get a nice preview of the three dimensional shape that is being created by revolving the close profile shape around the selected access. Additionally, you'll see that in some scenarios, you may need a revolved that isn't 360 degrees or a fully symmetrical shape. If that is the case, then you can update the degree field in the dialog box for the beer bottle will simply leave this at 360 degrees, and then I'll click the OK button. Now that we've created the overall beer bottle shape, we'll need to finish it off by making it hollow and by rounding over some of its edges. I'm going to first hit the keyboard shortcut Letter F is in Fox Trot to activate the Philip Command. We'll use the Philip Command to add a rounded edge to the bottom of this bottle. Also like the bottom edge. And then I'll type out five millimeters for the Philip Radius. Then, before clicking the OK button, I'm going to add one more. Fill it to the top lip of the beer bottle. I'll click the add new selection plus symbol, which allows us to create multiple fillets with different radi I all within the same Philip command. Then I'll select the top edge of the beer bottle, and I'll enter a fillip of just one millimetre as I don't want this toe. Have a sharp edge. Finally, I'll click the OK button in the Philip Dialog box to confirm the results to ensure the opening of the bottle is a set with, I'm going to double click on the sketch in the timeline toe, Open it back up, then I'm going to hit the keyboard shortcut Letter D. As in Delta to activate the Sketch Dimension Tool, I'll select the top line and all added dimension of nine millimeters. Then I'm going to right click on the line and I'll select horizontal slash vertical constraint. This constraint will ensure that the line stays horizontal. Don't worry. I'll be covering the topic of constraints further in depth later on in this course. Once that is complete, I'll hit the stop sketch button in the toolbar so we can go ahead and make the bottle hollow to make the bottle hollow. All activate the shell command from the modified drop down list. Then I'm going to select the body of the bottle by selecting the body in the Fusion 3 60 browser, I'll type out three millimeters for the thickness of the Shell command, which is equal to the thickness we want the glass to be, and I'll click the OK button to confirm the shell results. At this point, we can't tell of its hollow or not. As the top of our bottle is still sealed off to look at the inside of the bottle, we can use the section analysis tool, all select the Inspect drop down menu, and then I'll select the section analysis tool. Next, I'm going to click on the xz origin plane as the plane to view the model from you'll see this cuts or model in half. But on Lee, for the sake of viewing our entire full model is still here, and we can turn this off at any time by clicking the section analysis Lightbulb all now hit the keyboard shortcut that R C as in Charlie to activate the Centre Circle Command. Then I'm going to select the top face of the bottle. We're going to cut out a circle so the bottle has an opening. I'll click on the center origin and I'll drag out with my mouse. I'll type out 14 millimeters for the diameter and then I'll click to place the circle. Next, I'll hit the extrude icon in the toolbar, and the extrude dialog box will change the operation to cut well, Then want to set the extrude two cuts of the other side of this top face. I'll change the extent to the two objects election, and then I'll select the bottom face. Finally, I'll click the OK button to confirm the results. Now that we have our whole cut out will need to add another. Fill it to this inner edge. I'm going to activate the model Philip Command from the modified drop down list. I'll select the inner edge and all Addy fill it radius of two millimeters before clicking the OK button. Then I'll be sure to turn off the section analysis by selecting its corresponding lightbulb in the Fusion 3 60 browser to finish off the model. Let's add the appearance of glass. First. I'm going to select the lightbulb next to the Canvases folder, which turns off the reference image as we no longer need it. Then I'm going to right click anywhere in the campus window and I'll select the appearance option. This opens up the Appearance Dialog box, which hosts a number of pre made appearances. They can then be Dragon dropped onto the model to make them look more realistic. I'm going to search for glass in the search field, then I'll scroll down until I see the glass bronze appearance. You'll have to hit the download button, so the right of the appearance to download the appearance. If you haven't already done so, then I'm going to simply drag and drop the appearance onto the body of the bottle and you'll see that the glass appearance is now applied 6. Day #3 - Fusion 360: Paper Clip: Hey there, it's Kevin Kennedy, and welcome to this revised version of Day number three of Learned Fusion 3 60 30 days. By the end of this tutorial, you'll be able to three D model a paperclip. We'll take a look at how to use the line command, how to create sketch fillets and how to create a sweep with a sketch profile before we get started. Let's make sure our dimensions are set to millimeters. In the first video, I showed you how to change dimensions in the Preferences menu. We can also change dimensions in the Fusion 3 60 browser To change dimensions in the Fusion 3 60 browser, you'll have to click on the Carrot Icon to toggle open the document settings. Then you'll see as I hover my mouse over the units, an icon will appear on the right. I'll click on the Change Active Units Icon, which opens up the Change Active Units Dialog box. I'll simply select millimeters from the drop down list, and I'll click OK to confirm the change. Let's now get started with the paperclip by creating a sketch on the top plane. I'll select the create sketch icon in the toolbar and I'll select the X Y origin plane infusion. 3 60 will automatically reorient the sketch plane, so we're looking directly at it. I'm going to draw out some sketch geometry that will use later on as the path for the sweep command. We'll start out by sketching a straight line. If you remember from the last two videos, the line command is located under the sketch drop down list. However, we can also call the linesman with the keyboard shortcut Letter L as in Lima. To place this first line, all simply click on the center origin. I'll drag my mouse cursor towards the top, and I'll type out 20 millimeters for the distance. After typing out 20 millimeters, I'll hit the tab key on my keyboard, which locks the dimension in place. You'll notice after I hit the tab. Key toe lack the dimension in place This gold colored lock icon appeared next to the dimension. Now this ensures that as I move, my mouse cursor around the distance is not accidentally changed. All now, click with my mouse to set this line on the vertical y axis where the line snaps into place , ensuring that the line is vertical. As I move my mouse cursor out, you'll notice that the line command remains active, so we can continue to create more lines until we hit the escape key toe exit. The command for the next line will move to the right and I'll type out 7.5 millimeters. Once again, I'll hit the tab. Key toe lock The dimension in place. You'll notice that the line command also gives us the degree and put field. I want this line to be horizontal, so I'll type out 90 degrees, followed by the tab key toe lock the degrees in place. Now this. Make sure that all I can do is click with my mouse to set the line on either the left or right side. So I'll click to place the line on the right side, ensuring that the line is horizontal. Next, with the line command still active, all draw line heading towards the bottom, typing out 30 millimeters for the length, followed by the tab key toe lock the dimension in place. Now you'll notice as I move my mouse cursor left and right that it will snap into place at a perfect 90 degrees. Even if I don't type it out in the input field, making sure that this line is at 90 degrees, I'll click with my mouse to place the line for the next line. I'll go to the left will make this line 6.5 millimeters, followed by the tab Key toe lock The dimension in place. Once again, I want this line to be at 90 degrees, so I'll click to place the line where it snaps into place at 90 degrees. With the line commands still active. All draw a line heading towards the top. I'll make this line 22 millimeters, followed by the tab key toe lock the dimension in place And once again, I'll make sure that a click to place the line at 90 degrees the second toe last line will be 5.5 millimeters to the right, followed by the tab key toe lock the dimension in place, and I'll make sure that this line is horizontal or perpendicular from the previous line. Lastly, I'll create the last line for this paperclip shaped by drawing a line down to the Red X axis by typing out 12 millimeters for the length, followed by the tab Key toe lock. The dimension in place all simply click on the X access where the line will snap into place . Now. If your line doesn't seem to be snapping, then be sure that you have these sketch grid and the snap option turned on in your sketch palette. Now that we're done using the line command will hit the escape key on the keyboard to close the command. You'll notice as we created these lines, that Dimension lines were automatically placed as we set the lines in place. As you're working with sketches Infusion 3 60 you may want to move these dimensions out of the way to do this, simply click and drag on the dimensions, and I'll move them out of the way for now. So they're not interfering with our sketch geometry. Now that we have a rough outline of a paperclip shape, will need around over all the corners before we can use the sweep Command to round over the corners will want to use thief Philip Command. One important thing to note is that the keyboard shortcut letter F, as in Fox Trot, is used to call the model Philip Command. But that command only works for three dimensional objects. Because we're currently working with sketch geometry or two dimensional objects, we'll want to make sure that we select the sketch Philip Command that's located in the sketch. Drop down list and you'll see that this Philip Command doesn't have a keyboard shortcut applied to it. As you're working Infusion 3 60 you'll find it very tedious to go to the toolbar every single time. You need to activate a command. An alternative way, which is much faster would be to use the shortcuts box. The shortcuts box could be activated with the keyboard shortcut letter s as in Sierra. You'll see that the Shortcuts dialog box opens up, and I can type out any of these sketch or modeling commands. I'll type out, fill it, and I'll select the one that is for sketched geometry. Not this other one. That is 43 dimensional objects with the sketch Philip Command active. I'll go ahead and select the top two corners because we want this paperclip to have a smooth transition from corner to corner. The fill it radius will be 7.5, divided by two, so we're going to take the with of the line divided by the number of edges were rounding. Therefore, I'll type out 3.75 millimeters in the input field, and I'll hit the enter key to apply the Philip Radius immediately after I hit. Answer. You'll notice that the lines now have a rounded edge or corner. I want to. Next add fillets to these bottom two corners. All right, click to select. Repeat, fill it from the marking menu, and it's here that you'll always be able to quickly access. The most recent command you used with the Philip Command active all select both corners, and I'll type out 3.25 millimeters and you'll notice that the sketch starts to go crazy. In the original tutorial. I didn't cover constraints as I introduced the concept of sketch constraints later on. In this course, however, many people notified me that they have problems with the shape of their sketch geometry getting messed up. So I'll hit the undo button twice in the toolbar toe. Undo the most recent Philip Command, and I'll make sure that the sketch geometry goes back to normal. We'll want to add some sketch constraints, which will help ensure that the shape of our sketch geometry isn't altered as we add fillets to these bottom two corners later on. In this course, I'll cover the topic of sketch constraints much more in depth, but for now will simply add a few sketch constraints. If you look at the sketch palette, you'll notice a list of available sketch constraints. You'll also notice that we already have some constraint icons in our sketch as these were automatically applied as we drew out the sketch geometry. This first line has a vertical constraint because the lines snapped into this. Why access? And you'll notice we have many perpendicular constraints in the corners as we were ensuring that our lines snapped in where the line was 90 degrees to the previous line. To manually add another sketch constraint, I'll simply click on the line on the right hand side, and I'll select the horizontal slash vertical constraint in the sketch palette, adding this vertical constraint will ensure that the line stays vertical as we re try those sketch fillets once again all activate the sketch Philip Command, and I'll click on the bottom two corners again. I'll type out 3.25 millimeters and I'll hit the enter key on my keyboard. This time you'll notice we were able to add the fill it without skewing the sketch geometry because we added that vertical constraint. And again, this concept of manually adding sketch constrains is something that I cover much more in depth later on. In this course, we'll revisit it after you have a solid foundation of some of the other core features that are available. Infusion 3 60 before adding the last two fillets all select the left inside line, and I'll add a vertical constraint to that as well. I will now activate the sketch Philip Command once again, and this time I'll select the last two corners. I'll type out 2.75 millimeters, followed by hitting the enter key on my keyboard. At this point will want to stopper sketch so we can create another sketch that the Sweet Command requires. I'll select stop sketching the toolbar, and I'll hit the home icon next to the View Cube to view the paperclip outline from the home perspective. In order to create a sweet that follows this paperclip shaped will need to draw the sketch profile that will be used for the sweet. In this case, our sketch profile will simply be a circle as a paper clip is simply a rounded piece of steel wire bent to a looped shape. To draw the circle will hit the keyboard shortcut. Letter C As in Charlie, activate the Centre Circle Command. You'll notice if we activate a sketch command without being in an open sketch. Then you'll have to select an origin plane or the surface of some pre existing geometry to create a sketch on. I'll simply select the XZ plane, and I'll zoom in on the sketch geometry. I'm going to click on the Origin Point, as that was the starting point of our paperclip shaped and I'll drag out with my mouse. I'll type out one millimeter, followed by the tab key toe lock, the dimension in place. Then I'll simply click to set the circle in place. At this point will want to stop the sketch so we can use the Sweet Command, which will actually create the paperclip, well hit stop sketch in the toolbar, and I'll hit the home icon next to the View Cube. I will now activate the sweet command from the create dropped on list. As we activate the feature, you'll notice the sweep dialog box opened up. If you ever forget what a feature does, you can always look at the dialog box and work your way through it, starting at the top, working your way down to the bottom. The first thing you'll see with the sweet command is the type of path we have one continuous path for our shape, so make sure single path is selected. Then it wants us to select our profile shape, as I mentioned earlier. Or profile is the circle, and the paperclip shape is the path I'll select the circle. I'll click on the path selection in the dialog box, and then I'll select the path in the campus window. The last few options in the sweep dialog box are OK. For now, I'll simply click the OK button in the dialog box to confirm the sweet command. Now, if you haven't already, don't forget to save your model. I'm going to hit the save button above the toolbar and they'll name this paperclip. And of course, you can toggle open this location section to choose where the file will save in your data panel. Last but not least, if you're paperclip, looks like it's broken up into sections. It's because of the visual style setting. You have to change the visual style, head down to the display settings the visual style fly out folder, and then select the shaded option, which will remove those edge lines. I'll see you in the next lesson. Day number four, where I'll show you how to three D Model a whiskey bottle using the loss feature. 7. Day #4 - Fusion 360: Whiskey Bottle: Hey there, it's Kevin Kennedy, and welcome to this revised version of Day number four of Learned Vision 3 60 in 30 days. By the end of this tutorial, you'll know how to three D model a whiskey bottle. You'll learn how to create offset planes, how to use the loft feature and how to create threads. To get started, we're going to draw four different closed profiles on four different planes. Then we'll use the loft Command to connect all foreclosed profiles, which will create the overall shape of the whiskey bottle. First, I'll create a new component by selecting new component from the assembled drop down list. Then all type out whiskey bottle for the component name before clicking the OK button for the first profile will sketch on the X Y origin plane. I'm going to start out by activating the center rectangle from the sketch drop down list. You'll find it nested under the rectangle fly out folder. Then I'll click on the Bottom X Y origin plane, as that's where we want this first profile to be. After clicking on the origin plane, you'll see that Fusion 3 60 automatically re orients the plane so we're looking directly at it. I'll click on the center origin and I'll drag out with my mouse cursor. We can now type out the desire dimensions of the rectangle. I'm going to type out 76 millimeters for the with. Well, then hit the tab Key, which locks the dimension in place and switches the cursor to the other input field. All type out 63 millimeters for the height, followed by the tab Key toe lock This dimension in place just to clarify by hitting the tab key were simply locking the dimensions in place so we don't accidentally change them or move them as we move our mouse cursor around now that both dimensions air filled out, ah, click to set the rectangle in place. Well, now want to add rounded corners to our rectangle? If you remember in the last tutorial, the quickest way to get to the sketch Philip Command is by activating the sketch shortcuts box. I'll hit the keyboard shortcut letter s as in Sierra Toe. Activate the shortcuts box. Then I'll type out. Fill it Now it's important that you select the sketch Fill it tool, which has the two dimensional symbol and not the three d fill it tool. After the Filic Man is activated, I'll click on each side of the corner lines. Then I'll type out seven millimeters for the Philip Radius. Clicking. The enter Key on my keyboard will confirm the Philip results. At this point, I'll go ahead and stop the sketch by hitting the stop sketch button in the toolbar. Well, now, create the second closed profile. In order to create a sketch above, this one will need to create a construction plane as were not able to simply sketch out in space. I'll select the construct drop down menu, then all select the offset construction plane as it allows us to create a plane a specified distance away from the pre existing planes. After activating the offset plane feature, you'll see that we have only one option, which is to select the plane or face that we want to offset from. In this scenario, I'll select the X Y origin plane after selecting a plane or face toe offset from you'll be prompted to type out the offset distance all type out 114 millimeters for the offset distance. Then I'll confirm the results by clicking the OK button and the dialogue box. Now that we have this offset construction plane, we can use it to draw another rectangle or the second closed profile shape to activate the rectangle once again, all use the keyboard shortcut. Letter R as in Romeo, then all select the construction plane as the plane to sketch on. Now you'll notice the keyboard shortcut activates the two point rectangle tool. So to switch to the center rectangle tool, I'll simply click the center rectangle option in the sketch palette. This rectangle will make a bit larger, so we have a nice tapered shape. I'm going to click on the center origin once again and I'll drag out with my mouse cursor. This time, I'll type out 95 millimeters for the with I'll hit the tab Key toe. Lock the dimension in place and to switch to the other dimension input field, then all type out 76 millimeters, followed by the tab key. Once all the dimensions are in place or click to set, the rectangle in place once again will activate the sketch. Fill it tool. I'll hit the escape key to clear out any active commands. You can also access the sketch Villa tool by using the right click sketch menu. All right, click in the canvas window. I'll select the sketch fly out folder, and then I'll select the Philip Command. I'll select all the lines that make up the corners of the rectangle. Then, for this Philip Radius all type out 12 millimeters, followed by hitting the enter key on my keyboard to confirm the results. These 1st 2 closed profiles will make up the base of the bottle well, then, want to create two more that will use to create the stem of the bottle before we use the loft command to join them all together, I'll create another offset plane by clicking the offset plane icon in the toolbar. This time I'll go off the offset plane and the sketch that we just created. I'll punch in 38 millimeters for the distance and I'll click the OK button in the offset plane Dialog box for the stem of the bottle will want to create two different sized circles to quickly activate the Circle Command. I'll hit the keyboard shortcut Letter C as in Charlie. Well, then click on the construction plane that I just created. Now that the sketch has been activated and automatically reoriented, I'll click on the center origin point. As I drag my mouse cursor out, I'll type out 40 millimeters for the circle's diameter. I'll hit the tab key toe lock, the dimension in place. Then I'll click with my mouse to set the circle in place. I now want to create one last circle, which will use for the top of the stem one time saving trick. Envision 3 60 is the fact that you can activate another modeling command, which will automatically close the current sketch you're in. Instead of hitting the stop sketch button in the toolbar, I'll simply click the offset plane button that's also in the toolbar. You'll notice that not only stops the active sketch, but it also activates the offset Plane Command. To create this plane, I'll click the construction plane that we just created. I'll make this 1 89 millimeters away from the previous one, then I'll click the OK button to confirm the results. Once again, I'll hit the keyboard shortcut. Letter C as in Charlie Toe, activate the Centre Circle Command. I'll select the offset construction plane that I just created, and I'll click on the center origin as they drag my mouse cursor out all type out a dimension of 30 millimeters as I want the top of the stem to be a little bit smaller. Lastly, I'll hit the stop sketch button in the toolbar. I'll now click the home icon next to the View Cube in the upper right hand corner to take a look at the model from the home position. If you remember, In Day Number two, we created a beer bottle using the Revolved tool. But our whiskey bottle is not a symmetrical cylinder shape. So we're going to use the loft tool to join together the four sketches that we just created because the loft tool creates a transitional shape between two or more sketches or plainer surfaces. To activate the loft tool, I'll select the create drop down list, then all select the loft command. You'll notice the first section in the Loft dialog box is prompting us to select our profiles Now. One important thing to note here is that the order we select our profiles does matter. We can select the closed profile shapes from top to bottom or from bottom to top, but we cannot select them in random order, or it will create a really crazy, twisted shape. I'll go ahead and select the foreclose profiles one by one, starting at the bottom and working my way to the top. Watch what happens as I select them. You'll notice it starts to join all of the sketches together to create a three dimensional shape. However, if I look at this shape from a few different angles, I'm really not happy with the overall shape. Fortunately for us, the loft Command lets a select guide rails, which we can then use to help to find the curvature of the loft. You'll notice the second section of the loft I look. Box is for the selection of guide rails. For now, I'll simply hit the cancel button to undo the loft command. Let's sketch out some guide rails, and then we'll reactivate the loft command to finish off the model. To create the guide rails, I'm going to use a combination of the spine tool and the line tool. Now it's important to note that you can create guide rails with any of the sketch geometry tools, however, I'm going to use the spine tool as that will give me the most amount of freedom to really tweak the shape of the bottle. To make this guide rail work best. We're going to sketch it on the XZ Orjan plane directly in the middle of the bottle. One thing will want to ensure with the guide rail is that it snaps into each of the four profiles. Otherwise will get a very common air with the loft command that the guide rail isn't touching all the closed profiles. Now, in order to ensure that our guide rail does snap in each profile, I'm going to create some construction lines on each and every profile As you're creating Parametric models Infusion 3 60 you'll often find yourself adding geometry or features later on that you didn't initially plan on. Fortunately for us, this isn't a problem, as we can simply double click on features in the timeline toe. Edit them. I'll start off by double clicking on the first sketch in the timeline. Then I'll activate the line command by selecting it from the toolbar next before drawing a line out, I'm going to select the construction option in the sketch palette. The construction option will create dashed sketched geometry, which means that the sketch geometry is intended solely for reference purposes. Next, I'll click on the right side of the profile, where the line snaps into place at its mid point to ensure the line is exactly at the midpoint. You'll want to click or the triangle midpoint constraint Icon appears. Then I'll select the other side of the rectangle, where also snaps into the mid point. We're now done with this. Once we can hit the stop sketch button in the toolbar at this point, will want to do the same steps to the next three sketch profiles. All double click on the second sketch in the timeline. This time, I'll activate the line command by hitting the keyboard shortcut Letter L as in Lima. Then I'll turn the construction option on by selecting the button and the sketch palette. Once again, I'll click on the edge of the rectangle where the line snaps into place at the midpoint. Then I'll simply click on the opposite side, where the line snaps into place at its mid point. I'll stop this sketch by selecting the stop sketch button in the toolbar, then all double click on the third sketch in the timeline below. First I'll click and drag on the circles dimension to move it out of the way. Well, then hit the keyboard shortcut Letter L as in Lima. Then I'll also activate the keyboard shortcut. Let her ex as in eggs a view er too quickly. Activate the construction option for this line. We can't snap it into a midpoint. Since our circle doesn't have one, however, we can use the center point of the circle. Click on the center of the circle, and then I'll click on the left edge of the circle where the line snaps into place. I'm also not going to worry about the right side of the circle as we're going to eventually mere the guide path after we create it on the left side of the model. For now, I'll hit the stop sketch button in the toolbar. Last but not least, all double click on the fourth sketch in the timeline below. I'm going to click and drag on the dimension to move it out of the way so we can see what we're doing. I'll hit the keyboard shortcut Letter L is in Lima, then also hit the keyboard. Shortcut Letter acts as in eggs a V er too quickly. Activate the construction option. I'll click on the center of the circle and then the left edge of the circle where the line snaps into place. Then I'll have to stop sketch button in the toolbar. If I now hover my mouse cursor over the edge of the sketch profiles, you'll see a sketch point appears where the construction lines intersect, the edges of the sketch profiles. This is why we created these construction lines and you'll see how the help in just a second. At this point, I'll activate the Fit Point spying tool from the sketch drop down list, and it's located in the spine Fly out folder. After activating the spine tool, I'll click on the XY origin plane as the plane to sketch on. Then I'll click on the first close profile in the lower left hand corner, where it snaps into place. Next, we'll click on the second profile edge where the line snaps into place, and if you're having trouble seeing where you're clicking, you can always look at the model from a slight angle to ensure your selecting the edge of the profile. After clicking on the third profile, I'll click the enter key to place this blind. At this point, we can further to find the shape of the whiskey bottle by moving around the spine handles. I'll simply click on the spine handle, and I'll drag it around. And I'm just going to tweet this blind handle until I'm happy with the overall shape. Once I've got the spine in a shape that I like, I'll need to draw a straight line at the top to create the stem of the Bible. I'm going to hit the keyboard Shortcut Letter L as in Lima toe. Activate the line tool. I'll select the first circle or the line snaps into place. And for the second endpoint of the line, I'll select the top circle where the line snaps into place. Then I'll hit the escape key toe exit the line command. Now this is probably the most important step of the guide path and where a lot of viewers had problems with the initial tutorial. So be sure to pay close attention because we have a spine and in line as our guide path will need to make sure they're connected. Otherwise, the loft tool will not think they're one continuous line, and it will give us an air message that the guide path is not continuous. First, I'm going to select the spine, which shows the spine points once again. Then I'm going to click on the top spine Point handle, and I'm going to drag that over until it snaps into place to the straight line again. This is super important. Your top supplying handle must be snapped into place to the straight line. If your line snapped into place correctly, you should be able to drag it up and down the line. And once again, you can move this around until you're happy with the overall shape. Once we're happy with the overall shape of the guide path will need to mere the guide path to the other side so we can use both guide pass with the loft tool to do so. I'll draw a line to be used as our centre line. I'm going to activate the mind tool in the toolbar, and then I'll activate the construction option. I'm going to click at the bottom of the bottle for the first point and I'll click at the top of the bottle for the second endpoint. Next, I'll activate the mere command from the sketch dropped on list. Then I'll select the spine and the straight line as the objects to Mir. Next, we'll have to select the beer line. We created our construction line as the mere line, so I'll go ahead and select that. Then I'll click the OK button to confirm the mirrored results. We're now ready to retry the loft command, all head to the create, dropped on list, and then I'll select the Lost Command to activate it. I'll select the home position icon to take a look at our model from a perspective. Then I'm going toe once again select all four profiles from the bottom to the top. We can now select the guide rails that we set up well. First click on the plus symbol in the guide rail box. Then I'll select the guide rail on the left hand side, and I'll select the guide rail on the right hand side. If I now move the model around, you'll see we have a much more defined shape. Everything looks correct, so I'll click the OK button to confirm the loft. Results at this point will finish off the bottle by adding a few more details before making the bottle hollow. If we look at our shape, will see that the bottom of the bottle is completely flat, which isn't realistic. I'm going to hit the keyboard shortcut. Letter F is in Fox Trot toe. Activate the model Philip Command with the model Philip Command Active will select the bottom of the bottle, then all anti Philip of five millimeters, which adds a nice rounded edge to the bottom. Then I'll simply click the OK button to confirm the Philip results was now create a stem at the top where we can add a thread. I'll hit the keyboard shortcut Letter C as in Charlie to activate the Centre Circle Command . Then I'll click on the top surface of the bottle as the sketch plane. I'm going to click on the center origin and drag out with my mouse For this circles dimension, I'll make the diameter 27 millimeters and I'll click to set the circle in place. Then I'm going to hit the keyboard shortcut that I e. To activate the extrude command. I'll select the circle as the profile to extrude. I'm going to type out 12 millimeters for the extrude distance and before clicking the OK button will make sure that the operation is set to join By setting the operation to join, this extrude feature will join the bottle body below it, which is crucial as we need to have one single body as we go to use the Shell command. I'll now make the bottle hollow by activating the shell feature from the modified drop down list. Then I'll select the top of the bottle and will type out three millimeters to create the thickness of the glass. Next, I'll click the OK button to confirm the Shell Command. Lastly, I'm going to add one more. Fill it to the top edge so it isn't sharp. I'll activate the model Philip Command with a keyboard shortcut that her F as in Fox Trot. Then I'm going to select the top edge. I'll make the fill it radius two millimeters, followed by clicking the OK button, and now we'll add a thread to the top of the bottle. So our whiskey bottle can be sealed off with a cat. To create the thread. I'll select the thread command from the create drop down menu. Then I'll click on the surface of the cylinder shape at the top of the bottle in the thread dialog box. All first, want to click the modelled option, which make sure it actually three the models the thread shape. Otherwise, it would simply just give a graphical appearance of the thread. So if we didn't click modeled and we went to three D prints or export this file than a thread would not actually be exported. The second option in our thread dialog box is the link, so it defaulted to be full length. But if I uncheck this, I can make it slightly shorter by dragging the arrow up or by changing the length and foot field. Lastly, if we take a look at the rest of the options here, their standards for different types of threads, whether it be for bottles, screws, machinery and so on. So for the purpose of this beginner demo, I'm simply going to leave it at the default settings, and I'll click the OK button to confirm the results last, but not least, all right. Click on the model, and I'll select the appearance option from the list. I'll simply search glass in the search field. Then I'll drag the bronze glass appearance onto the model to take an even better look at the bottle. I'll change the environment under the display settings to dark sky, which will make the see through appearance of the glass much easier to see if you made it to the end of this video, then please let me know by commenting below. If you found this revised version to be an improvement again when working with the lock command, it's crucial that you snap your guide rails into all of the profiles. Otherwise, it's very likely that you'll get an error message. It's also super important that your guide rail is one continuous line. Otherwise, it also won't work and you'll receive an air 8. Day #5 - Fusion 360: Ice Cube Tray: Hey there it's Kevin and welcome to Day number five of Learned Fusion 3 60 in 30 days. In this tutorial, I'll show you had a three D model in Ice Cube tray. You'll learn how to use the sketch dimension extrude cut in the rectangular pattern feature to start off will hit the keyboard shortcut letter are toe activate rectangle and I'll go ahead and select the top plane. Now, if we want to use the center rectangle instead of the two point rectangle weaken. Select it in the sketch palette dialog box before we click on our origin point. So I'll go ahead and click on the Origin Point and drag my mouse out and I'll type in 12 inches for the length, followed by the tab key toe. Lock it in place and four inches for the with, followed by the tab Key. Then I'll go ahead and hit enter to escape the rectangle command and all toggle this dialog box so it's out of the way. Next, we're going to extrude this rectangle up to create the basic shape of our ice cube tray. I'll simply hit letter e the keyboard shortcut for extrude, and I'll drag the arrow up or type in two inches, and then I'll hit enter. So now that we have the overall size of our ice cube tray, we're going to draw a rectangle on this top surface so we can begin to cut out the ice Cube shaped. So I'll activate the rectangle tool again with the keyboard shortcut, Letter R and on Click on the top surface here. Then I'll simply click and drag that rectangle out. And I'm not really worried about the position of the wreck single at this point because, well, dimension to the sides in just a bit. So I'll type in 1.65 inches for the height. Hit the tab key toe lock the dimension in place, and I'll type in 1.2 inches for the with, followed by the Tab Key and the Enter key to exit the rectangle command. So we've added dimensions to a lot of the lines that we've made in the first few days of this Siri's. But we can also use dimensions to define distances between other geometry and sketch objects. I'll simply click Letter D, the keyboard shortcut for Dimension, and I'll click on this rectangle line and this outer line here, and I'll drag the mouse over to the left and click anywhere over here. Now all type in 0.2 inches for the distance and will hit. Enter and you'll notice that after I hit enter, the rectangle moved down to be exactly 0.2 inches away. Now, another way that I can use the Dimension tool is by selecting the lines or geometry first, so I'll select the left line of the rectangle. Ah, hold down the shift key and then I'll select the outer line of the box and then I'll hit the keyboard shortcut Letter D again. I'll click anywhere to the left here, and then I'll type in 0.2 inches for this dimension as well, and I'll hit the enter key to close the command. At this point, we want to cut out this chunk where the first Ice cube algo so a click letter e for extrude . And after activating the extrude feature, I'll click the rectangle and now I want you to watch what happens here when I dragged the arrow down. So if you look at the extrude dialog box, you'll see as I dragged the arrow down. It changes the operation to cut, so this will actually cut away the material here. And we can either drag the arrow down or we can always select cut from the drop down lists for the distance all type in negative 1.3 and note that you have to have a negative value here if you want the object to cut. If I take the minus, sign away than it won't cut the object, and it will simply add to the top now. One other thing we want to do is at a nice taper so the ice cubes pop out of the tray. To do this all simply type in negative 10 degrees for the taper angle and mental hit OK on the extrude dialog box. Now we'll want to add a nice fill it or rounded edge to this Ice Cube slot before we go ahead and pattern the rest of them. I'll click F the keyboard shortcut for the Philip Modify Command, and I'll select all of the lines that make up this cut. Then I'll punch in 0.13 inches for the Radius. Now we obviously want the same cut to appear on the rest of the tray here, so we have a whole tray of ice cubes and not just one. So will activate the rectangular pattern from the create drop down menu, and it will be located under the pattern sub folder. The first thing in the rectangular pattern dialog box is the pattern tight. So if we left it on the default of faces here, we could select all of the faces of our cut. But it would take a minute or so, and it wouldn't be the most efficient way. So instead, I'll change this to features, and then I'll simply select the extrude and the fill it from our fusion 3 60 timeline. The next thing we need to do is select the direction so we can simply activate it and click on this X axis here. And then we'll type in 10.4 for the distance and eight, for the number of times that we want are cut out to be copied. Next, I'll drag this arrow up in all type in two for the number of copies and 1.95 inches for the distance. Now, if you take a look of the Pattern dialog box. Here you'll notice that we can change the direction type. So for our purposes, since we drew the first cube in the corner, we really only need to go one direction on the X axis and one direction on the Y axis. But for future projects, you can always change this to some metric, which will let you go in both directions. Now let's hit okay to see the result. Alrighty. So if we look at this in the home view will see that it's coming along nicely, but it's still pretty boxy. So let's it s the keyboard shortcut that allows us to type in commands and will type in shell and hit the enter key. Now, in day number four for the whiskey bottle, we just selected one surface to shell our entire shape. But for this more complex shape will have to select all four sides and will also have to select the bottom face of our box. I'll punch in points or seven inches for the inside thickness and click OK to escape the shell command and take a look at what the results are Now. I want the Ice Cube trade to be a little bit more rounded here, so I'll double click on fill it in the timeline, and then I'll change this 2.17 inches. Now the last thing will do here is an edge running around the outer surface. First, we'll need to add a fill it to our edges. So a click letter F on the keyboard and I'll select all four corners. Then I'll punch in 0.4 inches and click. OK, now we're going to have to create a sketch on her center plane, so I'll click, create new sketch and then select the X Y plane. Then I'll use this zoom window feature in the display settings, and I'll drag over the top left corner of the Ice Cube tray. Now this feature is a great way to quickly zoom in on a specific area of your model. At this point, all hit L from line and I'll just draw a parallel line down 0.0.25 inches and another line . I'll go over 0.25 inches. I'll hit L again and I'll go up 0.7 inches and I'll go 0.7 inches from the top and Then I'll draw two lines here to connect this backwards L shape and you'll notice as I hover the mouse around some of these other lines here, it will give me these helpful, dashed reference lines. Now I'll grab the sketch Philip Command, and I'll add a fillip of 0.1 inches to the bottom corner, and I'll select fill it again by right clicking and hitting. Repeat, Philip Command. This time I'll click the inside corner here and make this 1.5 inches. I'll go ahead and stop the sketch and will activate the Sweet command. I'll select the profile or the shape that we just created, and I'll select the upper line of the Ice Cube tray as the path. Lastly, I'll change the operation to join, to make sure that it actually joins to the rest of our object. And then I'll click. OK, now, if we take a look at our tray, we have a nice and simple ice cube tray. I didn't want this beginner lesson to go long or to get too complicated, but if you want to play around with this or create another one, you can take it a step further by curving the ice cube shaped. Or you could also cut out some of the end ends here, so the tray is stackable. We can also right click and throw on a quick plastic appearance, and maybe I'll change the color here to a light blue. Thanks for watching. I'll see you in the next tutorial. We'll show you how to a three D model, a hex nut using the Revolved and Polygon sketch features. 9. Day #6 - Fusion 360: Hex Nut: Hey there it's Kevin and welcome to day number six of Learned Fusion 3 60 30 days. In this tutorial, I'll show you how to three D Model a hex nut. You'll learn how to use the polygon sketch tool, create a mid plane, use the mere feature and use the whole feature before we get started. Let's make sure that our document settings has the unit set two millimeters. Then let's start creating are threaded hex nut with a circumscribed polygon on the top plane. As you click on the center origin and drag out, you'll notice weaken, type the distance and the number of sides the polygon has well. Type in 10 millimeters for the distance and keep the number of sides set to six. Now to exit, the Polygon sketch feature will click on the vertical or horizontal line, making sure that air hex nuts snaps into place with the same orientation are X and Y axes will create the thickness of the hex, not by using the extrude feature. If you remember from the previous lessons, we can either go to create and select extrude or we can hit the keyboard shortcut letter E . We'll drag the arrow up until we get to 10 millimeters and will hit enter to escape the extrude command. Now we want to create the champ furred edges of the hex nut. In many cases, we could simply use the champ for command, but it won't work with this hex nut because we want the champion of follow this inner circular shape. Fortunately, like anything infusion 3 60 there are always work arounds to achieve exactly what you're looking for. The Let's go ahead and view the nut from the home position. Now I want to create a new sketch on a plane that goes directly through the center of the hex nut. So when we use the REVOLVE, feature will have a symmetrical shape to create. This plane will simply create a new sketch from the X Y plane of the browser by right clicking and hitting creates sketch. I'll view the front plane of the object and called the line Command with the keyboard shortcut Letter l. Now we'll create a horizontal line in a vertical line both with dimensions of 1.5 millimeters, will connect them together, making a triangle shape, then, using the REVOLVED feature we can rotate this Champ Word shape around and cut it out at the same time. After clicking the REVOLVED feature on, make sure to select the profile or this triangle shape we just created, and I'll select the center axis. Lastly, will want to make sure that we have cut selected as the operation, ensuring that we're cutting away from the shape and not adding to it. If we click the home position and take a look at what we just completed, will notice that the champers edges follows or revolved around the circular shape. Now most hex nuts are symmetrical, so want the champion edges that we just created toe also be on the bottom of the hex nut. To do this will use the mere feature, but first we need to create a center plane that will reference to create a center plane, also called a mid plane, Select mid plane from the construct Drop down menu. Then all we have to do is select the top and the bottom surfaces. Now, if we exit the mid plane command, we can call the mere feature from the create drop down menu. Looking at the mere dialog box you'll see that we have a few different options. Dimier For this specific scenario, we want Samir the Revolve feature that we just completed, so we'll select feature as the pattern's height. Then we'll go ahead and select her object by clicking on the Revolve. In our timeline, lastly will select the mid plane that we just created, as are mere plane and click OK to see the results. Now that we're done with this mid plane, we can hide it by right clicking on it and clicking the show hide lightbulb or as an alternative, we can always use the keyboard shortcut. Letter V. Now the last thing we need to do to finish off her threaded hex net is create the threaded hole. We could do this by creating a circular sketch, creating an extruded cut and then creating a new thread. But a much faster option would be to use the whole feature. You'll find the whole feature under the create drop down menu or by calling it with the keyboard shortcut. Letter H, after activating the whole command, wants a click directly on her center origin. Now we'll see in the whole dialog box. We have many different options that we can edit, allowing us to create the perfect threaded hole for our needs. For the purpose of the hex nut will select counter sink as the whole type. Giving us thes champ urd or counter sunk edges will select tapped as the whole tap type, which will create the threat. In our whole, we'll select full as a threat offset because we want the threat to be the whole entire length of her whole and will use this arrow to drag this down. 10 millimeters and we'll leave the drill point on flat. Now the length here we have already created by dragging the arrow down so we'll use 12 millimeters as the with, and we'll leave it at 90 degrees. The last few options here come in handy if you're three d modeling a thread or whole specific to some sort of international standard for this example, I'm just going to use G B Metric profile 12 millimeters as the size M 12 times one as a designation and the last two options we can leave at their default now. Last but not least, we have the most important step of this dialog box in its current state. The threaded hole we've created thus far is just a graphical image we have to select, modeled here to make sure the threat is actually three D model. If we were to leave this unchecked, the thread would simply be a visual representation of a thread. And it would not show up if he went to three D. Print this or export this to another program. Now taking a look at this hex. Not if we're not happy with the champion edges here, and we want them to go a little bit further. We can go back to our original sketch, double click on it in the timeline, and we can change both of these dimensions to two millimeters. Then, if we stop the sketch, you'll see that our heck SNA has a little bit more of a champ for here. Thanks for watching. I'll see you in the next video, or I'll show you had a three d model. A bike handlebar grip within boss letters using the press poll feature 10. Day #7 - Fusion 360: Bike Handlebar Grip: Hey there, it's Kevin and welcome to Day number seven of Learn Fusion 3 60 30 days. In this tutorial, I'll show you have a three D model, a bike handlebar grip. Within Boston letters, you'll learn how to use the press pull feature, how to create text and how to create a new body. So to get started, let's create a center rectangle on the front plane. Well, answer. 1.25 inches for the height and five inches for the length. Now we're going to create the bike handle grip this way so we can add a pattern before we revolve it around. So I'm just going to use the rectangle sketch tool and draw one out. Now, one great thing about Fusion 3 60 is that you can edit features later on in your timeline. So sometimes it's best to simply play around and try things out as we can always go back and change it. So after I draw this rectangle, I'm going to use the rectangular pattern tool to extend it across the length of the handle . All punch in 50 for the number of times to pattern the rectangle, and then I'll just dragged the arrow over to the right. Now I'm just going to draw a line, cutting the rectangle in half so we can revolve the top around the center access. And again, we'll use the keyboard shortcut Letter L for line, and we'll click the first point in the second point. Now we'll call the Revolved Tool from the create drop down list and will select the profile shape and for the access will select the center line we just created now. At this point, if I didn't like the thickness of these rubber grips, I could go down to the Fusion 3 60 timeline and edit the original sketch. Now I can either right click and select Edit Sketch or Aiken. Just simply double click on it. Now. If I zoom in a bit, I can simply drag around the first rectangle we created and you'll notice because I use the pattern tool. All of the other rectangles will naturally follow any of the changes I make now. Once I'm happy with position, I'll click the stop sketch button on the toolbar. At this point, I want to create an aluminum ring around the inner part of the handle here. To do so will create a sketch on the left side by calling Circle with the keyboard shortcut See, and I'm just going to click in the centre Origin and drag it out a bit further than the existing shape. Now we'll hit Letter E on the keyboard for extrude, and I'll drag it over half a niche. Now here's the important part. If we take a look at the extrude dialog box will see the operation feature at the bottom is currently set to join. Now, if I were to leave this set to join than this shape we just created will join or literally be part of the rest of object. But if I change this to new body, I will have an entirely different object which will allow us to make this different material or color. So if I right click on this shape and select ed appearance, I can drag an aluminum material onto it and you'll see that it only applies to this part of object because we created a new body. Now, every time you create a new body or component, you'll be able to look at it in your fusion 3 60 browser. So we'll go ahead and close the appearance dialogue box and now will want to make our handlebar grip hollow so it can slide onto a bike handle. So under the modified draft down this will create a new shell, will select the side of the handlebar, and I'll enter the dimension of 0.5 inches. Now I want to add some text or branding to the handlebar, but first I'm going to need to clear a surface on the side to do so. I'll zoom in on the right, and all right, click on the farthest grip here in order to create a new sketch. So I'm just going to draw a circle slightly smaller than the whiff of our handlebar grip, and I'm going to draw a line across the top and the bottom. Now again, I'm just guessing here, and if I'm not happy with the results, I can always go back and edit this later on. We'll have to now view it from the right corner again and will hit letter E for extrude and will cut away most of this by dragging the arrow over to the left and I can click on the fifth or six ring here to get the extrude cut to snap to it, and I'll go ahead and click OK to finalize the cut. Now to create text will select texts from the sketch drop down menu and select the center plane on the X axis with the text featured. The first thing you always have to do is select where the text will start, so I'll just click anywhere here as we can always move this and then I'll go ahead and type in Mountain near as the brand in the rest of the textile o box. You can play around with the text, height, the angle, the font and a few other options. So I'm just going to tweak the options here until I'm happy with the result. And then I'll click OK toe exit the text feature. Now, if we view this from the left side, we'll see. The text is just floating on the plane in the middle of our grip, so we'll have to extrude so it pops out of this outer surface here. But instead of using the extruded fan, I'm going to right click on the text and select the press pull feature. So the main difference with the press pull feature and the extrude feature is that press poll works on faces and or edges, while the extrude feature works on a sketch profile or plainer surfaces. So you'll have to select your text if it's not already selected for the profile. And then I want you to take note of where the arrow is currently at. Okay, it's in the middle of our grip just next to the text. Now in extrude dialog box. We're going to change the start from two from object and then select the outer cylindrical surface here. Now you'll see the arrow jumped to the outer surface. So if we type in 0.3 inches for the distance, you'll see that our taxes being extruded from the cylinder here and not in the middle, where a text plane actually is now. Obviously, that is what we wants. We'll go ahead and click OK, now, taking a look at this, I don't like how much spaces around the text, so once again, this isn't a problem, because we can go back and edit features. I'm going to right click and added the sketch and I'll just dragged the lines around until they're closer to the text. Well hit stop sketch on the toolbar and take a look at these new results and I can go ahead and keep playing around with this until I'm happy with the final results. Lastly, all throw a fillip of 0.1 inches on edge here, and I'll add the appearance of rubber to make it a bit more realistic. And if I want to edit the color of an appearance, I can just double click on it and then change the color. Now, another cool thing that I can do here is I can hold down, shift and select the face of all of the letters of our branding. And then I can drag a different material to it and change that color to red. So I'm just gonna go ahead and do this a couple letters at a time. Thanks for watching. We'll see you in the next video. We'll show you have a three D model a door. Stop using the draft feature 11. Day #8 - Fusion 360: Door Stop: Welcome to Day number eight of Learned Fusion 3 60 30 days. In this tutorial, I'll show you had a three D model, a doorstop. You'll learn how to use the box. Feature The cylinder Future The Champion Tool two Tangent Circle feature. How to create construction lines and the draft feature. So to get started will create a simple box using the box feature, which essentially saves us the step of having to create a rectangle sketch that would be extruded anyway. Now the box feature could be found under the create menu. After selecting it, you'll be prompted to select a plane, so we'll select the top plane and click on our center origin and drag it out well. Type in 1.8 inches for the with in five inches for the lake. After hitting enter, you'll notice it's already created a box and weaken. Simply increase or decrease the height with the arrow, or by typing in the exact dimensions for the height. All inter only 0.2 inches because the draft feature will create the rest of our thickness later on. Now we'll use the cylinder feature another create menu, select the top of the box that we just created, and then we'll select the midpoint here. You should see a triangle any time that a feature can snap to the midpoint of a line or plain. So I click in the mid point and then I'll just click on the edge of our box, giving it the same with. And once again I'll use the thickness of 0.2 inches. But this time I'll have to make sure that I'm heading in the same direction as the box, and I'll make sure the operation is set to join before clicking. OK, now that we have our basic shape down, we're going to use the draft feature to create the angled surface of the doorstop. When we activate the draft feature from the modified drop down lists will be prompted to select the plane and which will select the front here. And then we'll select the top face for the faces selection. So if you see this dotted line here, that is the point in which the draft angle pivots. So if I take this slider and drag it to about nine degrees, then we'll get the basic shape of the doorstop. Now, after clicking OK will want to add a few things to make this doorstop work a little bit better. The first thing I'm going to do is at a champ for to the front of it. In previous lessons, we use the fill IT tool, which creates rounded or affiliated edges. On the other hand, the champ for tool creates beveled or champ Erred edges. Now, after selecting champ for from the modified drop down list, I can select the front line of the doorstop and type in 0.2 inches, which was our thickness. You'll see that immediately after I type in the dimension, it applied a beveled edge to the front. Now we'll use the View cube to take a look at the bottom. We'll use the shell feature from the modified drop down list. Toe hollow out the body, making it more realistic. Like this were some sort of injection moulded plastic or rubber. After activating the shell, command will select the bottom face and linzer 0.1 inches for the thickness. The next thing I want to do is add a fill it or rounded edge around the top surface so the doorstop doesn't have any sharp edges. I'll call the Philip Command with the keyboard shortcut letter F, and I'll select the top four lines and type in 40.8 inches. Lastly, I would like to add some rubber grips to the top surface of the doorstop so a heavy door doesn't slide away from it to start off. I'm going to create a new rectangle, and we'll click on the top surface here. I'm going to make the rectangle 0.1 inches wide, and I'm just going to drag way past the top here because they'll round out the top in the minute. Now I'm going to hit the escape key to escape the rectangle command, and then we'll hit letter seat, the keyboard shortcut for center circle. Well hit letter T the keyboard shortcut for trim. And then I'll select the two lines to get them out of the way and clean up my sketch of it . Now I'm going to use the rectangular pattern sketch tool to create four total grips, and I'm Onley gonna have them take over half of space because I'm gonna use the mere future to create the rest. In just a minute, I'm going to select all the lines and the circle here and then all type in 0.6 inches for the distance and four for the number of times to copy. So before we mere these over to the other side, I would like to round over the top of each rectangle. To do this will use the two tangent circles Sketch Tool. Now, after activating it, will simply click on one line, followed by the other, then a repeat this step for the other three rectangles. Now, before I extrude, these rubber grips will have to copy them over with the mere future. First, I'll need to create a center line that the mere future can reference. So I used the keyboard shortcut Letter L to draw the line directly in the center, and any time we add lines that air solely for reference purposes will want to select the line and hit letter X on the keyboard, which is the shortcut that turns the line into a construction line. So construction line is on Lee used for reference purposes. Now, after selecting the near future from the sketch drop down list, I can simply click and drag completely over the sketch items here which will select it all for me. Then I'll select the mere line selector and click on the construction line that we just created. Now, after exiting the mere command by clicking, OK, I'll activate the extrude command with Letter E, and then I'll select all of the rounded rectangles that I've created. And because we didn't trim out the top circles, I'll have to select those separately now. Normally, I would have trimmed those out, but I wanted to reinforce why we actually use the trim feature on the bottom here. Next, all extrude these up 0.5 inches and then I'll activate the Philip Command with the keyboard shortcut letter F and around over all these edges 0.4 inches. And last but not least, I'll just throw a simple rubber material on here by right clicking and selecting Edit appearance, and I'll double click on the material to change the color to a light brown. Thanks for watching. I'll see you in the next video. We'll show you had a three D model and led light bulb using this fear tool 12. Day #9 - Fusion 360: LED Light Bulb: Welcome to Day number nine of Learned Fusion 3 60 30 days. In this tutorial, I'll show you had a three D model in led light bulb. You'll learn how to create a sphere, and we'll take another look at using the Champ Ritual and the thread tool. We'll start off by making sure that our document settings air set to millimeters if they're not. You can always click on this icon here and select millimeters from the drop down list. Then I'll activate the cylinder future from the create drop down menu. Click on the top plane, click on the center origin, drag out with my mouse and type in 30 millimeters for the with Next. I'll go ahead and dragged the arrow up or type in 40 millimeters for the height and I'll click OK toe exit the cylinder feature Now that we have the stem of our bold will, use the sphere tool to create the top but first all hit letter. L've the keyboard shortcut for line to create a construction line on the X Y plane. I'll click on the top of the cylinder and draw the line up 20 millimeters, making sure the lines selected all hit Letter X, the keyboard shortcut that turns a line into a construction line. Now I'm turning this into a construction line because I'm on Lee going to use it for reference purposes. Now I'll go ahead and activate the sphere tool from the Create Drop down menu and click on the end point of the construction line. I'll type in 61 millimeters for the width of the sphere, and then I'll make sure the operation is set to join. Now to show the difference embodies here. All right, click on the bold part and click on appearances. Now the bulb a modeling is often newer led bulbs, so the top here is made out of plastic. I'll drag a white glossy plastic on top, and then I'll hit the escape key to exit the appearances. Feature at this point will want to add a nice taper connecting the Bold and the cylinder. Here. I'll select the line in the middle here, and then I'll hit letter F. The keyboard shortcut for the Philip Modify Command after activating the Philip Command. All punch in 45 millimeters and click OK on the Philip Dialog box. All hit letter F for fill it once again, and this time I'll select the bottom of the stent. I'm going to add a fillip of four millimeters before creating the thread on the bottom. Here. Now to create the threaded area on the bottom will activate the cylinder feature from the create Drop down menu and select the bottom plane. Here I'll click the center origin and drag my mouse out until it connects to 22 millimeters before exiting the cylinder dialog box will change the height to 15 millimeters and make sure that the operation is set to new body Now. To add the thread will select thread from the create drop down menu. I'll click modeled so we can see what we're doing here and will select the thread type to take a look at the presets now in the US, where I'm located. Standard thread for light bulbs is E. S, which is short for Edison's group. I'll select ANSI Metric M profile for the thread type. Then I'll select M 22 times three for the designation. I'll uncheck full length and I'll add an offset of three millimeters Now. The reason I added in offset because we'll want to add a champ for to the end of the thread . So a click OK to exit the thread command. At this point, I want to add a champ for to the bottom Here, I'll select champ for from the modified drop down menu and I'll select the bottom of the cylinder. Then I'll type in five millimeters before clicking. OK, toe exit the command Now. All also added fillip on the top of this champ for to give it a nice, smooth edge to add the fill. It all hit letter F once again, and then I'll select this line and type in two millimeters. The last thing we need to do is add the electrical foot contact onto the bottom of the bolt . I'll use the cylinder feature once again, this time clicking this center origin and dragging out until it snaps to just over 10 millimeters. I'll go up to millimeters for the distance and I'll click OK toe exit the command. Now I'll activate the champ ritual once again and I'll add a champ for of two millimeters to the electrical foot contact and based on the bulb. I'm looking at this could be rounded a bit more. I'll edit the Philip by double clicking on it in the timeline, and I'll change this. Fill it toe five millimeters. Lastly, I can right click on the bulb and select appearances. We'll simply find a plastic appearance for the middle part and all. Dragon drop in aluminum appearance for the threaded bottom. Thanks for watching. In the next video, we'll show you how the three D model a phone case using the sweet feature. 13. Day #10 - Fusion 360: Phone Case: Hey there it's Kevin Kennedy and welcome to day number 10 of Learn Fusion 3 60 30 days. By the end of this tutorial, you'll be able to three D model of phone case for three D printing. You'll learn how to upload files. How to use the EXTEND sketch feature, how to project a Sketch and how to export your STL file for three D printing before we get started, will want to make sure that our document settings are set to millimeters. If they're not, you can click on the Change Active Units icon under the Document Settings and Select Millimeters from the drop down list. Now I'm going to import an iPhone X for this demo, which I've linked up in the description. If you have a different phone, you can import the phone of your choice and follow the same steps in this tutorial as there are plenty of free CAD files online. I double checked the dimensions of this model, and I'm going to import it because it will save time, and I could be more focused on the design of my phone case and less worried about the overall dimensions. Teoh import the file. Open up the data panel, click the blue upload button and select the file from my computer. After the file has successfully uploaded Weaken, double click on it to open up the file. Now an important step here that you don't want to miss. Before we start modeling, anything will want to right. Click on the route of the browser tree and choose captured design history to convert to a history based design. If we didn't do this, you wouldn't see a timeline down here. As imported models, infusion are treated as direct modeling, not history based design. Now a phone case can seem pretty complex, but we'll break it down step by step, making it into achievable chunks. So the first thing that I want to do is create a band that follows around the outside shape here, and at this point, I'm not worried about all the button cutouts. I'll create a new sketch on the X Y plane, and I'll activate the spine command from the sketch drop down menu. Now I'm just going to copy this curve shape of the iPhone here, and I'll drag around the spine handles until it looks right now. We'll want to create the thickness of the case before we go ahead and sweet this shape around the phone to do this all hit letter o the keyboard shortcut for offset and I'll punch in two millimeters for the dimension and hit. OK, you can punch in whatever dimension you'd like, but I found that two millimeters works pretty well for three D printed phone cases. Now I'll have to close the shape off because we need a closed profile in order to sweep it along a path. I'll hit the keyboard shortcut letter L for line, and I'll draw to vertical lines, one on the top and one on the bottom. Then I'll select extend from the sketch drop down menu, and I'll extend both of these lines by selecting them. And before we move on, all hit letter T to activate the trim tool and I'll go ahead and trim the excess lines away . Now we can sweet this profile around the outside of the phone by activating sweep from the create drop down menu. Then I'll select the profile shape that we just created, and I'll select each line here of the phone model until it follows the path all the way around to the other end. Alrighty. So now that we have the basic bumper of the phone case will want to cut out the holes for the buttons. I'll go ahead and select the suite that we just created, and I'll hit the keyboard shortcut letter V, which is the shortcuts of you or hide objects. Then I'll create a new sketch off the buttons here, and I'll activate the rectangle tool with a keyboard shortcut letter are I'm just going to drag over all of the buttons and then I'll hit letter s to bring up this sketch search box and I'll type in fill it. I'll select the sketch. Fill it here not to be confused with the modify Philip Command, and I'll add a fillip of 1.5 millimeters to each corner. Now that we have the shape to cut out, will activate the extrude man by heading letter E on the keyboard. I'll select the profile shapes here, and I'll change the direction to two sides. I'm just going to drag both. There's out, making sure that they're far enough to cut through the phone case. I'll click OK on the extra dialogue box and I'll click on the light bulb to turn the phone case shape back on. Now, looking at the phone case, we can see that we didn't actually cut through it. And we messed up our iPhone model here. Now I want to show you guys a cool feature that is often overlooked with the extrude cut command. If we double click on extra command, open it back up. We'll see at the bottom of extrude dialog box, weaken, select or de select objects to cut to fix our phone. Here we went toe unsolicited all of the bodies of the phone and will need to select the one body of our phone case. Then we'll click OK to exit the command and take a look at the results. At this point, I'm going to do the same exact steps to the button on the other side here, and I'm going to speed up the screen cast for the sake of time in its current state. You could leave the phone case at this, creating a nice, minimal, bumper like phone case, or we can continue on by making the back of the phone case to create the back. I'll look at the bottom of the case now. We'll want to add a solid back, so I'll create a construction plane through two edges by selecting it from the construct Drop down menu. I'll simply select one edge and then opposite edge and you'll notice the plane is created and I'll click OK to exit the plane dialog box. Now we'll create a new sketch by right clicking on the plane and select Create new sketch. I want to reference the phone shape that we already have, so I'll select all of the lines here while holding down the shift key. Once all the lines on the topper selected, I'll turn them into sketches by going to project under the sketch drop down menu or by hitting the keyboard shortcut, Letter P. And for some reason here, the project sketch didn't work, so I'll go back around making sure that I have selected all the line Now, as soon as we see that orange tent, we know our profile shape is closed and I can hit letter e toe. Activate the extrude command. I'll extrude this down to millimeters, making sure that I don't forget to select join as the operation now that we have the button cutouts and each side will want to make a cut out for the bottom or the charging port and speakers are, I'll select the case and I'll hit keyboard shortcut letter V. Once again toe hide it and then I'll re show the phone. Then I'll create a new sketch off the bottom here. This time, I'm just going to use the line command to create an angled cut out, and I'll draw a line on the left side. And then I'll draw a line from the middle, which will make a construction lined with the keyboard shortcut. Letter X. Now I'll use the mere Sketch command to make sure I have the same angle on the other side. And then I'll connect the lines on both the top and the bottom. I'll hit Letter E to extrude, and I'll select the profiles here that I want to cut out. Once again, I'll make sure this is multi directional and that the operation is set to cut. I'll click OK, re show the phone case and double click on the latest extrude in the timeline. I want to make sure that the phone cases the Onley body selected under the operations to cut list now because I added a back also need to cut out the whole for the camera. I'll hit the keyboard shortcut letter C to create a center circle on the top of the camera , and then I'll create a 2nd 1 Now we'll hit Letter D on the keyboard to dimension them to 13 millimeters each. And then I'll hit letter L to connect them with tangent lines so you should see the little tangent icon show up. Next, I'll activate the trim feature with letter T, and I'll trim out all these unnecessary lines. Then I'll go ahead and do the same steps we've been doing by extrude cutting this whole out of the phone case and not the phone itself. Now, at this point, you could essentially be done. But this is also where you can really get creative and insert in SPG with a logo. Maybe add some text, or you can also create a pattern for the back of your phone case. So I'm gonna answer an SPG pattern that I created. If you'd like to use the same pattern, I'll put a link to it below. In the video description, I'll go to insert and select insert SPG, and then I'll select the back of the phone case as the plane. I'll just resize the pattern here and move it around until it looks like it's in the right position. Once the pattern is in place, I can drag over the entire patterns to select all of the profiles, and I'll hit Letter E on the keyboard to extrude cut them. I'll drag the arrow down to make sure it's cut all the way through, and I'll click. OK, at this point, we're just about done. The last thing that I'd recommend doing here is to add some nice rounded edges toe all of the outside borders, so I'll select fill it from the modified drop down menu and will add a fillip of one millimeters toe all these edges. And then I'll go ahead and do the same thing around the button and camera holes. Now, if you're looking to export this for three D printing, you can right click on the phone case body in the browser tree, Select save as STL and save the file or you can also export it directly to your three D printing software. Thanks for watching. Stay tuned for Part two of the Siri's Learn Fusion 3 60 30 days for complete beginners. In the meantime, be sure to check out product design online dot com for more resource is infusion 3 60 tips . 14. Day #11 - Fusion 360: Dog Bowl: Hey, there's Kevin Kennedy and welcome to day number 11 of Learned Fusion 3 60 30 days. By the end of this tutorial, you'll be able to three D model a dog bowl. We'll take another look at the REVOLVED feature, and you'll also learn how to set constraints. Lock in sketch lines, look at the section analysis and offset and thickened surfaces in the patch. Work space to get started will insert a reference image, which I've attached below in the video description. Now the reference image is half of the dog bowl because we'll use the REVOLVED feature to create the rest of the shape. I'll select attached canvas from the insert drop down list. I'll select the front plane and then I'll select the image from my computer. Now I'll go ahead and rotate this around, making sure that it's right side up. And I'll also set the opacity to 15% after clicking. OK will want to calibrate that image size, so it's the same as our reference dimensions. I'll open the Campuses folder, right click on the image and select calibrate. Then I'll click at the left of our 100 millimeter mark and I'll click of the right and I'll type in 100 millimeters now. After hitting answer, you'll see that the image was resized to the same dimensions as outlined on a reference image. Now, before we start drawing our sketch, I'll double click on the reference image in the timeline to reopen it, and I'll click and hold on this square in the middle, which will allow me to freely drag it around now to make things even easier for us will drag this around. So the center origin of our reference image lines up with our center origin point, and then we'll click. OK, at this point will go ahead and start drawing the outline of the dog bowl. I'll start off by hitting the keyboard shortcut letter l toe. Activate the line command and I'll click on the front face. Then I'll select the origin point and I'll drag over to the right, making this 100 millimeters long. I'll make this vertical line 2.5 millimeters hit the tab key toe lock, the dimension in place, and then I'll create another line. 10 millimeters to the left for the next line. All type in 55 millimeters hit the tab key, and then I'll type in 100 degrees for the angle. I'll hit the tab. Tito. Lock the angle in places well, allowing me to click anywhere without throwing off the dimensions. The next line I'll go over to the left 15 millimeters and then this line heading downwards . I don't know the length of it, but I know it's 100 degrees from the horizontal line. So enter 100 degrees at the tab key to lock it in place, and then I'll select down here. I'll hit the escape key and then I'll reactivate line with Letter L. And they'll create the 10 millimeter vertical line from the centre origin. And then I'll create the last line here, which will close off our profile shape. So you'll see that after I selected where the lines meet the profile shaped turned orange. Now this signifies that it's properly closed. Now, before we start adding fillets, there are a few different things will want to do. First, let's go ahead and activate the trim tool by hitting letter T on the keyboard, and we'll click on the extra part of the line here, so it doesn't mess up any of our fillets, and I'll hit escape to exit the trim tool. Now this point will want to add constraints to some of the lines, making sure that our overall profile shape doesn't get messed up when we go to add fillets . If we look at some of these icons and click on them, we'll see that we already have a horizontal and even some perpendicular constraints. I'll add a few more constraints by right clicking on the line and selecting horizontal. Now, before we add the fillets to this sketch, I'm going to click on the camp's light bulb to turn off the reference image, so it's a bit easier to see what's going on. I'm also going to add a dimension to this horizontal line here so it doesn't change and then I'll activate fill it from the sketch drop down menu. I'll select the first corner type in five millimeters, and then I'll select these top two corners. You'll notice. As we added these fillets, it took away some of the constraints and added, some tangent constrains to our sketch. All right, click toe, Activate Phillip once again, and I'll add a fillip of 2.5 millimeters to this outer lip of the bowl. Now, before we exit this sketch, I'll hover over the entire sketch to select everything and all right, click and select fix slash unfixed. This will lock all the lines of the sketch in place, ensuring that we don't accidentally move any of the lines or change any of the dimensions as we continue to work. Now, you'll see that some fusion users like to fix lines one by one as they draw them, and others like to do entire sketches at once. Now it really just depends on your workflow and personal preference. But either way, it comes in handy, especially if you're going to be working on the same file with someone else. We'll go ahead and stop the sketch, and then I'll activate the revolved tool from the create drop down menu. We'll select the profile sketch we created, and we'll select the center origin line for the Axis. I'll change the operation to new component, and I'll click OK, now that we have the overall shape of the dog bowl will need to make the bottom hollow. To do this, I'll activate the shell tool from the modified drop down list, and I'll click on the bottom plain and type in 2.5 millimeters for the thickness and you'll see the after we click. OK, we've created this nice dog bowl shape. Now sometimes when creating models, you'll want to take a look at the inside to make sure that things are how they should be. Now I want to double check here that this bottom surface is raised off the ground. So all select section analysis from the Inspect Drop Down menu. I'll click on the Y Z plane and then I'll hit. Okay, you'll see. Now we can take a look at the overall shape that we've created after revolving it. And if we go over to the analysis folder, we can talk about this on and off whenever we need it. Now the last thing will want to do is create a rubber band that fits around the bottom of the bowl here, making sure that our dog bull doesn't scratch any nice wood floors. So before we do this, I'm going to fill it the edges of this outer lip, making sure they're not sharp. I'll hit letter F on the keyboard to select. Fill it and then I'll select the top and bottom lines and I'll type in one millimeter and click OK now to create the rubber. Banding will go to the patchwork space, and I'm going to use the offset tool from the create drop down lists. Then I'll select a dog bull as the surface. I'll type in 0.2 millimeters for the offset distance, and I'll set the operation to new component and click. OK, now it's a little bit hard to see what we just did here, so I'm going to rename the components. I'll double click and make the 1st 1 dog bowl, and I'll name the 2nd 1 rubber. I'm also going to right click on the rubber Select appearance and all Dragon drop a soft rubber onto the rubber component. Now, if I toggle the rubber component on and off, you'll see that we have our dog bowl and we have a rubber. But we obviously don't want the rubber to cover the entire surface, so we'll have to trim some of it away. So I'll create a new sketch off the bottom plane and I'll hit letter C on the keyboard for center circle. I'll click on the center origin drag out, and I'll type in 185 millimeters for the distance. Then I'll hit letter E for extrude, and we'll need to select the circle we just created and dragged the arrow up. Now we can select to object from the extent menu and select the top of our dog bowl. That way, we're not cutting any further than necessary. Then all toggle the objects to cut folder and we'll insulate the dog bowl. So you see, this is one reason it's a good habit to rename your components and bodies. It will make it a lot easier to select the right thing when using certain tools. Infusion. Let's click OK and take a look at the result. Now, if we take a look at the section analysis again, we'll see that the rubber band isn't very thick, so I'll select thicken from the create drop down menu. Click on the rubber ban, and I'll make this 1.5 millimeters thick. Now we have a nice protective rubber band around the bottom of her dog bowl. The last thing I'll do here is add the appearance of stainless steel by right clicking on the bull component, and I'll Dragon drop polished stainless steel onto the dog bowl, then also have to reapply the soft rubber to are banding here because the thick and tool created a new body, so we lost the appearance we previously had. 15. Day #12 - Fusion 360: Auger Bit (Spiral Helix): Hey there, it's Kevin Kennedy and welcome today Number 12 of Learned Fusion 3 60 30 days. By the end of this tutorial, you'll be able to three D model in Auger Bit. We'll take a look at how to create a new component, how to use the pipe feature and how to create a sweet following a helix, along with how the loft to a point Before we get started. I would like to say thank you to all of my subscribers who have been watching the series so far. If you're new to the product design online channel, to be sure to hit that red subscribe button right now, and also be sure to drop a comment below with any questions or struggles, you face Infusion 3 60 so I can address them in future videos. Now we'll start off by creating a new component by selecting new component under the Assemble drop down menu. We're going to create a new component because it will group all of our bodies and sketches within the component, and it will give us a few other advantages. Should we create assemblies or need to make copies of the component in the component dialog box. I'll make sure empty component is selected, and it's a good idea to get into the habit of naming your components and bodies as you create them. So we'll go ahead and write out Auger bit for the name and click. OK, now I've noticed a lot of people are confused on the difference between components and bodies, so I'm going to take some time to explain the differences and demo a few different things for day number 13 of Learned fusion 3 60 30 days. Now we're going to create the center rod of the auger bit by using the pipe command. If we select pipe from the create drop down list, you'll see that I can't actually create a pipe without a path for it to follow. So we'll hit close and we'll go ahead and call the line tool with the keyboard shortcut Letter L. And I'll click on the X Y plane. I'll click on this center origin, drag my mouse up and type in 750 millimeters for the distance, followed by the tab Key toe like the dimension in place and I'll click with my mouse and then hit the escape key toe exit the lying command. Now, if we go back to the create menu and select pipe, we can create a pipe by selecting the path or the line that we just created. Chain selection wouldn't matter because we just have one line. But if we had a spine or multiple lines making up our path, then we would have to have that selected if we wanted it to follow the whole line. Now the distance is how far along the path the pipe follows. So if I dragged the arrow up, you'll see the distance changes. But we'll go ahead and leave this at one, so it's set to the full length. The next option. You'll see that I can change the section of the path by selecting a square, a triangle or the circle, which will leave it on for now. Next, you'll see that we can change these section size or the with of the pipe. So I go ahead and type in 38 millimeters for the with all select Hollows or pipe isn't solid, and you'll see that as I selected hollow, it gave us the ability to now punch in this section thickness or the thickness of our pipe . So I'll go ahead and change the section thickness to three millimeters and click OK to exit the pipe Command before we go any further, I'll hit Save entitled this Auger bit and I'll click the blues save button Now, in order to create the sweep, will have to create a helix shaped that revolves around our pipe. And there are a few different ways that we can do this. Infusion 3 60 Unfortunately, Fusion doesn't offer Helix Sketch Command like some other CAD programs, but as the first viable option, there is a free helix plug in, created by Patrick Rains Bury, that allows you to create helix sketches holding to that plug in and the installation directions in the description of this video, if you'd like to play around with it. But for this video, I'll show you the second feasible option, which is to create a coil and then project a sketch from it. So I'll activate the coil future under the create Drop down list, and I'll select on the top plane. Then I'll take a look at this from the top view. I'll select the center of our pipe. I'll drag out with my mouse and I'll select the inside of the pipe, which is at 32 millimeters. I'll change the revolutions toe five, so the auger bit spirals around the center pipe five times, and I want them to go up a little over half the pipe, so I'll punch in 450 millimeters for the height. If we take a look at this from the top of you again, we can see where the coil is compared to the pipe, and we want the coil, the line up with the outside of the pipe. So I'll change these section position to outside, and I'll type in three millimeters for the section size, which is the same thickness we made our pipe. Lastly, I'll change the operation to new body and I'll click OK, looking at the front of the pipe. We can't really see the coil because it lines up with the outside edge of our pipe. So I hit the light bulb for the pipe in the browser. I will also go ahead and rename the bodies by double clicking on them and typing out pipe and coil, respectively. Now to project the sketch. I'll go to the sketch drop down menu. Find the project slash include folder and I'll select Project a Surface. Then I'll have to select the front plane here and I'll select the coil for both the faces and the curves. And then I'll click. OK, at this point, we're done with the coil, so I'll turn the coil off in the browser by hitting the lightbulb icon. We'll want to create a rectangle shape that will sweep around the Helix sketch that we have . First, I'll create a new plane off the path by going to the construct menu, and I'll select clean a long path. Then I'll click on the Helix and I'll click. OK, we'll right click on the plane and hit. Create new sketch. Ah, hit letter L on the keyboard to call the line Command. I'll go over to the right 113 millimeters. Hit the tab. Key toe lock the dimension in place and I'll click with my mouse. I'll go up 3.5 millimeters, hit the tab key and click with my mouse. I'll go back to the left. 113 millimeters hit the tab key and click with my mouse and I'll go down to connect the lines and close off the profile, which will be signified by the orange background appearance. Now. It can also add some extra constraints by holding down the shift key and clicking both of the horizontal lines. Then, all right, click and select the parallel constraint. All right, he saw hit Stop sketch in the toolbar, and then I'll activate the sweet command from the create drop down menu. I'll start off by selecting the profile that we just created. I'll select the coil as the path now, at this point, you can see that it doesn't have enough to create this sweet, so I'll switch the type from single path to path plus guides surface, and then we'll select the bottom of our pipe as the guide surface. I'll make sure that the operation is set to new body and I'll click OK, then, before I forget or rename the body by double clicking on it in the Fusion 3 60 browser and all type out metal spiral. Now taking a look at the bottom of her auger bit, we don't want the dirt to come into the pipe here, so we'll go ahead and create a comb shape with the law feature. I'll take a look at the bottom of the pipe and holding down the shift key. I'll select these two circles will project them by going to the sketch drop down list. We'll find the project slash include folder once again, and this time I'll select Intersect because we want the circles to be on their current plane. All select the bottom of the pipe, and then I'll click OK on the Project Dialog box. We'll also need to create a point that will loft to and will want it to be away from the end of the pipe here. So I'll select Offset Plane. I'll click on the bottom of the pipe. I'll punch in 25 millimeters for the distance and I'll click. OK, then. All right, click on the plane and select. Create new sketch. I'll go to the sketch, Drop down menu and Select Point, and I'll click on the center origin. Now we have our profile, and we have the point that will off to. So I'll activate loft from the Create Drop down menu, and I'll select the profile and then I'll select the point. I'll make sure the operation is set to join and I'll click. OK, I also want to add a nice champ for to the beginning of the blade here. So I'll select champ for from the modified drop down list and I'll select on the top line. I'll make the distance three millimeters and I want the angle to go back a bit further. So I'll change the champ for type from equal distance to two distances and then I'll make the second distance five millimeters and I'll click. OK, now I don't want this video to get too long, so I'm not gonna worry too much about the top mechanism. But I'll quickly create part of where the Auger bit hooks up to machine by using a center circle with the keyboard shortcut letter C and I'll create one to the outside of the pipe and will create another to 50 millimeters. And then I'll hit letter E to extrude this down 70 millimeters and we'll set the operation to join and click OK, Lastly, I can right click on the component, hit appearances and search for steel. I'll simply drag and drop polished steel onto the model. I'll double click on the material to change the color to red. 16. Day #13 - Fusion 360: Difference Between Bodies and Components: Hey there it's Kevin Kennedy and welcome to day number 13 of Learned Fusion 3 60 30 days By the end of this tutorial will have a solid understanding of the difference between bodies and components. Also, be sure to watch to the end where I'll discuss the dubbed rule number one of fusion 3 60 Now I've noticed a lot of explanations. Forget to talk about one important thing, which is the difference of bottom up assemblies, verse top down assemblies which may help. You better understand why fusion 3 60 s set up the way it is. So let's take a look at bottom up assemblies first. Now, this is the traditional assembly modelling technique. And if you're coming from Autodesk inventor or another CAD program, then you're likely already familiar with it. The essence of the bottom up assembly technique is that each part is created individually and then all of the parts are inserted into an assembly document and constrained to each other. There is no link between parts, so the parts fit together because you designed them to fit together. And if you change one part, you better know which other parts will be affected by the change and make sure that you update them accordingly. On the other hand, we have top down assemblies, which means you start with an assembly file and you build all of your parts within the context of the assembly itself. Now fusion 3 60 falls into the top down assembly category, which is why you'll never see create new assembly under the file menu. But you will an Autodesk inventor in solid works. The benefit of top down assemblies is that we can reference other sketches and parts, so if we change one thing, the other features change accordingly. Now this is a great way of ensuring that parts that need to fit together always fit together without you having to go back and manually edit them each time. Now, this top down technique is intuitive and much quicker, but it does still have a few drawbacks. You can still get yourself into a pickle, especially with large assemblies that contain many different components, which is why I recommend a plan out your model before you even start your very first sketch already. So now that you know Fusion 3 60 is based on the top down assembly technique. Let's take a look at the difference between bodies and components. Bodies could be seen as modelling tools. You use separate bodies toe. Add or remove geometry to achieve the final shape of your design. An example of a body could be a ceramic mug. You would create one body for the cylindrical part of a cup and another body for the handle and, of course, joined them together. Contrary components represent real world parts. You can think of them as things that are manufactured with multiple pieces. You'll want to use components when you're designed. Consist of multiple parts that may be assembled toe one another. Now a good example of a component would be a door hinge as it consists of three different components one for the left wing of the hinge, one for the right wing, and the third is the pin that holds the hinge together. Now let's take a deeper dive into both of these concepts. With bodies, you'll create a new one any time you turn a sketch into a three D object. If we take a look at the ceramic mug once again you'll see that the downside the bodies is that they can't be copied to another file unless it's indirect modeling mode now. This is mainly because copying the Parametric timeline could be difficult. So if for some reason you do want to copy of Body two completely different file, then you'll have to change it to direct modeling mode by clicking on that little settings icon in the lower right hand corner. Then you have to select Do Not capture design history and click Continue, and, as you will see, it will delete the timeline. So if I go to copy this mug again toe a file that is also indirect modeling mode, you'll see that now it will actually let me paste it into the other file. Now, with that said, if you're planning on copying, you should make it into a component, and we'll discuss that in just a bit. Before we do that, let's take a look at a few other cons in regards to bodies. First off, they won't show up in a parts list, which could become troublesome if you need to create a drawling that includes all of the parts. Second pattern bodies lacked independently from their parents, so if you alter one of these bodies, you'll notice that others don't change. Whereas if I had made them components and I alter one, then the other two will update accordingly. Now, if we take a look at the screws that our bodies will notice that components can be created from anything that is in the body folder here. But components cannot be created from sketches, so if we right click, you'll see that there is no auction to create a new component. But if we right click on the body that we can create a new component now, in order to turn a body into a component, it does not have to be closed. And in fact, there are three different types of bodies. Infusion 3 60 We have solid or surface bodies. We have school, two bodies and we have mesh bodies. Now there are two main ways we can create a component from a body. We can either right click on the body and select, create components from bodies, or we can go up to assemble and hit, create new component, select from bodies and will select the body. And then we can hit. Okay, now, another quick thing to note. If I select two bodies here, that does not mean it will put them in the same component. If I go ahead and do that, it will actually create two different components. And if we take a look at it in the browser, will see the bodies here now. Another thing to note is that they're both labeled body number one. So this is where the dubbed rule number two from the Fusion 3 60 form comes in place, which is to always always rename your components and bodies right after you create them. And it's even a good idea to get into the habit of renaming any sketches, decals or any other layers you may have is well, so what the heck, er components. And why should we use them instead of bodies? If we take another look at her door, Hinge example, we'll see that components contained bodies, and they also contain sketches, planes and other objects. These three components of our door hinge makeup our assembly. Now, in the beginning of this video, I talked about bottom up first top down assemblies. I mentioned that fusion 3 60 is the top down assembly type because we can create all of our components within the same file, and they're driven by one another. So if we look at the browser tree will see that we have the master assembly at the top, and then we have the components nested underneath. We'll also see that the assembly is signified by the three cube icon. The components are one cube and a body is a cylinder icon. Now let's take a look at some or advantages of using components over bodies. First, you can drag bodies and other objects from one component to another in the browser. Ah, component can also contain other components, which is often referred to as a sub assembly. Components allows to use joints to assemble and create mechanical relationships. So we take a look at this door, hinge example. You'll see that it moves based on the joints I applied. But if I created this with bodies and not components, then I would not be able to apply these joints. Another trick and handy thing with components is that you can activate components, which offers many advantages. So if I click on this little circle icon toe, activate it and take a look at this component that I can focus solely on it and other components will be shown with some transparency. Now the advantage of activating components means that all the bodies, sketches, components or any other features that I create will automatically be nested within that component. Lastly, and probably one of the most important things about components is that they can be reused or copy and pasted in a design so we can do this by right clicking on the component and selecting copy and paste, and we can duplicate them as many times as we would like And as we discussed earlier, Component instances update when a change is made toe, one of them now having a basic understanding of the difference between bodies and components leads us to the dubbed rule number one from the Fusion 3 60 Forum, which is to always start your file off with a new component. Now Rule Number one was created by the Fusion 3 60 community on the forums, and the idea is that if you always start with a component, you'll never be kicking yourself in the foot when your browser tree is messed up because you're trying to create components after creating your bodies. So let's go ahead and recap everything. It's okay to use bodies if you're just creating a small, simple or quick model for something like three D printing or something just to play around with while you're learning fusion 3 60 Specifically, if you know you don't plan on using it for any assemblies, and you don't need to copy it. Otherwise, it's a good practice. Get into the habit of always using components at the beginning of your design, which will ensure that you can successfully create joints, subassemblies and assemblies without any major headaches. Now, as we looked at previously, it is possible to create components from bodies. But again, it's not recommended to do afterwards because it won't always work, and sometimes it will cause a lot of heirs in your model. 17. Day #14 - Fusion 360: Flat Head Screwdriver: Hey there, it's Kevin Kennedy. Welcome to Day number 14 of Learned Fusion 3 60 in 30 days. By the end of this tutorial, you'll be about a three D model, your very own screwdriver, which, of course, could be three D printed and actually used. We'll take a look at how to create components driven off of previous components, and we'll cover the three point arc sketch feature. We're going to start off by modeling the handle of the screwdriver as one component, And then we'll create a second component for the shank of the screwdriver to create a new component. All select new component from the assembled drop down list, and I'll double check that empty component is selected before we hit. OK will follow Rule number two, a fusion 3 60 which is to always name your bodies and components all type in handle for the name. Make sure activate is selected so we can start working on the component right away, and I'll click OK in the new component dialog box. Now let's start to create the handle by using the cylinder tool from the create drop down list. After selecting cylinder, I'll click on the front face. Click on the center origin, drag out with my mouse, and then I'll type in 28 millimeters for the width. I'll hit the tab Key toe lock the dimension in place, and I'll click with my mouse to snap the circle in place. Then I'll make the length 100 millimeters and click OK, toe exit the cylinder feature. And before we do anything else, I'll rename the Body cylinder by double clicking on it in the Fusion 3 60 browser and I'll type out cylinder. Also, click on the Save Icon, type out slot head screwdriver for the name and I'll click the blue save button. At this point, we could leave a basic cylinder shaped for the handle, but it would work better and be more ergonomic if we cut some grooves in it. To do this, I'll look at the handle from the back side. Then I'll hit the keyboard shortcut letter C for center circle and I'll click on the back face of the handle. What I want to do here is draw a circle extrude cut it, and then I'll pattern the cut feature around the handle, so I'll just click on the left side here at the edge of the handle where the centre circle function will snap into place and I'll make this circle six millimeters. Now I'll hit the keyboard shortcut letter E for extrude, and we'll extrude cut this 75 millimeters and then I'll click. OK, toe exit the extrude command. I'll activate the circular pattern feature located in the Pattern folder under the Create Drop Down menu. You'll see that after we activate the pattern feature weaken. Select the pattern tight, all select features as the patterns hype. And then I'll select the extrude feature in the timeline below. For the Axis, I'll select the center access of our handle. And remember, if you ever can't select the access here in the canvas because it's blocked by a body, you can select the access in the Fusion 3 60 browser. Now we want this pattern to go all the way around the handle, so make sure full is selected as the type, and then we'll set six for the quantity or the number of times to pattern. Looking at the model, we can see a faint preview of the pattern, but let's go ahead and click OK to see the results now. One thing to note here. We could have used the sketch circular pattern and pattern the circle around before we extruded it. But I recommend using the pattern feature under the create drop down list wind possible as it will perform much better infusion 3 60 especially when dealing with larger and more complex patterns and assemblies. Now the main reason is because the sketch tool is trying to render all of the geometry, whereas if you look at the sketch of our pattern feature, it's simply rendering the one circle. And the pattern feature is mimicking the extrude cut. At this point, I want to add a nice fill it or rounded edge to the back of the handle. I'll select the keyboard shortcut letter F toe. Activate the Philip Command. I'll select all six of the outside edges, and I'll type in 10 millimeters for the distance. And, of course, you can always type in mawr or less year. It really just depends on how much you want the back of the handle to be rounded over. We'll click OK to exit the Philip Command. Now I want to add a rounded div it to the front of the screwdriver. Your thumb and forefinger have a nice and ergonomic place to rest. All right, click on the Y Z plane in the Fusion 3 60 browser and I'll select Create Sketch. We're going to use this center plane because we're going to draw on the lips and then we'll revolve it around the cylinder. I'll select the Ellipse tool from the sketch drop down list, and I'll click just above the handle. Now I'm not sure exactly how far down and once ago, so I'll just go down six millimeters and I'll go to the right about 21 millimeters as we can always go back and change the dimensions. Now I'll select the Revolved tool from the create drop down list. I'll select the Ellipse we just created as the profile and once again will select the center access of our handle. I'll make sure that my operation is set to cut and I'll click OK to see the results. Now, Looking at this David, I may decide that I want to go down a bit further. If so, I'll double click on the sketch in the timeline to edit the Ellipse. I'll change the height here to eight millimeters. I'll hit Stop, sketch and take a look at the new results. All right, he saw her handle is coming along nicely so far. The last thing will want to do is add some nice fillets or rounded edges to it, and then we'll proceed on to make the shank and tip of the screwdriver. I'll hit the keyboard shortcut letter F toe. Activate the Philip Command and I'll select the front circle of the screwdriver at a fillip of 1.5 millimeters and click. OK, I'll hit letter F again, and I'll select these circles on each end of our div it and I'll make these one millimeter and click OK. Lastly, we'll go ahead and add some nice rounded edges to our grips here, clicking letter F to activate the Philip Command. All select all six of the grip edges and then I'll punch in 2.5 millimeters for the fill it distance. I'll click OK, and then I'll right click on the edge here and I'll select Repeat, fill it. Select all six of these corresponding edges. I'll make this edge. Round it off with one millimeter and then I'll click. OK, now the last thing will want to do with our handle before we're done with a component is to add a whole for a screwdriver. Shank. I'll have to keyboard shortcut letter H for whole, and I'll click on the front face of our handle. Now the whole should have snapped to the center origin. You'll see if I drag this whole around, it will snap right into that center origin point. We wonder. Hold to go halfway into the handle and the whole dialog box. I'll make the length 50 millimeters on Make the width of the whole seven millimeters and then I'll change the drill points of flat click OK to exit the whole command, and we're now officially done with the handle of our screwdriver. At this point will want to create a new component for the shank of our screwdriver, but first will want to activate the top level. Components are new. Component is nested within it toe. Activate it. I'll click on the little circle to the right of our file name and once activated, all select new component from the assembled drop down list, and I'll rename this one shank and click. OK, now you'll see in the Fusion 3 60 browser that the shank and handle components are nested underneath the screwdriver assembly. I'll make sure that this Shane component is active before we start doing any work, and then I'll select the face of our whole this way, if we change the whole dimension later on, our shank dimension will update accordingly, just like we talked about in day number 13. All hit letter E for extrude. And then I'll make the distance 150 millimeters and click. OK, now let's click on the circle next to the handle components reactivate. It will take a look at our hole size. I'll double click on the whole feature and changed the with to 10 millimeters and then click OK, then I'll reactivate our assembly and you'll see that the with of our shank did update accordingly. As we expected, I'll go ahead and click undo to revert back to the original size. Now all we have to do is create our screwdriver tip, which will create a new component. For this time. I'll use another method. All right, click on the top assembly and select new component. I'll double click on the component in the browser and type in tip for the name. I'll select the front face of the shank and click letter E on the keyboard for extrude, and I'll punch in 10 millimeters for the distance. I'll make sure new body is selected and then I'll click. OK, and before I forget, I'll find the body in the browser and rename it to slot Head Tip. Now we're going to create the slot or flathead tip by cutting at this cylinder from the side. All right, click on the Y Z plane and select Create Sketch, then all activate the three point arc from the sketch drop down list. For the first point, I'll select the front edge here where it snaps in place. I'll select the top line where snaps in place, and then I'm just going to put the third point where it creates that nice arc of the Flathead. Now, at this point, will went toe fully definer sketch so we don't mess it up. If we change dimensions and any of our other components, I'll hit Letter D to activate the Dimension Tool. I'll click on the end of the three point arc here. Click on the center origin of our tip, and I'll make this 0.5 millimeters and then hit the escape key to exit. Now you may have noticed that the other end point moved down, so I'll select this in point of the Ark and holding down shift. All select the corner of the cylinder. Now I'll click on the horizontal constraint icon. This way, it's always in line with the thickness of the tip. Even if we change our dimensions now, in order to extrude cut, the shape will have to close off our profile so we can hit letter L for line and then draw a horizontal line. And we can also draw a vertical line connecting the endpoints once again before we cut. This will also want to make sure that all of our lines are black, indicating that they're fully constrained using D on the keyboard for dimension. I'll select the horizontal line, and I'll make this nine millimeters. Then you'll notice that the ark is still blue because weaken dimension the radius of it. So we'll click on the Ark and then hit Enter and you'll see After that, our profile is fully constrained, as as black lines all the way around. Well hit letter e for extrude Select the profile and I'll change the direction here to two sides. We'll need to change the operation to cut and for the extent of each side will select all. Now the reason we're selecting all is again for the purposes of our dimensions. If we decided to make this shaft thicker than are cut here will update accordingly and we won't have to go back and manually at it. This extrude feature I'll click OK toe exit extrude command and now will want to select Mir from the Create menu will change the pattern Type two features and will select the extrude in the timeline for the mid plane. I'll select the XY plane in the browser and then I'll click OK to take a look at the results. Now we're essentially done with our slot head screwdriver. We can reactivate the top level component to take a look at it, and of course, we can always select a component hit letter A for appearances on weaken drag and drop the appearances onto each component 18. Day #15 - Fusion 360: Painter's Tripod: Hey there it's Kevin Kennedy and welcome to day number 15 of Learned Fusion 3 60 30 days. By the end of this tutorial, you'll be able to three D model a painter's tripod for three D printing. If you're not familiar, a painter's tripod is a pyramid that you can rest items on with minimal contact, allowing you to paint or stain both sides at once. We'll take a look at how the loft to a point the project sketch feature the mere feature using mid planes, and we'll talk about setting up our file so we can change the dimensions without causing any heirs to get started. Will create a new component by selecting new component from the assembled drop down list. All title this painters tripod and click OK, now we'll start to create the pyramid by sketching a triangle for the base well hit letter L on the keyboard for lying, and I'm going to select the top plane. I'll click on the center origin, and I'm just going to drag my mouse out and click three times, creating a closed profile triangle shape without worrying about the size and the shape while holding down the shift key. I'll select all three lines, and then I'll select the equal sketch constraint so you'll see that this immediately made all three lines in equal size. And if I click on this point and dragged the triangle, it will resize all three at the same time. I'm gonna hit the letter D on my keyboard for Dimension, and I'll select this top line and enter 60 millimeters for the distance. Now, after punching in the Dimension, you'll see that the other lines changed to 60 millimeters as well, along with that adding the dimension also fully constrained or triangle sketch, which is signified by all the lines turning from blue to black. Now, if I try to drag any of the points around, it won't let me. All that I can do is change the dimension number, which is what we want. So we know this triangle won't change size or shape unless we want it to. Before we go any further, let's go ahead and save our design. I'll click on the Save icon, type out painters tripod and I'll click the Blue save button. Now we're going to create an offset construction plain and which will create a points on before we use the law feature. I'll select the offset plane icon in my toolbar or from the Construct Drop Down list, and then I'll select on the triangle sketch. I'll type in 50 millimeters for the offset distance and then I'll click. OK, we'll right click on the plane and select Create sketch. Now. We could just insert a point here, but instead I'm going to first project the sketch so we can reference it. I'm going to hit the keyboard shortcut letter P for project, and then I'll select the three lines and click. OK, and I'll show you. Why am projecting this sketch in just a minute? First, I'm going to hit Letter X for the construction line and you'll see in the sketch palette that as I keep hitting the X key, it will toggle the construction line feature on and off. So I wanted to be selected Blue, which is on, and I'll then hit the keyboard letter l for line. Now I'm going to draw to construction lines from the Vertex of the Triangle to the opposite midpoint, giving us the exact vcenter oId, or the center of the triangle. Now all select the point feature from the sketch Drop down menu, and I'll select where the two construction lines intersect and it should snap into place for us. I'll hit the escape key to exit the point command, and now we're going to loft from our base triangle to the point that we just created I'll select Loft from the Create drop down menu. I'll select the triangle profile as the base, and then I'll select the point. And it should connect the loft without us having to create any additional guide rails, and we'll go ahead and click OK in the loft dialog box. Now, before we go any further, I'll show you why I projected the sketch to create our midpoint. So the reason I did that is sore. Midpoint is driven by the initial triangle sketch. If we double click on the original triangle sketch and change the dimensions 200 millimeters and then click stop sketch. You'll see that the midpoint is still exactly in the center. Now, if you remember right after our initial sketch, we used the offset plane feature. So if we want to manipulate the height of our triangle, all we have to do is double click on the offset plane in our timeline, and we can change the dimension and click OK. If there's one thing that I want you to learn in this tutorial, it is the idea that you should always be setting up your models, where you can go back and edit or change sizes without causing any crazy shapes or heirs in your model. Now I know for this pyramid shape, it may not seem like that big of a deal. But as you start to create more advanced components and assemblies, keeping this in mind will save you a ton of time and you'll hopefully avoid a lot of frustration. I'm gonna go ahead and click, undo a few times until we're in the original dimensions and then I'll click Stop sketch. Now we'll want to show out this item so we're not wasting any more three D printing filament that we need to. I'll select Shell from the modified drop down list, click on the bottom surface of the pyramid and then type in 2.5 millimeters for the thickness and I'll click OK, one of the last things will do here is cut out some circles on the side again. This is going to help us save on filament, and it really shouldn't take away much of the shape string. And for those of you who are familiar with three D printing, you likely know that a circular shape like this could be printed without any problems. Since each layer comes out just a bit further, I'm going to hit letter P for project and I'll select one of the sides of the pyramid, then all select all three lines that make up the face of the triangle and then click. OK, I'll hit Letter X to turn on the construction line, and I'll hit Letter L to draw two lines from a vertex to the opposite midpoint. Once we have our Century oId or center point of the triangle, I'll go ahead and click X on the keyboard again to turn off the construction feature. And then I'll hit the keyboard shortcut Letter C for center circle. I'll select where the lines meet. I'll drag out with my mouse and I'll type in 25 millimeters if the tab key toe lock the dimension in place. And of course, click with my mouse to set the circle in place. Now to cut this circle away, all hit letter E for extrude select the circle and for the extent will want to select to object which will allow us to select the inside of the triangle surface again, ensuring that if we change the shell thickness or anything else with the model, then we wouldn't have to go back and edit this extrude cut as it should always go to the inside surface that we selected. Looking at the extrude cut preview you can see that are cut looks right, so we'll click OK to close extrude dialog box. Now we could create the other two holes one by one following the same steps that we just completed. Or we could also mere the extrude cut onto the other two sides of the pyramid. If we take a look at the pyramid from the bottom, it may seem a bit tricky because if we mirror feature straight across, they'll end up at the Vertex of the pyramid and not the face of the pyramid. Therefore, we're going to have to create a few mid planes that we can reference before we use the mere command to create the mid planes. All select mid plane from the construct drop down menu, and all we have to do is select the left face and the right face, and you'll see that it creates a nice mid plane directly in between the faces we selected. So let's right. Click on the bottom face and select repeat mid plane and then we'll select are left face giving us a mid plane between these other two faces. Now we can go ahead and near the extrude cut to the other side's also like Amir from the create drop down menu. Then, in the mere dialog box will need to select features as the pattern type, allowing us to select the extrude cut in. The timeline for the mere plane will select either one and will change the compute option toe optimize because it uses the least amount of code and it will run the fastest. Although I should note the optimized doesn't always work for more complex, smeared objects. Also, go ahead and put a more detailed right up of the three different compute options and the comments of this video. Now, if we click OK, you'll see that it's successfully Meers our extrude cut. I'll select the extrude cut in the timeline right click and select a repeat Mir. This way our pattern type and object are both already selected for us, so we'll just have to select our other mid plane. And that will change the compute option to optimized again and click OK, now the last thing will want to do here is at nice rounded edges to our model Before we export for three D printing, we can hide these planes out of the way by selecting them and hitting the keyboard shortcut , letter V toe view or hide objects. We'll hit the keyboard shortcut letter F for fill it. I'll select the three lines that make up the top of the pyramid as well as all six edges of the circles. Once everything selected, I'll enter 1.5 millimeters for the Philip Radius to give it a nice and subtle rounded edge , and I'll click OK, toe exit the Philip Command. Now, if you do have access to a three D printer and wanna print some of these out, then you can simply right click on the component and select save as STL. From there, you'll have to select the component or the object, and you can either click OK to save the file to your local hard drive. Or you can check send to three D print utility and select your three D printer slicing software. Now I'll go ahead and select Cura, and if I click OK, you'll see that it should open up the file in the slicing software. 19. Day #16 - Fusion 360: Manually Adding Constraints: Hey there it's Kevin Kennedy and welcome to day number 16 of Learned Fusion 3 60 in 30 days . By the end of this tutorial, you'll have a solid understanding of how to manually apply sketch constraints. Infusion 360. Now you may have noticed in the sketch palette. There are a number of different sketch constraints in this video. I'll explain what constraints are, why you should use them, and I'll walk you through each constraint by demo ing What they do to get started all open up the constrains demo file, and I'll put a link to this demo file in the video description so you can follow along in practice. Using these constrains, I'll double click on the sketch titled Constraints Demo, located in this sketch folder of the Fusion 3 60 browser, and double clicking will activate and open up the sketch. Once the sketches opened up, you'll see this sketch palette dialog box. Then, if you look at this sketch palette, you'll want to make sure that your constraints list is toggled to open. So if I just click on the arrow here, you'll see that it will toggle from open to close now, before I cover what each constraint does. It's important that you understand what constraints are and why you should be using them. Constraints allow you to relate one sketch entity to another sketch entity. If you look at the sketch constraint icons in the sketch palette, you'll see that the sketch kin trains use geometric expressions with the exception of Fixed Slash unfixed. Now let's talk about why to use thes sketch can trains. These sketch constraints allow you to maintain certain behaviors when the sketch is updated . Constraints help the sketch stay intact, ensuring the elements don't break apart or move toe unpredictable areas. So to recap this, you'll want to use sketch constraints to maintain the shape of your sketch. So your sketch stays 100% predictable, with emphasis on the 100%. Because if you're constraining and dimension ing your sketches correctly, then you should always know what is going to happen when you make a change within the sketch. Now let's walk through these constraints to show what each one does, starting from the top and working our way down the list. The first constraint we see is coincident, which forces the geometry of to sketch entities to touch now to activate any constraint will have to click on it in the sketch palette, and you'll notice it shows its active by the blue highlight toe. Add a coincident constraints. We can either select a point or a line if I select this line first, then you'll see that as a hover over all the other lines. It on Lee shows the points in this case. Points are all that I can use to complete the coincident constraint. I'll select the end of this line, and then you'll see that the lines are joined together. You'll also notice the cliff icon that represents the coincident constraint was added. So we know which areas constrained now that we've added coincident constraint. Weaken dragged this horizontal line up or down and you'll see that the vertical line will always stay connected. The next constraint is co linear, which forces two lines to share a single access, and they could be at any angle. They don't have to be horizontal or vertical lines. I should also point out that the order in which you select the lines does matter. The first entity you choose will remain in place and the second entity will satisfy the constraint. If I want the top line to be on the same access as this other line here than making sure Colin Ear is active, I can simply click on the first line that will be used as the access. And then as I click on the second line, you'll see that it moved to the same axis and added the colon ear. Google. If now, to escape the constraint feature, I can either hit the escape key on my keyboard. Select be constraint again or I can click the selection button in the toolbar. And if I drag one of these lines around, you'll notice that they will now always stay on the same axis. The next constraint is concentric, which forces circular sketch elements such a circles and arts to share a comment. CenterPoint. So if I wanted to ensure that this circle has the same centrepoint as the Ark, I can activate the concentric constraint by clicking on it. Then I'll click on the entities and either order. If I select the Ark and then select the circle, you'll see that now both energy share the same Centrepoint, which is represented by the concentric cliff. I'll hit the escape key to exit the concentric constraint. I'll go ahead and select the midpoint constraint Now. The midpoint constraint, which is represented by a triangle, will come up often as you draw lines. Infusion 360. The midpoint constraint allows us to force the end point of a line to the center point of a line or art. If I select the end point of this line and then select the bottom line, you'll see that snaps to the midpoint and the triangle or midpoint cliff now appears. The next constraint in the sketch palate is fixed slash unfixed. If I select it and click on a line, you'll notice that it turns green, which denotes that the line is fixed notice. While the position of the line itself is fixed, the in points can still be adjusted now. Personally, I wouldn't recommend using the fix slash unfixed very often, because if the rest of your sketches constrained and dimension properly, then you should be able to update your sketch while knowing what will happen to your sketch . The problem with fixed, lush unfixed is that if you have a line or multiple lines fixed, then you won't always be able to update them without going ahead and unfixed ing them first . And sometimes this can get really messy, especially in larger sketches. The next constraint is the parallel constraint, which makes any two lines parallel to each other. I'll click on the parallel constraint to activate it, and then I'll select these two lines and you'll notice that now, if I dragged them around, they will always stay parallel to each other. The next constraint, all click on, is the perpendicular constraint. The perpendicular constraint forces two lines to remain at a 90 degree angle to one another . An important thing to note is that the perpendicular constraint does not have to be used on lines that air touching. If I select the left vertical line and then select the top right line, you'll see that it made them perpendicular to each other. You'll also notice that because these two lines were Colin ear with each other there now, both perpendicular to the left line, even though only one is directly constrained, as represented by the glitch here. So this is a good example of how constraints could be used in conjunction with one another to constrain sketch entities and amore efficient manner. The next constraint all activate is the horizontal slash vertical constraint, which forces a line to snap to either horizontal or vertical, which ever orientation is the closest. If I click on this middle line, you'll see that snaps to vertical on Google if appears next to it now, the horizontal such vertical constraint can also be used to make points line up with one another. If I select the center point of the circle and then this endpoint of the line, you'll see that there now horizontal and because our arc in circle or concentric the Ark went ahead and moved along with it. Next I'll activate the tangent constraint, which creates Tangent C or a curve touching a line segment at a single point. Now Tangent C is supposed to create a relatively smooth transition. The tangent constraint will create this smooth transition between a line and a circular element for us. I'll go ahead and add change. It constraints to the Ark and the nearby lines by selecting the Ark and then the right line . Now I'll do the other line by selecting the ark again and then the left line, and you'll see that now we have both of lines tangent to the art, as represented by the Tangent Cliffs here. The next constraint all activate is the curvature constraint. The curvature constraint makes the curvature at the transition point equal. Essentially, the curvature constraint can help make organic shapes more smooth, so you likely won't be using it very often compared to some of these other constraints to demo. This constraint will have to draw a spine connecting to the Ark. Also, Lex spine from the sketch Drop down menu. And then I'll draw spine from the edge of the art to some of these other points. And I'll just drag some of these handles here. So it's not a straight then tell you see what the curvature constraint does. I'll select the spine and the Ark. Why holding down the shift key and I'll click the curvature comb in the sketch palette. Now the curvature combs will help. You better understand the transition point of the spine and the ark. If we look at where they meet, you'll see that the curvature comb is not continuous because the transition is not smooth and flips to the other side here. Now, if I select the coverage of constraint and select both sketch entities, you'll see that the comb will change toe have a fluid or smooth transition from the ark to this plein. Now, let's get rid of this coverage of Qom by hitting the escape key to make sure we're not in another command. Then I'll select the arc in the spine, and I'll select the courage or comb icon to turn it off. And I'll hit the escape key once again to clear all commands. The next constraint activate is the equal constraint, which forces two entities to be equal in size. I can select the two horizontal lines at the top, and you'll see that it forces them to be the same size. If I hit the escape key and drag this right point around, you'll see that not only do these two lines state equal in size, but they will also follow all of the other constraints that we have applied to them. The last constraint all activate is the symmetry constraint. The most important thing to note with the symmetry constraint is that it requires three mouse clicks. The 1st 2 clicks will be entities that you want to be some metric, and the third selection will be the entity or line that you want it to be symmetric about. So I'll go ahead and click on this top line and this other line here, I'll click this line in the middle for the line of symmetry. Now you'll see if I hit the escape key and drag this top line around, both lines will stay some metric from this middle line. Now, before I end this video, I'll show you a few other quick tips. If you right click on any sketch entity, you'll see that it shows all of the available or relevant sketch constraints and the marking menu. Now, if I go back and select multiple sketch entities while holding down the shift key and then right click again, you'll see that the entities that you selected will affect the constraints that are available in the marking menu. Now, in this video, I covered how to manually add constraints, but some constraints will automatically be applied while you sketch out entities. For example, if I hit the keyboard letter L for online and draw a line out you'll see that it will automatically add a horizontal constraint if I let it snap to the grid. So it's important that as you draw different sketch features out, you take notice of what sketch constraints are automatically applied and day number 17 will take a look at how adding dimensions can help us fully constrain our sketches and why fully constraining sketches is an important concept to understand. 20. Day #17 - Fusion 360: How & WHY to Contsrain Sketches: Hey there it's Kevin Kennedy and welcome to day number 17 of Learned Fusion 3 60 in 30 days . By the end of this tutorial, you'll have a solid understanding of how to use dimensions and constraints. Toe fully constrain your sketches. You'll learn a few dimension tricks, and I'll explain and demo why it's important to fully constrain your sketches. Let me start off by stating that Fusion 3 60 does not require sketches to be fully constrained. But it's a good practice to always fully constrain your sketches, which will cover in just a minute. But first, it's important to note that the way you define or constrain your sketches will differ per each design. This is why it's important that you come up with a strategy for how your sketch entities relates one another at the beginning of each model. Now this strategy is often referred to as the sketches design intent. Personally, I recommend sketching out your design on pencil and paper before you start sketching anything out. Infusion 3 60 Doing so will help you think about how the sketch should be constrained before you even get too caught up in the computer. Now for this demo, I went to draw this square washer plate, which is essentially a square with a hole cut out of the middle. While looking at this sketch, I can ask myself, What do I know about this object? Without knowing any of the dimensions? I see that all four sides appear to be equal. I see that the lines are perpendicular at the corners and the lines opposite of each other appear to be parallel. And it appears that the center of the circle is located directly in the middle of the washer plate. So let's start off by creating a new component from the assembled drop down list and all. Title it square washer and click OK, now let's create a sketch for this washer plate so we can walk through the steps of constraining in dimension ing it. We'll hit the keyboard shortcut letter are for rectangle, and I'll select the top plane now before we click on anything. If you look in this sketch palette, you'll see that we can switch from a two point rectangle to a three point rectangle or a center rectangle for this washer plate will want to use thesis. Enter rectangle because the center rectangle will already have a nice center point for us to reference for the circle cut out. This is why, as you continue to learn fusion 3 60 it's important that you understand what all of the sketch tools do. The more you know you'll become more efficient, and it will help you eliminate unnecessary steps. So I'll select the center rectangle icon, and I'm just going to click away from the origin out in space here and I'll drag out with my mouse and click at a random distance. And just so you can see the difference, I'm going to select a two point rectangle and draw that out right next to our center rectangle, and I'll hit the escape key to clear all commands. Now let's look at both of these rectangles, so you'll notice a few things here. As I mentioned in Day Number 16 you'll see that Fusion 3 60 will automatically apply some constraints when using these pre defined sketch entities. Now, using the two point rectangle tool, applied vertical slash horizontal constraints toe all four lines. Now here's a little tip for you. If a constraint is automatically applied and you can't seem to remember what it stands for , then simply click on the cliff or icon and you'll see in the lower right hand corner. It states the type of constraint you'll see this one says horizontal. And if I click on this one for the right line, it states that it's a vertical constraint. Now, looking at the centre rectangle be created, you'll see that it automatically created some different constraints. For us, it created some parallel constraints. A coincident constraint were the lines meet in the middle and a perpendicular constraint in the corner? Now that you see the difference here, I'm going to delete the two point rectangle by selecting over the entire object. And then I'll hit the delete key on my keyboard. As we go a bit further, you'll understand why we ended up going with the center rectangle. Now we'll once it fully constrained or define the center rectangle before we go ahead and turn it into a three dimensional object. That way we have 100% control of the sketch if we go to update the size of the sketch or change anything with the square washer plate. So in this current state, you'll notice that the lines of rectangle are blue, which means that they're not fully constrained, and we can still move them around. Now, if I click and drag on these lines, you'll see that I can move them up and down side to side. Or I can drag points and change the overall size of the rectangle. So our goal here is to figure out how to turn all of these lines from blue to black because black sketch entities signify that they're fully constrained and they can't be moved unless we update the dimension or the constraint that is driving the sketch again. Doing this will give us full control of the sketch. So if we update the size, we can keep the shape that we originally intended. Now the rule of thumb is toe. Always use constraints first, and then dimension your sketches second, and there are a few different reasons for this. First, the fewer amount of dimensions we have, the easier it will be toe update the size of our model. Should we need to second, the fewer dimensions we used, the fewer amount of problems will likely run into such as accidentally over defining our sketch, which means that the dimension cannot be altered because it's already driven by other dimensions and or sketch constraints. So if we look back at our original sketch, notes will see that it appears that all four sides are equal. Therefore, using the equal sketch constraint, we can force all four lines of a rectangle toe always be equal. So holding down the shift key, I'm going to select the left line and the top line of the square, and I'm going to click on the equal constraint in the sketch palette. Now. The reason I only applied the equal constraint to the left and top line is because they already have parallel constraints. If I reactivate the equal constraint and select the other two lines, you'll see that it won't let us add the equal constraint toe all four lines because it would over constrain the geometry, making those constrains unnecessary. Now you'll notice that the lines of our rectangle still aren't fully constrained because they're still blue. So if you're ever wondering why they aren't fully constrained, you can simply click on any lines or points and drag them around. If I click and hold on the center point of the rectangle, you'll see that I can drag it around. Now we can use the coincident constraint to snap the center of the rectangle to the center origin. I'll activate the coincident constraint. Click on the center origin, and then I'll click on the middle of the rectangle and you'll notice the rectangle will snap to the center origin. Now you should also notice that the center construction lines and the center point of the rectangle are now black or fully constrained. So if I click and drag at the center point, I can no longer move this rectangle around. But we can still change the size of the rectangle by dragging the blue lines, which aren't fully defined yet. Now, one thing to know. I normally would have started the center rectangle sketch off the origin point. But for this demo, I wanted to show you what happens when you don't. With that said, I would always recommend starting your first sketch of each file at the centre origin unless you have a good reason not to. Now, let's go ahead and fully constrain the lines that are still blue. To do this will have to add a dimension toe one of the sides. So I'll hit Letter D on the keyboard for Dimension. And if I click on the top line, drag up with my mouse and type in 100 millimeters and click enter. You'll see that now Our sketch is 100% black or fully constrained, and I can't change the size or move any of these lines by dragging them around. Now the only way I can change the size is by changing this one dimension that we just added . Now let's go ahead and add our circle cut out in the middle. I'll activate the Centre Circle sketch tool with the keyboard shortcut. Letter C. I'll click on the center Origin Point, Type in 50 millimeters for the dimension, and I'll click with my mouse again to snap the circle into place. Now you'll see that our circle is also represented as fully constrained with black lines because the dimension we added and the fact that we drew it on the center point, which automatically added a coincident constraint. Now to delete a constraint that is automatically applied, all you have to do is click on it and hit the delete key. If I click on the middle of the circle, you'll see that there are four different coincident constraints, and if I hover over the glitz of each one, you'll be able to see what it relates to. I'll select the second constraint, and then I'll hit the delete key, and now you'll see that the circle is blue because I can move it around so I'll go ahead and reapply a coincident constraint by activating coincident in this sketch palette, I'll click on the center origin. Now let's go ahead and extrude are square washer up by hitting the keyboard shortcut letter E for extrude. I'll select the sketch and type in five millimeters for the thickness and click. OK, at this point, I want to show you a few dimension tips. I'll double click on the sketch in the timeline to reopen it, and if I hover over the dimensions, you'll notice that it gives the dimension number. So we have D one colon 100 millimeters, where the number one represents the dimension number. So if we hover over the circle dimension, you'll see that the dimension number is number two and these numbers are created based on the order in which you dimension entities. Now one cool thing about dimensions is that we can use functions and then dimension field to make them a bit more robust. So if I knew that, I always wanted this inner circle cut out to be half the size of my overall square, I could apply a function toe. Always be half of the squares dimension. To do this, I'll click on these circle dimension, and I'll type out D one to reference the first dimension or the dimensions of the outer rectangle. All type a Ford Slash to represent that I want to divide. And then I'll type out number two because I wanted to always be cut in half or half of the rectangle. Now, if I click enter, you'll see it, says FX for function and shows the diameter of 50 millimeters. Now, if I were to update the original dimension to 150 millimeters, you'll see that the circle dimension updates as well. So now it's automatically been changed to 75 millimeters. So once again, this is why it's super important to think through your designs before you start sketching anything out on the computer also point out that you have to use functions like this with caution. You don't necessarily want to reference dimensions all the time, especially in larger models or sketches, as it can get quite hard to remember what each function or dimension actually represents. Now, to summarize what we did here, we added constrains first, so we only had ads who dimensions to fully define and constrain our sketch, which allows us to easily go back and simply change one dimension if we decided our square washer needs to be smaller or larger. If we take a look at this other file, I've gone ahead and created the same washer. But I didn't follow these best practices, and you'll notice if I double clicked. Open up the sketch. The sketch is not fully constrained or defined Now. If I goto update the dimension, you'll see that it totally throws off the whole entire shape, and I'd have to also manually update the other dimensions here. Now it may not seem like that big of a deal, because this square washer is a fairly simple object. But as you can imagine, as you start to three D Model Mawr. Complex objects, especially ones that contain multiple sketches. It can really suck up a lot of time and cause a lot of problems if you don't plan ahead and fully constrain your sketches based on your original design intent. 21. Day #18 - Fusion 360: Turning an .STL Mesh into a Solid Body: Hey there it's Kevin Kennedy and welcome to day number 18 of Learned Fusion 3 60 in 30 days . By the end of this tutorial, you'll be able to turn in STL or O B J Mesh file into a solid body. We'll take a look at a few different options while doing this, and we'll talk about the meaning behind some of this commonly used terminology and the world of three D printing. Before we get started with actually converting the mesh model, I want to cover some of the terminology to ensure we're on the same page. And so you actually understand why we're converting the model to start off will discuss a mesh file. Now, if you're familiar with three D printing and you used dot STL files or 30.0.0 B J files, then you work with mesh files all the time. Now a mesh file is a collection of vergis ease, edges and faces that define a three dimensional shape. Now I found this great image on Wikipedia that breaks down and mesh, all linked to the image in the video description, so you'll see that it shows that mesh files are created with Firdous ease edges and faces, which all create the polygon sides or surfaces of the object. So looking at the last image here, probably the most important thing to know about meshes is that their surface models now, to help you grasp the concept, we can compare it to a real life. Example. Origami. If we look at this object made out of paper, will see all the different shapes and surfaces that make up this model. Yet the object is still hollow on inside as it solely made up of the surface geometry. Now real quick. Let's take a look at the difference between the two most common types of meshes. Which R S T L and O. B J Files. Now an STL file is the native file format for stereo lithography, and it's often referred to as the acronym that represents standard triangle language or standard test elation language. Put simply, an STL file is a type of MASH file created with unstructured triangular surfaces. So again it's just making up the outer surface of the model, and it's not a completely solid object now, on the other hand, we have O. B. J files and really the only difference between an STL file and in O b J file is that the O . B J file. Display some extra data on the surface, so you see that STL files are always gray, whereas O. B J files can contain color and texture data, which are displayed on the outer surface. Now the color and texture map are most commonly captured by three D scanners, which is why most three D scanners air going toe output. Your O B J file. Now the last term that you'll need to understand here before we do a little demo and actually convert a file is the term be rep. Now be rep stands for boundary representation and could be seen as the opposite of Hermesh files, as it's a completely solid and watertight model. Now a beer up file is made up of Topol logical and geometric information. Alrighty. So now that you're familiar with some of the common terminology, let's take a look at how to use Fusion 3 60 to convert an STL file to a B rep solid body. The first thing that will want to do is make sure that the mesh workspace is enabled to do this, I'll select the preferences menu from the profile drop down list, and then I'll select preview and you'll see that we Cantat go the mesh workspace on and off by clicking the check box. Now, after clicking the check box, you'll have to hit the apply button and then the okay button. Now a lot of fusion 3 60 users get STL files from thingy verse dot com, and they want to modify them to fit their own needs, or they simply want to customize them with the name or logo. So I've gone ahead and downloaded this phone stand from thingy verse, and the first thing I'll have to do is import it into effusion. 3 60 And there are two main ways that we can do this. The first way would be to open up the data panel and click the blue upload button. Then, if I select the file, I can upload it and Aiken double click on the file toe. Open it once it's been successfully uploaded. Now the second way I could do this is to simply go to the insert menu, select insert mash from the drop down list, and then I'll go ahead and select the file and you'll see that before we work on the file. It allows us to change the orientation. Now I want the top of the phone stand to be the top of my orientation and the View cube, so I can either drag the sliders around or I can select the flip up direction in the insert mesh dialog box. And I can also hit center to move it to the center origin. And if your file is floating up in space for some reason you can hit. Move to ground to move the file to the XZ for the X Y plane, depending on how your orientation is set up, so I'll go ahead and click OK to confirm these orientation changes. Now, if I go to the workspaces menu, you'll see that it's still can't switch to the mesh workspace. And that's because the mesh work space does not allow design history to be captured. So we'll have to turn off the design history by right clicking on the file in a fusion 3 60 browser and I'll select Do not capture design history and I'll click the continue button to confirm now If I go back to the workspace selection menu, you'll see that I can change to the mesh workspace. I'm also going to go ahead and change my visual style. So it's a bit easier to see all the triangles, the makeup, the mesh under the display settings, all selective visual style and then all select, shaded with visible edges on Lee. And you'll see that if I zoom in, we can now see all of the vergis, ease edges and faces the makeup, the mesh model. Now what confuses a lot of users here is that we'll actually need to be in the model workspace in order to convert this model, so I'll select the model workspace. And now, to convert this mesh to a solid body, all we have to do is right. Click on the mesh and select mesh to be ready and you'll see in the dialogue box. We can have it create a new body or a new component, so I'll go ahead and select new components and then click OK, now I'll switch over to another example real quick, because if you imported a fairly complex model, then it's very likely you'll get a warning message at this point, stating that there are too many facets or number of faces for fusion 3 60 to convert the model. So, looking at this example here, it looks like it has a little over 1.5 million faces, and fusion 30 60 can really only compute approximately 50,000 facets. So before trying to convert, will first have to reduce the number of facets. To reduce the number of faces, you'll have to switch to the mesh workspace, and then you can select reduce from the modified drop down list, and then we'll have to select the mesh faces or the entire body. So when some scenarios, you may only want to select a certain area of the faces and then others will want to go ahead and select the entire body from the Fusion 3 60 browser, the next option you'll see, is the reduced type. Now, adaptive means that fusion will adapt the surface triangles. How it best fits. The shape and uniform will force them to all the uniform in shape and size. So for this complex object, I'll leave it at adaptive, so it doesn't totally skew the overall shape. Now We want to reduce the amount of faces, so we'll have to select face count for the reduced target. And then, for the number of faces like we talked about a minute ago will have to have this number under 50,000. And it's a good idea to a much lower as the more faces your file has, the more data fusion 3 60 has to process, so your file will be much slower the more faces you have. So I'm just going to type out 30,000 and click OK, and this may take a while to process because 30,000 is still a lot of faces. Once it's done processing, you'll see that if we switch back to the model workspace, weaken right click on the mesh and select mesh to be read, and this time it will convert it for us, although it will give us a warning again because there are a lot of faces which may slow down the file. So I always recommend reducing the face count as much as you can without destroying the overall shape. Now let's switch back to the phone stand demo and look at a few more things that we can do after we convert the file, I'll go ahead and rename the component by double clicking on it in the browser and I'll type out phone stand and I'll make sure that the mesh body is hidden and then our new component is visible and activated. Now. Fusion 3 60 did a pretty good job of processing this file and turning it into a solid body . But you'll see here that we still have a lot of triangular surface faces that make up our solid body, and sometimes things can get in the way of us altering the design to our specific needs. So one thing that we can do is reduce the number of faces by merging them together. If I wanted to work on this flat surface here, these triangles will get in the way. So let's go ahead and get rid of some of them now. I could zoom in and select all of these one by one, but an easier way would be to use the paint selection tool, which is going to allow me to click with my mouse and drag over all these faces to select them much faster now, before using the paint selection. I want to set the selection priority to select face priority, which will help ensure that we don't select the entire component. And if I go back up to the menu and look at thes selection filters, you'll see that we can see that activating these select face priority churned all these other options. Off and on, Lee left, the body face is turned on, which will again help us select only the faces. Now, with the paint selection activated, I can click and drag across a number of faces. And if I miss any faces, I'll just hold down the shift key and select them. Then I'll switch to the patchwork space and I'll select emerge from the modified drop down list, and you'll see that I can continue to select emerge faces to really clean up this solid body model so it doesn't have so many faces on it Now. Having less faces will really allow us to focus on the tools in the model workspace, and it won't restrict us a smudge as we try to modify our new solid body. Now there's one more thing I want to show you here in order to summarize what I covered in this video. If I turn on these section analysis in order to look in the side of the object, you'll see that RB reptile is completely solid. And if I toggle the STL mesh file back on and turned the component or solid model off, you'll see that it's a thin surface model created with hundreds of mesh triangles. So again, this is another great example of the difference between a mesh and a B rep or solid body. 22. Day #19 - Fusion 360: Hinged Box for 3D Printing (Part 1 of 2): Hey there it's Kevin Kennedy and welcome to day number 19 of Learned Vision 3 60 in 30 days . By the end of this tutorial, you'll be able to three D model a hinged box for three D printing. We'll take a look at how to set up user parameters, how to apply in as built joint and how to prepare the part for three D printing before we get started with the box. Let's make sure that our preferences are set up the same way I'll click on my user profile and then preferences, and I'm going to make sure that my default modeling orientation is set to Z Dash up because that's how most three printer slicing software's air set up. If you do have to change any settings here than, be sure to select the apply button and then the okay button. Now, if I go down to my display settings, you'll see that I'm in the photo booth environment and that my visual style is set to shaded with visual edges on Lee. You'll also want to make sure that your layout grid and snap to grid are selected under the grid and snaps menu and last but not least, you'll want to double check that your in the model workspace. Now let's start creating the bottom lid of our box by first creating a new component. I'll select new component from the assembled drop down menu. Now in the new Component Dialog box, I'll make sure that empty component is selected, and then I'll type in bottom box for the name and I'll click. OK, now we can begin to draw the box shape. I'll call the Rectangle Sketch Tool with the keyboard shortcut letter are, and I'll click on the bottom plane. Then I'll click on the center origin and drag out with my mouse. I'll type out 70 millimeters, hit the tab key toe, lock the dimension in place, and then I'll type out 70 millimeters for the other side. I'll hit the tab key once again, and then you'll notice that we can't do anything other than click on any side of the origin point. So I'll just click in one of the directions and real quick I'll point out like we talked about in day number 17. We always want to make sure that our sketches are fully constrained and mentioned as signified by all of the sketch lines turning black. Also, before we move on, let's find the sketch in the Fusion 3 60 browser, and we'll click on the word sketch in Rename It Box. Now, before we get started with the box shape, will want to set up some user parameters. I'll go to the modified drop down menu, and then I'll select change parameters from the bottom of the list. Now, I know a lot of you are just getting Infusion 3 60 this may even be your first Riel CAD program. So let's go ahead and take a minute to discuss what parameters are. If we look at the parameters box, you'll see that we can add a name, a unit and expression a value. And we can also add some comments or notes. At its core. Parameters are mathematical variables that weaken set up and they're defined by value. We can then call those variables by their names and order to find sketch elements, feature sizes and geometry across different components. When we set up parameters, we can define them by a single numerical value, an equation, or we can also reference other parameters So in some use cases, we may set our parameters up so we can change one single parameter in which all the other aspects of the model are fully updated simultaneously. Now, using parameters like this will give you a tremendous amount of control over the model. So to set up, some user parameters will click on the plus sign, and a dialog box will pop up. Well, then first, enter a name. So the first parameter I'm going to set up is the wall thickness for a three D print. Now, as you're typing out names, you'll notice that we can't use spaces or hyphens. So it's good practice to type out the names in Camel case, where each new word is capitalized for the units, we will leave that set two millimeters, and then we'll type in 1.3 for the wall thickness. As I found that that works well with most consumer level F D M three D printers for the comment. We can leave this blank if we want as it's not required, or you can type something out that may help a colleague understand the parameter. So I'm a type something out like F D M three d printer thickness and then I'll click. OK, now we're going to add two more user parameters. We'll click on the plus symbol again and add box height and we'll enter 70 millimeters and click OK, and for the last user parameter, we're going to set up the gap of our hinge. I'll click the plus sign once again and I'll type out gap and then 0.5 for the value and click. OK, now again, These are just some user parameters that we've set up to start out with. But we can always go back to this menu at any time to change these parameters. Or we can always add additional parameters and let's go ahead and click OK to close the parameter dialog box. Let's extrude this sketch to make a cube. I'll hit the keyboard shortcut letter E for extrude and then click on this sketch. Now, if we look at our extrude dialog box, you'll see that weaken type in the distance of our extrude. And we can also type in our user parameters in this field so I can delete all of this text and then start to type out box height and you'll see that after I type out the first letter , it recommends the box height user parameter for us so we can just go ahead and click on that and we'll click. OK, and if we look at our model from the home position, you'll see that the user parameter worked as expected, and we have a nice 70 millimeter cube, as that was the value we set for the box height. Parameter at this point will need to make the Cube hollow by using the shell tool. I'll select show from the modified drop down list and with the shell tool. If we just select one face, it will essentially cut away that face and create the thickness we apply. But we want our cubed to be completely closed because we'll use the split feature later on . So in order to keep the object completely closed, we'll have to select all six faces of this cube, and we'll need a type in our user parameter wall thickness for the inside thickness, and we'll click OK now because our shape is completely closed. It's hard to tell if this actually works. So the check that the shell worked properly will go up to the Inspect menu and then select section analysis. We'll click on any side of the Cube and then dragged the arrow in a bit. We can see that are Shell did, in fact, work as we wanted, so I'll just hit the cancel button in a dialog box. Now we'll need to create a plane in order to splitter box in half. We could use a mid plane from the Construct Drop Down menu, but I want to show you another thing that we can do with user parameters. So I'll select Offset Plane, and then I'll select the top of the Cube for the distance. I'll type out the minus symbol because I want this to go in the direction of my cube, then all type out the box height parameter, and we'll divide it in half, using the Ford Slash and then the number two and you'll see that that put our construction plane directly in half or the middle of the cube. And if we go toe, update the box height later on. Our construction plane will always be split directly in the middle because we used half of the box height user parameter, so I'll go ahead and click. OK to confirm these results. I now want to split this Cuban half, so I'll select split body from the modified drop down menu. I'll first have to select the body to split, so I'll select the Cube and then I'll select the construction plane for the splitting tool and then click. OK, now, if we take a look in the body folder of the Fusion 3 60 browser will see that we have a top body in the bottom body. And let's go ahead and rename these real quick and we're done using this construction plane . So I click on it and simply select the keyboard shortcut letter V toe. Hide it now, before we go any further. Also make sure to save this I'll click the Save icon and type out hinged box and click Save . Now we'll need to create the hinge of the box. All right, click on the face of the bottom body and click create sketch. Then, if I zoom in here, we're going to want to create our hinge in the middle of the two bodies. I'm going to first hit the keyboard. Letter L for line, and I'm going to draw a line 2.95 millimeters from the center over to the right. Then I'll hit the keyboard shortcut letter C for center circle, and I'm just going to click on the end of the line and draw out three circles as well. Dimension them in just a bit. Now we'll hit the keyboard letter D for dimension, and I'll click on the innermost circle. I'll type the parameter wall thickness. Then I'll hit the letter d again and I'll select the inner circle and then the second circle. And I'm going to type out Gap as this is going to create the gap between our pin and the hinge. And finally, all hit letter D once again. And I'll select the second circle and then the third circle, and I'll make this one the parameter wall thickness. And then I'll hit the escape key to clear the dimension command. I'll hit letter L for line again, and I'm going to draw a line from the edge of the bottom base to the outermost circle, and I'll make sure that they line snaps in where its tangent to the circle and I'll go ahead and do the same thing on the top. Then I'll click Letter D for Dimension again, and I want to add a 45 degree angle for this line as 45 degrees is kind of our maximum threshold for getting a nice angled surface and three D printing. So I'm just going to select both lines here and then type in 45 degrees. And once again, I'll repeat the same step for the top, and you'll notice that our sketch is completely black, so it's fully constrained. I'll go ahead and hit, Stop sketch, and then I'll rename the sketch in the Fusion 3 60 browser by clicking on it. And then I'll type out the word hinge. Now to complete the hinge and actually three d print the box, you'll have to click the link to Part two in the video description 23. Day #19 - Fusion 360: Hinged Box for 3D Printing (Part 2 of 2): Hey there, it's Kevin Kennedy. And welcome back to part two of day number 19 of Learned fusion 3 60 in 30 days. If you haven't watched Part, one can be sure to click the link below in the video description and watch that first in the first video, We created Our Box and created the sketch for Hinge. Let's go ahead and turn the henge sketch into a three dimensional object. I'm going to zoom in and look at the sketch from a slight angle, and I'm going to hold down the shift key and select the bottom and then the outermost circle and then right click on the selection and click on press Poll. Then I'm going to change the extent to to object. That way, if I ever update the size of the box, the hinge will automatically update for us. Also select extend faces under chain faces and then I'll select new body as the operation so we can hide this hinge. As we build the other parts, I'll click OK and then rename this bottom hinge in the Fusion 3 60 browser. Then I'll hide the bottom hinge by clicking on the light bulb in the browser, and I'll re show the hinge sketch this time while holding down the shift key, I'll select all three circles and the top hinge All right, click again and select press Poll. And then we'll change the extent to to object again. We'll also select extend faces for chain faces and then make sure that new body is set as the operation. After clicking okay or rename this to top hinge in the browser and then click the light bulb. I kind to hide the body now, making sure that my sketch is still on all select on Lee the inner Circle and I'll hit letter E for extrude, and I'll extrude this to the edge of the box. I'll change the extent to to object. Once again, we'll also have to select extend faces for chain faces and then make sure that new body is set as the operation. After clicking, Okay, I'll rename this body to pin, and for now I'll go ahead and hide the pin. So up to this point we have the form of our box and we have part of the hinge done, but we need to break up the parts of the hinge so they actually interlock properly. I'll go ahead and hide everything except the bottom box and then right click on the top surface of the bottom box. Here. Annul, select, create sketch I'm going to hit letter are on my keyboard for rectangle, and I'm going to draw a rectangle starting at the center origin. I'll make it 5.5 millimeters long so it's as long as our hinge and then for the with all type out wall thickness. To call that parameter at this point will want to draw a few more rectangles for the gaps, so this hinge will actually twist and work properly. All hit letter are on my keyboard to draw a rectangle right next to this one. I'll make it 5.5 millimeters long hit the tab key to lock the dimension in place and for the with all used the gap parameter. Now I'll want to mere these rectangles in just a second, so I'll first need to draw a line down the middle with letter L for lying and before I draw the line off select construction in the line dialog box. Then I'll click in the middle here where you see the triangle or the midpoint constraint and I'll just drag out to a random distance, click with my mouse and then hit the escape key. Now, before we mere I'll have to create one mortgage app rectangle, and I want these hinges to be divided up in approximately thirds. So I'm going to hit L for line again and I'll draw another construction line down 11.5 millimeters. We'll hit the tab key to lock the dimension in place and then hit the escape key. I'll draw another rectangle with Letter R, and I'll click on the endpoint of line and make this 5.5 millimeters long at the tab key and used the Gap user parameter for the with. Now it's important to note that I'm hitting the tab key after typing out these dimensions in order to lock them in place. And before I click with my mouse to set the rectangle, I want to make sure that the construction is turned off. Next, I'll select the mere sketch tool from the sketch drop down, list our click and drag over all of the rectangles to select them. I'll select the construction line as the mere line and click OK, and before we go on, I'll double check that. All of my lines are black, signifying that they're fully constrained at this point. All hit letter E for extrude, and then I'll select all of the Gap rectangles or all of the rectangles here except the outer, too. Then, in the Fusion 3 60 browser, I will turn on all of the bodies except for the pin, because we need that to be a solid all the way across in the extrude dialog box. I'll change the direction to two sides all select all for the extent of both sides and will make sure that the operation is set to cut and the last thing I'll check here is the objects to cut. So I'll toggle this open and I want to make sure that the bottom hinge and the top hinge are selected and I'll click. OK, now, if you look in the Fusion 3 60 browser, you'll see that we have all kinds of different bodies because we cut our hinge into multiple bodies, so we'll have to delete a few of these in order to get our hinge toe work I'm going to turn off the first and third parts of the top hinge. By going through these bodies and seeing which ones they are, you'll notice when I hover, they have transparency, and when I select them, they turn blue. I'll also go ahead and turn off the middle body of the bottom hinge. Then, ah, hold down the command key on my Mac or the control key. If you're using windows and I'll select the bodies that we just turned off and all right, click and select. Remove because remove will take the features off the browser, but it will keep them in the time line down here at the bottom. So if I were to go back through these steps, I could see that in the history, whereas the delete key will get rid of all traces of the object. And if we go ahead and take a look at the hinge, you'll notice that we deleted the opposite parts. So each part of the hinge actually has space to revolve around that center pin. So at this point will want to create a component for the top of the box so we can then rotate the box around and order to three D. Print this all right, click on the top body and I'll click. Create components from bodies. Now you'll notice that this place that component within the bottom component that we started off with, which we don't want. So a click and drag the top body component to the top of the browser tree and you'll see that it is now nested as the same level as the bottom box component. I'll go ahead and rename it by double clicking on it and typing out top box. And if I toggle these component folders back toe open, you'll see that some of our top bodies are still in the bottom component. So we can just hold down the command key on Mac or the control key on Windows and select all of the bodies with top. And I'll also turn on the pin and select that as well, and I'll click and drag all of them to the top box component. Now, if we toggle each component on and off, you'll see that we have the bodies correctly nested under the components. At this point, the last thing will need to do is at a joint so we can rotate the lit around. That way we can three d print the box with both lids touching the build plate surface. I'll go up to the assembled menu at all. Select as built joint, which allows us to position components relative to one another, and it also lets us add emotion. I'll select both components, and you may see your box rapidly shake here because the motion was set too rigid. So we'll want to change that to revel oot. And then I'll zoom in on the pen and I'll select the center of the pin or these circle here . And if I go ahead and zoom out and play this motion again, you'll see that our box is revolving around the pin just like we wanted. So I go ahead and click. OK, now I can double click on this Revolution arrow and you'll see that I can open and close the lid of the box by dragging the slider around. Now you could print the box with the lid in any direction, but to be most efficient and to come out with the best print quality will want to type out 180 degrees for the rotation. So doing this will put both lids of the box flat to the build surface, and I'll go ahead and click enter on the keyboard. The last thing I'll show you here is how to shrink this box size down so you can three d print the hinge without having to wait for the entire box to print. And this is a good idea when coming up with new objects. So we contest functionality without wasting time and filament. I'll double click on the original box sketch in the browser, and I can change the length of the box to 10 millimeters, then hit Stop sketch and we can change the height by editing our user parameters. So, if you remember, will have to go up to the modified menu and then select change parameters and all changed the box height value to 20 millimeters and click. OK, now, if I zoom in, you'll see that our hinge size actually didn't change one bit, which is what we wanted. So again we've shrunk our box size, so this will print much faster and so we can test out the hinge and then, if the hinge does print correctly. We can always go back and change the parameters to make this box any size that we want. Lastly, to three d print this box. I can right click on the top level Assembly and click Save as STL and in the Savers STL Dialog box. I will make sure that the refinement is set too high. And then I can either output to a specific slicing software, or I can always uninsulated this click. OK, name the STL file and save it to my local hard drive. 24. Day #20 - Fusion 360: One-Part Mold: Hey there it's Kevin Kennedy and welcome to day number 20 of Learned Fusion 3 60 30 days. By the end of this tutorial, you'll be able to three D model a simple one part mould for three D printing. We'll take a look at how to use the combined feature to subtract one body from another. Also, stay tuned for day number 21 where we'll take a look at how to create a more complex, two or three part mould to get started. I'm just going to three D model, a simple key chain, and will make a one part mould from it that you can three D prints, which can come in handy if you want to make resin replicas for faster and smoother reproductions. Now be sure to check out the links in the video description with my favorite mold release and resins. If you're going to work with three D printed bolts, I'll select new component from the assembled drop down list and rename it key chain before clicking OK, then I'll select box from the create drop down menu. I'm going to select the top plane and then click on the top plane of the view cube toe. Look directly at the top. Then I'll click on the center origin and drag out with my mouse. Well, type in 50 millimeters for the length. Hit the tab key to lock the dimension in place and then 35 millimeters for the with also followed by the Tad Key. And then I will click with my mouse to set the box Now because we use the box feature. It saved us that extra step of having to hit extrude, and we can simply enter the height of three millimeters and click. OK, now I'm going to round the edges over using the keyboard shortcut letter F for fill it. I'll select all four sides, and then I will type out seven millimeters for the distance and click OK at this point, Let's go ahead and add a whole for the key ring. We'll hit the keyboard shortcut letter l for line, and I'm going to click on the top of the key chain. And then for this first point of the line, I'll select the mid point at the top where you'll see that triangle or midpoint constraint pop up. Then I'll type out five millimeters. Hit the tab. Key toe Lock the dimension in place and click with my mouse to place the line. Now that we have the endpoint for where we Want the whole to go, I hit the keyboard shortcut letter H for Whole and I'll click on the top plane of the key chain to get the whole to snap tour lines and Point will have to click reference in the whole dialog box and then select the end point of the line and you'll notice that it immediately snaps into place. We can also change the whole settings in the whole dialog box. Ah, select simple, simple and flat because we just need our whole to go through for the key ring. I'll change the depth of the whole 23 millimeters or the thickness of our key chain, and then I'll change the with 25 millimeters and click OK, if you're following along and making your own key chain, you can customize it at this point by either adding some text or an SPG logo. I'm going to head up to the insert menu and select Answer SPG, and I'll select the face of the key chain. Then in the SPG Dialog box or click on the open folder and I'm going to select the product design online logo. You'll see that the logo is way too big and way off the key. Shane. So I'm just going to use these sliders to resize and reposition the logo. Until I'm happy with it. I want to add some thickness to the logo, so I'm going to right click and select Press Poll. I'll make this first section one millimeter thick. Then I'll repeat the steps to the other two parts of the logo, making sure that all of the operations are set to join. So we have just one body for the key chain. So now that we have a fairly simple key chain that we can create a one part bowled out of I'll just toggle opened the key chain component. Go ahead and rename the body to key chain by double clicking on it and typing out key chain now to create our mold will need to create another box, and then we'll use the key chain. Or if you would like to replicate something else, then you'll have to make sure that you have a body in order for the combined command toe work. So if you've imported an STL file from thingy verse, then you'll need to convert that from a mesh to be read. And if you need help with that conversion, you can watch my other video, which all linked to in the video description, all now select box once again from the Create Drop down menu and I'll click on the X Y plane. I'll select with my mouse in the upper left hand corner. And then I just want this to be big enough to encompass the key chain or whatever model you're using. Here. I'll type in 60 millimeters for the length and hit 45 millimeters for the with and I'll click with my mouse. And the box dialog box will make sure that the operation is set to new body and then I'll go ahead and look at this box from the front view. I want to make sure that the height goes over top the entire key chain, and I'm just going to type out eight millimeters, which should be plenty, and then I'll click OK, then, before doing anything else or rename the body that we just created by double clicking on it in the Fusion 3 60 browser and I'll type out mold for the name. I'll go ahead and click the Save icon at the top and type out one part key chain mold, as it's always a good idea to save your model before you go any further at this point, are key. Chain and mold for the box are taking up the same space so that help us see what we're doing here. I'll first activate the top level component by right clicking on it and selecting. Activate. Then, all right, click on the mold body and I'll find opacity control. And I'll change this to 50% and you'll see that changing the opacity control will help us better see what we're doing. As we go ahead and cut the key chain away from the mold box, I'll select the combined tool from the modified drop down list. First, you'll need to select the target body, which is going to be the object that you want to cut away from or add to. So we need to select our mold body, then for the tool body will need to select the key chain or whatever body that you're cutting away in order to make a one part mould. And if you're having trouble selecting the body in the graphics window, remember that you can always select the body in the Fusion 3 60 browser on the left hand side. Well, then, have to change the operation to cut because we want the tool body or, in this case, the key chain to cut out the material of our box. Now I can select new component if I want the mold to be added to a new component, and I can select keep tools which will keep the body or bodies that you had selected for the tool bodies. Should you need a reference them or use them again in this file. Now, after clicking OK, we'll have to turn off the original bodies by selecting the light bulb in the browser, and then I will also go ahead and turn the opacity back to 100%. So it's easier to take a look at the mold now that we have our one part mould, we can look at the draft analysis to see how well the object is expected to pop out of the mold. I'll select a draft analysis from the Inspect drop down list. Then I'll select the mold, and we have to also select an access or face for the direction that the item will pop out of the mold. So I'll go ahead and select the top face here of the whole knockout. It's also important to note that before you click OK, you can also set the tolerances in the bottom section of the dialogue box. I'm just gonna leave these to the defaults and click OK. Then you'll see that the draft analysis will color code everything. And we have the red edges here where the object may have trouble coming out of the mold. So what we can do to fix this is go up to the modified drop down menu and then select draft . Now, using this draft tool, we can apply a new draft angle to the model. So to do this, I'll select the top of the mold as the plane and then the inside faces here that are red. And then I can simply drag the slider around until we get the minimum degree turns the analysis to Green. I can click OK, and I can repeat these steps for the key chain knockout by right clicking and selecting repeat draft. And again I'll select the top as the plane and the side faces and then make this five degrees and click. OK, now it's kind of hard to see the draft angle here. So if I look at the section analysis from the side, you'll see that we did end up creating this nice draft angle, which will ensure that our object or replica will be able to pop out of mold without being damaged. And one other thing will point out. When you turn on the draft analysis, you will see it adds the analysis folder to the browser, where you can toggle it on and off once again. If you are going to three d print simple one part moulds to cast resin parts in order to make replicas faster than three D printing the object again and again, Then please support my channel by clicking my links below to my favorite resin and mold making products. I'll also point out that some parts of your model may pop out fine if the analysis is showing that they're red. It really depends on the materials that you're working with, how thick the object is and whether or not you spray on or apply a mold release. If you don't have any mold release handy than you can, try using the spray Pam from your kitchen, or you can pick some up from your local grocery store. 25. Day #21 - Fusion 360: 2-Part Mold: Hey there it's Kevin Kennedy and welcome to day number 21 of a learned fusion 3 60 in 30 days. By the end of this tutorial, you'll be able to three D model a two part mold that you can three D prints. We'll take a look at how to use the combined tool to subtract a body, how to split a body in half and how to create registration pins for the mold to get started . I'm going to open up this doughnut file, which I'll create a mold of in this video. If you remember, in day Number 20 we created a one part mould. So in this demo will take a look at how to create a multipart mold when the three dimensional object is too complex for a one part mould. Before I do anything with this model, I'll want to right click on the master component and select captured design history to ensure that our process is captured in the timeline below. Now similar to the one part mould, the first thing will want to do is create a box that will encompass the entire object. I'll hit the keyboard shortcut letter are for rectangle. I'll select the XZ plane, and before I select the center origin, all select center rectangle in the sketch palette, I'll select the center origin, and I'm just going to make this 110 millimeters in each direction and hit. Enter. Now I'll hit the keyboard letter E for extrude, and I'll select the rectangle. And again, we want this box to cover the entire doughnut. So will first select two sides for the direction. I'll drag the arrows for each direction around 20 millimeters or so until the box covers the doughnut shape and you'll notice that it defaulted to the cut operation. So we want to make sure that we have new body set as the operation before we click. OK, at this point, I want to start naming the bodies, so it's easy to keep track of them all. Toggle. Open the bodies folder and rename the first body doughnut and the second body mould box toe . Help us see what's going on here. We can go ahead and change the opacity of the mold box. To do this simply right, click on the body, go to a passively control and change the opacity to 50% now will want to use the combined tool to subtract the donut shaped from the box will select, combined from the modified drop down list. And then I'll select the mold box as the target body. As this is, the object will want to cut away from for the tool bodies or the shape that will use to cut . I'll select the doughnut on double Check that the operation is set to cut, and I'll also make sure that new component and keep tools is selected and I'll click OK and the combined dialog box. Now, since we had new components selected, you'll see that our mold body that we just created was created with in a different components. I'll go ahead and rename this component to doughnut mold by double clicking. Line it and I'll turn off. The original two bodies at this point will want to cut this mold into two parts. Before we split, the body will need to add a construction plane to reference as the split feature. I'll select a mid plane from the construct, drop down menu and then select the top and then the bottom of the box and click OK, and you'll see that the mid plane created a nice construction plane directly in the middle of the box. I'll select split body from the modified drop down list, and then I'll select the mold box as the body to split. And I'll select the construction plane as the splitting tool and I'll click OK now to make this even easier to look at all, select the construction plain and hit the keyboard shortcut letter V toe, hide it. I can also turn the opacity back to 100% of both bodies to make them even easier to look at and will rename the body's top and bottom so they're even easier to decipher. I'll hide the top and look at the bottom, and then I'll do the opposite by hiding the bottom so we can look at the top again and you'll see that we have successfully cut out the donut shaped from the mold box. At this point, we need to do a few more things. We need to create some registration pins so the mold always lines up correctly when it's placed together, and we also need to create a whole that allows the resin or chocolate or whatever liquid you pour into the mold to get into this inside cavity. Let's start off by creating the registration pins. I'll select the top body and hit the letter V on the keyboard to hide it, and I'll select the top plane of the view. Cute. Now you can go ahead and create registration pins with many different shapes. But personally, I like to use this fear feature so all select sphere from the create drop down menu and then select the top surface and I'll make this 10 millimeters wide and I'll make sure the operation is set to join. I'll select rectangular pattern from the create drop down menu as well. Want to pattern this to the other three corners under the pattern type selector will select features, and then I'll select this fear from the timeline for the direction or click on the edge of the mold. And I'm just going to use the arrow here to adjust these fears to approximately the same spot as the exact location is not that important Now. Once I have a new sphere previewed here in all three corners, I'll go ahead and click OK, now, we'll have to subtract thes fears from the top side of the mold. So we can three d print this mold and the registration marks will actually work. I'm going to turn the opacity of the top back down to 50%. Then I'll select the combined tool once again and for the target body will select the top. And for the tool bodies will select the bottom. I'll make sure the operation is set to cut. Select a new component and keep tools and click OK, now you'll see that we no longer need the original top bodies. We can hide that, and I'll double click to rename the original component to doughnut mold bottom. And I'll also go ahead and rename the other component that we just created to doughnut mold top. I'll turn the opacity back on for the top, and we'll hide the bottom by selecting it and hitting the keyboard Shortcut Letter V for view or hide, and you'll notice that now we have both the top and bottom pieces of the mold, each containing these nice registrations fears. So now we need to create a whole to pour the material into, and this part is really subjective to your specific needs for this doughnut. It's likely on Lee going to sit with the frosting side up, so I'm going to go ahead and put the hole in the bottom of the object as it may leave a small ring on the final object. We'll hit the keyboard shortcut letter H for whole and select the bottom surface off the bottom box. I'm going to click and drag the whole point to be about in the middle of the doughnut ring , and we can adjust the whole settings to counter sink. I'll type in 18 millimeters for the With of the counter sink. I'll choose simple and angle and for the height, all type in six millimeters and for the with all type in 10 millimeters. Now, these whole settings again really depend on your object where the whole cavity is and what you're trying to achieve with your moles. You may have to three d print out a test object and tweak it based on the results you get. Now, If I turn the opacity back to 100% and take a look at the bottom part of the mold, you'll see that we have this nice pour spout to pour into the bolt. The last thing that we need to do is check the draft analysis to see how well the object will come out of the mold. I'll select draft analysis from the Inspect Drop Down menu. I'll select the body and then the top surface as the direction and click OK and you'll see that we may have issues with the edges coming out of the mold as it's read here. But this really depends on the material that you're working with. We can re show the top mold and right click and select a repeat draft analysis and then do the same thing. I'll select the body and the top surface as the direction and click OK, and if we go ahead and take a look at this other side of the mold, you'll notice that we may end up with some undercut issues here in the frosting area of the doughnut. Now again, this is something that you have to play around with. You may find that a complex three D printing mold will work well if you pour something flexible such a silicone, and it may not work as well. If you have a hard material such as resin. With that said, you can always cut up your mold into more pieces, allowing you to remove any type of material out of the mold. Cut this up further. You'd simply have to follow the same steps where we have to create a construction plane and then use the split body tool. And I could also add extra registration keys to the sides of each mold part Now. One thing to keep in mind as well is that although more pieces may make it easier to pop in object out of the mold, you'll likely end up with more parting lines where the mold boxes meat so you'll really have to plan ahead and think about the final results you're trying to achieve. Lastly, to three D Print this, you'll just have to right click on each component and select Save as STL. And of course, you could either save it to your desktop or you could send it directly to the three D printers slicing software 26. Day #22 - Fusion 360: Sculpt an Earbud: Hey there it's Kevin Kennedy and welcome to day number 22 of Learned Fusion 3 60 in 30 days . By the end of this tutorial, you'll be able to model in ear bud in the sculpt environment. We'll take a look at how to create a box, how to select faces and edges and how to use the crease Command Before we get started. I want to point out that this tutorial is going to be a very basic sculpting tutorial. If you're new to the sculpt workspace than you're in the right place, you should also understand that mastering the sculpt or T spine environment simply takes time and hours of practice. You'll need to get very familiar with the commands, as you'll see in this lesson that just by holding down one single key, it can make all the difference and the results you get. Now. Let's get started by hitting the create form button in the toolbar, and you'll see that it will give you this message that you have entered the sculpt environment and you'll have to click finish form to go back to solid modelling. And if you don't want this message to display any more than you can simply select. Do not show me this again before you click OK now to start our ear, Bud will use a box, so I'll select the box and the toolbar and then select the front plane and the center origin. I'll drag out with my mouse and all. Type in 15 millimeters. Hit the tab key toe lock the dimension in place and I'll make the other side 15 millimeters as well, and I'll go ahead and make the depth 12 millimeters and then I'll hit enter to create the box. Now let's take a look at some of the basic sculpting commands you'll want to get used to in the sculpt environment. You can think of it like manipulating clay or some sort of workable material. We're going to control all of these different faces and edges to push and pull and change their position. In order to get the final outcome that we want, you'll see that if I just click on a face, it will select it. But oftentimes you'll want to select many faces or edges all at once to select all faces in a row. You can select the first face and then holding down the shift key. I will double click on the second face and you'll see that it highlights everything in that row. So we'll do this again in another direction so you can see it once again. Now, to select edges all the way around, All you have to do is double click on them. So if I double click on this center edge, you'll see that it highlights all the way around the object. Now. Another thing that could be very helpful at times, especially if you want to select a large number of faces, is to use the paint selection tool. You'll find the paint selection tool under the select menu or by activating it with the keyboard shortcut. Number three. If I select paint selection and drag over the object, you'll see that it will select everything. My cursors path. Now the only problem with this is that I'm selecting edges along with the faces. So if I just want to select faces, I'll need to set the selection priority under the select Drop down menu to select face priority. If I go back up to the menu and select the selection filters you'll see that it automatically changed it. So we're Onley selecting faces, so at times you may find it very helpful to manually select the type of objects you're actually trying to select. Then when you use the selection tool, you won't have to worry about selecting other objects. Now, if I clear out this selection and paint over it once again by dragging over the object with my cursor, you'll see that this time it on lease elects the faces of the object, not any of the edges or other elements already. So now that we've covered some of the fundamentals of selecting faces and edges, let's go ahead and start sculpting in ear buds. For the sake of simplicity. In this very beginner demo, I'm going to make the ear bud that it's symmetrical and before we start here will reset the selection filters to select all. And then I'll change the selection back to window. Now I'm going to double click on the center line to select the entire edge, and I'm going to right click and select edit form. The Edit form feature is the main feature you'll be using in the sculpt workspace. It gives us all these icons here, which allow us to move and manipulate the object in all different directions. I'm going to look at the object from the front view, and then I'll select this horizontal slider, and I'm going to drag it upwards and you'll notice that as I dragged this handle upwards, it's changing our box shaped to have a more rounded surface on both the top and the bottom . And I'm just going to hit enter, and then I'll repeat these steps. I'll double click on the horizontal line and then right click and select edit form. Then, once again, I'll drag the vertical slider until I like the shape. And if I need Teoh, I can go back and adjust the other direction. Now that we have, the rounded shape will want to pull the shape to the right to make the length of the year. But I'm going to select this back face and double click on the face above it again, because this will select the entire row, and I'm also going to hold down the shift key and select the four back faces. Then, all right, click and select edit form. And this time I'm going to use the arrow icon. So if I dragged the Arrow icon, you'll see this icon allows us to push and pull the length or the height of an object, and I'm just going to drag it until the length seems about right for an ear bud. And then I'll click. OK, at this point, I want to create the cavity for the earbuds, so I'm going to hold down the shift key and select all four sides of the front faces. This time, I'm going to use the circle icon in the middle that has three triangles When I hover over it. Now, this icon will either resize your faces or it will create new faces. If I simply select it and drag in and out, you'll see that it resize is the faces. But we'll also want to create some more faces here. So this time I'm going to hold down the option or all to key, and I'm going to drag in with my mouse and you'll see that now. We went from having four faces to a bunch of faces here, so this is really important. You can see all the difference. It makes holding down the option or all key, whereas if we just selected the icon and moved our mouse, it would simply resize. The faces holding down the option are all key again. I'm going to slide this in a bit further, making some more faces here, and you can see that are here but is starting to get a more defined front curve here Now. What the option or all key does is it tells vision 3 60 that you just want to manipulate the faces selected and not all of the faces around it. So if I look at the model from the right a bit more and then select the back arrow, you'll see that as I dragged the arrow back. It's really changing all of these faces in the front here. But let me hit Command Z toe undo. And if I do this once again while holding down the option all key, you'll see that this time it's not changing the thickness or the position of these outer faces. So I'm just going to click OK, and now that the nearby cavity is created, I'll take a look at the back so I can start to create the plastic cylinder. I'm going to hold down the shift key and select the back four faces, and this time I'm going to right click and select the crease tool, which will create a crease or sharp edges between faces. Then I'll select the four faces again while holding down shift, and I'm going to drag the centre circle to make this shape a little bit smaller. I'll go ahead and hold down the option or all key to create some more faces. Next, I'm going to select the horizontal arrow and while holding down Option or Ault, I'm going to push it back into the year. But I'm going to let go of all the keys and then holding down option Alz again. I'm going to drag the arrow back out and you'll see that now we have this cylinder protruding from the front of the year, but I can also hold down the option Ault again and drag the center slider to create more faces and round over the edge of the cylinder. And I'm going to click OK, now. The last thing that we want to do is make the plastic piece that runs vertical from the horizontal cylinder. But before we start to drag the shape, I want to create some more faces, giving us a bit more control. So one thing that we can do is insert another edge or this line here when we need to have more faces. Now to do this, I'm going to double click on the edge to select it. Then I'm going to go to the modified drop down menu and select Insert edge and you'll see that the green preview line is where the new edge will go so I can simply drag the slider to change the position of it before clicking. OK, now, if I look at the bottom, you'll see I have these extra faces here so we won't mess up the ear bud or the back of this cylinder shape. I'll go ahead and select these two faces while holding down shift all right click and select edit form, and I'm going to select the vertical arrow. Then, while holding down option Ault, I'm going to drag down just a bit and release all keys and then I'll hold down option Ault again, and this time I'll drag it down quite a bit. lastly Ah, hold down Option Ault and dragged the center slider to square off this bottom a bit and then I'm going to click. OK, so they see. Now we have a nice and basic very simple ear bud shape that we sculpted Infusion 3 60 Now, once you're satisfied with their sculpted shape, you can click finish form, which will convert it from a T spy model back to a solid body, so you'll see that now I'm automatically back in the model workspace, and I can now use the model tools to change this further if I needed to. So to wrap this video up, I want to remind you guys that in order to master the sculpt workspace, you really need to get used to holding down and selecting the right keys in order to take full control. Otherwise, it can be very frustrating. This first sculpt video was very entry level, and it's a great place to start getting used to these commands 27. Day #23 - Fusion 360: Sculpt a Computer Mouse: Hey there it's Kevin Kennedy and welcome to day number 23 of Learned Fusion 3 60 in 30 days . By the end of this tutorial will be able to model a computer mouse in the sculpt environment. We'll take a look at how to use the symmetry feature, how to insert a new edge and how to use the Crease Command to create a flat surface. To get started, I'm going to insert a reference image into the canvas. If your sculpting a shape off an already existing object, then this could be super helpful in getting the shape started. I've also found the evening or creating a new product from scratch that a rough reference sketch could be very helpful when using the sculpting mode all select attached canvas from the insert drop down menu or by selecting it in the toolbar. I'll select the right plane, and then I'll select the image from my desktop. I'm just going to drag the outer slider and scale it up for now and will calibrate the size in just a bit, so I'll click. OK, let's go ahead and calibrate the size of the reference image. So the sculpted form will naturally follow the realistic dimensions all toggle. Open the canvases folder and then right, click on the computer mouse image and select calibrate. Then you'll see that I can select the first points on the canvas, so I'll just click where the front tip of the mouse's. And then I'll needed to find the second point and I'll click at the furthest point of the back part of the mouse. Now, after I add the second point, I can type out a dimension so I'll type out 114 millimeters and click. Enter and you'll see that the reference image will immediately resize to those dimensions. Now the last thing I'll do is right. Click on the reference image and all select Edit campus, and I'm going to move the image up about 20 millimeters or so, or until the bottom of the mouse is lined up with the bottom plane because I'm going to start to sculpt from this bottom plane. And before I go any further, I'll click the save icon, and I'll save this as computer mouse. Now let's get started with sculpting the mouse. You can really start with a number of different shapes in the sculpt workspace, but I find it easiest toe. Always start with the pre made shape that's closest to your final shape. So in this case, the mouse is really just a rounded box. So I'm going to select box from the toolbar. Then I'll select the bottom plane. I'll click on the center origin and I'll drag out with my mouse. Now I'll go ahead and type the overall dimensions of the mouse, which are 114 millimeters long. I'll hit the tab key to lock the dimension in place and then 62 millimeters for the with, followed by the tab Key toe lock the dimension in place. Then you'll notice the box feature immediately prompts us for the height. So I'm going to look at this mouse from the right view, and you'll notice that the horizontal line of the box lines up well with this horizontal plane of the mouse or this imaginary plain. If I were to cut the mouse through its side, where I could get the largest flat surface here, so I'm just going to click OK, and you'll see that we have a basic shape approximately the same size of the mouse, but not quite, is tall. Now. A few more quick tips before we reshape this box. First off, let's turn off the origin planes by selecting the light bulb in the Fusion 3 60 browser. Now I found that any time you're working in the sculpt environment, you'll want to turn off any other objects that can get in the way as they can get pretty confusing when you're trying to push in. Poll on different faces. Also, you'll notice that the box shape we've created automatically has a transparent appearance because of the reference image splitting it down the middle. If I toggle the reference image on and off, you'll see that the boxes turned to 100% opacity. And sometimes I find it helpful to turn down the opacity of the sculpted form. So it's easier to see the details on the reference image. If you want to turn the opacity down, simply right, click on the body in the Fusion 3 60 browser and change the opacity under the opacity control. But for the sake of this video, and making it easier for you guys to see, I'll go ahead and leave it at 100%. The last thing here. You'll want to make sure that you have your visual style in the display settings set to shaded with visual edges on Lee, as this will ensure that you can see all of the faces that you're able to work with in the sculpt environment. You definitely don't want your visual style set to shade it. The first thing I'm going to do is set up symmetry so we can shape one side of the mouse and the other side will automatically be mere. To do this, I'll select the mere option from the symmetry. Drop down lists. Then we'll have to select two faces, so I'll select one face and you'll see it labeled it Number one. Now the second face we select is going to determine the mirror or symmetry line, so we want this mouse to be symmetrical right down the middle, so I'm going to select the face directly across from the first phase. Then you'll notice that this green symmetry line now appears, and that is in fact, the symmetry line that we're looking for. So I'll go ahead and click OK, now you'll notice that any faces that I select are automatically selected on the other side of the cemetery line. So this is a nice way to save time, be a little bit more efficient and, of course, to ensure that you do have a special shaped in this sculpt environment, especially that's what you're trying to achieve. At this point, I'll want to create this rounded hump of the mouse. I'm going to select the back top face of the form, right click and select edit form, and then I'm going to look at it from the right view. Now, one thing that I want to point out here, and I can't stress this enough is that you really have to get into the habit of looking at your sculpted forms from different sides of the view. Cute. Now this will make it easier to ensure your selecting the right controls as you'll see that if I look at it from a perspective than I have way too many selection options here, and it's easy to accidentally select the wrong one. So again, looking at it from the right view, I'm going to select this rounded rectangle, which allows us to move faces in a plane or direction. Or in this case, we're adjusting the faces along this right y Z plane, so you'll notice as I click and hold with my mouse. I can drag this around, and I'm just going to pull up to the left a bit and you'll see that we're already starting to follow the mouth shape. I can also select the face just to the left of this one without leaving the edit form feature, and I can move that around until it's a little bit better. Now, if you're new to the sculpt environment, you'll find that it's a lot more experimentation than Parametric modeling. So you'll want to get into the habit of experimenting. And if you don't like something, simply hit Command Z on Mac or control Z on Windows to undo the most recent action. I'm going to look at this from the home view to give you another idea of why we created the center line of symmetry before we got started with sculpting, so you'll see that it's a bit easier and were able to focus on the shape without having to worry about this other side. Now, at this point, I'm liking the overall shape of the computer mouse, but I want to reshape the front of the mouse so it has more of a sharp angle here. If I right click and select edit form on the front face, you'll notice that no matter what I do, I'm really not going to get the amount of control that I need. So what I would do in this scenario is at another edge or to giving me more faces to control the object. I'm going to double click on the center line of the mouse because double clicking will select the entire line, and then I'm going to select insert edge from the modified drop down list. I'm just going to use the slider to position the line so it's above the center line and I'll click. OK, now you'll notice that right after I clicked, okay, it readjusted the shape a bit and essentially cut these front faces up into smaller faces. Now I can go ahead and edit form on this top shape and adjust the face by dragging the centre manipulator around because this icon represents universal scaling, so you'll see that we can adjust this toe better represent this front shape of the mouse already. So now I want to get the bottoms to be a bit more square, like this computer mouse reference image. So I'm first just going to use the Planer Square to move the faces down a bit further, and I'll do this for the front bottom face in the back. Bottom face. Now, I would probably spend a little bit more time to tweak this side profile even further. But for the sake of time, I'm going to leave it at what it is. And let's go ahead and take a look at the top of the mouse. Now, to make this mouse a bit more ergonomic, I'm going to add a groove to the side for the thumb. Now, looking at the top of the mouse, I'm going to select this top left edge and right click and select edit form. I'm going to select the plane or direction icon and drag it out just a bit so you'll see that looking at it from the back were already starting to get a nice indent. I can also select the points where all the edges meet in the middle and I can use the dimensions to control it a bit more. I'll type in four millimeters and it looks like the top moved a bit. So I'm just going to go back and forth here and move each one around until I'm happy with the overall shape and I'm starting to like this overall shape. So I'm going to click. OK, now we want to make sure that the computer mouse has a flat bottom, so it will slide on the desk properly. So holding down the shift key, I'm going to select all the bottom faces and then I'm going to right click and select Crease. Now you may have noticed that the edges are creased, but the bottom isn't flat yet. So holding down the shift key, I'll select the two faces again, and this time I'll select the flatten command from the modified drop down list, and now you'll see the shape is completely flat on the bottom. Now, at this point, if you want to make the mouse specifically for a left or right hand, you could turn the symmetry off and edit the form on just one side. So to turn the symmetry off simply go up to the symmetry. Drop down list, Select clear symmetry. Select the model and then click. OK, I'm also going to show you another way to do this. So I'm gonna hit Command Z. And if I select the symmetry line first and then if I select clear symmetry, you'll see that it not only saves an extra step of having to use that dialogue box, but this will also help me control a specific symmetry line. If I did happen to have multiple symmetry lines set up in the first place at this point, I can right click on the top edge and click edit form, and I can drag this out a bit more to make this a right handed mouse, and maybe I'll just push the back in a bit more. So this is where the sculpt workspace could be really fun, and you can really play around with the shapes and ideas that would take you way too long to create in the model workspace. Now, obviously, I did this mouse concept fairly fast. So remember that one of the most important tips is that the more faces and edges you have, the more control you have over that area of the model. If I'm happy with his overall shape, I'll go ahead and click. OK, and I will click finish form in the toolbar so I can go back to the model workspace. Now I can go ahead and take this model a step further by using the model tools to really define the features of the computer mouse, including adding a center scroll here may be splitting the keys down the middle, and I can go ahead and hit the keyboard shortcut Letter F for fill it. Select the bottom edge and I'll enter a Philip Radius of four millimeters and click. OK, so that's all I'm really going to show for this tutorial because again, like I mentioned in day Number 22 you really need to get used to these basic sculpt commands before we go ahead and take it a step further. 28. Day #24 - Fusion 360: Sculpt a Halloween Pumpkin: Hey there it's Kevin Kennedy and welcome to day number 24 of Learned fusion Be 60 in 30 days. By the end of this tutorial, you'll be able to have model a pumpkin in the sculpt environment. We'll take a look at how to use the control points plein how to select through faces, how to use the T Spine Revolved tool and how to thicken 80 Splain model. To get started, we're going to need to create the silhouette of the pumpkin with the spine tool, and then we'll enter the sculpt environment and revolve the T spine around the center axis . Now I'll start off by creating a new component by selecting new component from the assembled drop down menu and before I click okay, I'll type out pumpkin for the name. Creating a new component before we do any work will simply help prepare for the future, just in case we want to duplicate the pumpkin or insert the object into another assembly file. I'm now going to select, create sketch in the toolbar, and then I'll select the right plane to get this plying command. I'll go to the sketch drop down menu. I'll find the spine fly out folder, and I'll select the control points Pline, which is a newer feature infusion to be 60 and I think you'll find it's a little bit easier to control than the Fit point spine. I'm going to start by clicking in the middle, just above the centre origin, as this is where that bottom cavity of the pumpkin will be. And I'm just going to add three or four points by clicking in the rough shape of a pumpkin . Then you'll see that the control points blind allows us to simply move these points around . So it's a little bit simpler to use than the fit point spine, which can Onley be adjusted by dragging the spine handles. So I'm just going to move these points around until I'm happy and it looks close enough to the pumpkin silhouette. And if you really wanted to get a specific profile shape, you could import a reference image in trace over the shape with the spying tool. Once I'm done with the spine tool, all hits stop sketch in the toolbar, and before I forget about it, I'm going to rename the Sketch pumpkin by double clicking on it in the Fusion 3 60 browser , as it's a good habit to get into even on these quick, smaller projects. Now we need to enter the T spine or sculpt environment, and you'll see that the only way we can enter the sculpt environment is by selecting create form. So the easiest way to do this is simply selecting it in the toolbar. Otherwise, the sculpt environment does not show up in your workspaces. Drop down list. Now, after selecting create form, you'll be in the sculpt workspace, and we will need to select the REVOLVE Command from the create drop down menu. Once they revolve, dialog box opens up. You'll notice that it's very similar to the REVOLVE Command in the model workspace, with the exception that will be creating a T spine body, which is full of faces. And it's not one solid body. First, I'll need to select the side profile of the pumpkin that we just created, and next you'll see that we have to select a center access so in this scenario will simply use the center access from our origin. But you could always reference a line that you created, or a number of different construction axes that you can create infusion. After I select the center access, you'll see it's already give me a preview of the shape and before we click OK in the Revolved dialog box will want to change a few more settings. If you've watched the previous two sculpting videos, then you've heard me talk before about the key to success when using the sculpt environment . And that is that the more faces you have, the more control you have over your shape. So we'll want to increase the number of faces here in orderto have a little bit more control over how we shape this pumpkin. You'll see that I can create new faces two ways, either by dragging this blue slider around or by typing out the exact number of faces that I would like in the dialog box. Now I'm going to set the number of faces to nine, and right above that you'll see that we can change the spacing to curvature or uniform. Now uniform will ensure that all of the faces are a uniform size, whereas the curvature selection means the size of the faces will adapt to the shape of the object. So for most projects, you'll find that the curvature setting will be more useful. So I'll go ahead and leave it set to curvature for now. For the type, you'll see that we can change. The angle toe, which are shape is revolved around, and we want our pumpkin to be solid all the way around, so I'll leave it set to full. Next, you'll see that we can set the number of faces in the other direction. And again, I can either drag the blue slider around or type a number in the dialog box. Now I'm going to go ahead and type out 14 for the number of faces. Just below that is the symmetry option. Now. Pumpkins are never exactly symmetrical. But to help us make the individual bulges, we're going to turn on the symmetry for now and then later we'll go ahead and turn it off and we can individually change parts of the pumpkin. So after I set the symmetry to Circular, I'll change the number of faces to three, giving us just a bit more control. And then I will click OK to confirm all of these changes now that we have the overall shape will want to push some of these faces back, creating different ripples that appear around the outside of a pumpkin. I'm going to look at it from the top plane, and then, while holding down the shift key, I'm going to start to select one of the edges that has symmetry applied to it, as indicated by these bright green lines. And I will start with the second edge, and I'll keep selecting them until the bottom edge before it starts to wrap underneath the pumpkin. So once I have them selected, you'll see that all the other symmetry lines are selected as well, and we're going to have to right click and select edit form. If you're new to sculpting infusion 3 60 then be sure to check out my other short video, where I cover what all of these edit form icons meat only to that below in the video description. For now, we'll select the single access direction arrow, and I'm just going to push it back a little bit if I want even more control than I can type a number in the Dimension box. So I'll type out 16 and click OK At this point, we're done with the symmetry, so we'll have to clear it out before we go any further. To clear the symmetry feature, simply select clear symmetry from the symmetry drop down list. And now you'll see that we no longer have any of our green symmetry lines. Now the last thing we need to do is create the stem of the pumpkin. I'm going to zoom way in on the pumpkin shape and double click on the edge here because double clicking will automatically select the entire edge. All right, click and select edit form, and I'm going to select the Universal Scaling Icon or the Centre Circle. Now, before I do anything, I'm going to hold down the option key on my Mac. So if you're on Windows, be sure to hold down the altar key and then will drag the centre circle in about halfway. I'm going to let go of the option key, then hold the option key down once again and dragged the center in a bit further. Then, with the option slash all key held down, I'm going to grab the top single access arrow and I'm going to drag it up so you'll see that holding down the option all key is creating these new faces for us. So it doesn't mess up all the surrounding faces, whereas if we didn't hold that down, if we moved any of these things around, it would drag all the faces with it to make the stem a little bit more tapered. I'll select the universal scaling icon or the centre Circle, and I'll drag it in a bit this time making sure that I do not have the option all key selected. You can also use the sliders to give it a bit of an angle, and we can select and hold on the plane or direction square and move that around to give it a more realistic and not so perfect appearance. The last thing I'll do is make this pumpkin even more realistic by messing up some of the symmetry. Now I'm going to look at the pumpkin from one of the side views and then I'm going to hit control plus one on the keyboard, which will change the appearance to a box display mode. And the main advantage of this box display mode is it makes it easier to select faces of the organic shape, and it will also run a lot smoother, especially if you have fusion running on older computer. Now we'll want to set a selection filter so all head up to the selection drop down menu and for the selection priority. Ah, click on Select Face Priority, which will make sure that we Onley select faces. Now if I click and drag with my mouse to create a selection window, you'll see that we have one problem, which is that it doesn't select all of faces on the top of the pumpkin, especially on the other side. So the easiest thing to do in this situation is to activate the select through selection filter, which will automatically select the faces on the other side's when we use this selection window. So after activating select through. If I try to do the selection again this time you'll see that it did in fact, work, and it selected the entire top. So I can now right click and select edit form, and I can drag the rotation cider a bit and move the planer direction square around to make this pumpkin a little bit more unique. After messing with the faces of it. You can click OK, and then you can hit control plus three to revert back to the normal smooth mode. Now, to wrap up this tutorial, there are a few quick things will want to do. First off will want to fill the gap in the stem of the pumpkin. So in some T spine scenarios, we would be able to use the fill hole. Modify command. But unfortunately, if you move your stem around, it's going to cause some intersecting T spine airs, which won't let us convert this model to a solid body. Therefore, I'll make sure my selection filters are reset to normal, and I'll double click to select on the Stems edge. All right, click and select edit form, and I'm going to hold down the option all key and drag the universal scale icon just a bit , so it rounds over the edges. I'll release the optional key, and then I will hold down the option all key once again and drag the universal scale icon in further. And this time I'll go ahead and type out zero in the Dimension Box, which will close off the top of the stand, and then I can click OK to confirm the results. As of now, this T supply model doesn't have any thickness to it. So before we hit finish form to convert it to a solid body will use the thick in command located under the modified drop down list. Then I'll have to select the T spine body. I'll change the thick and type too soft, and I'll type out four millimeters for the thickness. If we look at the body in the Fusion 3 60 browser, you'll see that it's still a T spine body. So to convert it to a solid I'll hit finish form in the toolbar, and it may take a few seconds to convert. Then I'll turn on the section analysis to show you the thickness that we just created with the thick in command. Now that the pumpkin is a solid body, you can use the model tools to carve a design into the side. Or you could double click on the sculpt icon in the timeline below to further at it the T spine body in this sculpt workspace 29. Day #25 - Fusion 360: Assemblies and Joints - Assemble a Demo file: Hey there it's Kevin Kennedy and welcome to day number 25 of the learned vision 3 60 in 30 days. By the end of this tutorial, you'll be able to assemble components together to represent functional and moving products . We'll take a look at how to set up joints and as built joints. We'll talk about the difference, and we'll also add some rigid sliding and some other motions to the joints. For this tutorial, I'm going to use one of the sample files located in the data panel. Open up your data panel by clicking on the grid icon. Scroll down until you see this sample section and then double click on the basic training folder, then find folder number six, which contains assembly practice files, and we'll double click to open file number six, which is a camera tripod. Once the camera tripod file is open, you'll notice that it's a read on Lee File s stated at the top of the toolbar here, so we'll have to click on file save as and then you can rename this file. If you would like to, as well as choose a new location for the copied file, then clicking the Blue Save button will copy the file for us, So now we can play around with the file and actually make changes to it before we start adding joints and motion to the model. Let's take a look at a few things that you'll need to understand in order to understand assemblies and infusion. 3 60 First off, you'll notice that in the Fusion 3 60 browser on the left hand side that all of these parts and the assembly file are made up of components. Now, if you're not familiar with the difference between components and bodies, then be sure to check out my other video in the video description below. Fusion 3 60 treats components as real world manufactured parts, and because of this, you'll only be able to apply joints in motion. Two components and they won't work on bodies. Next, let's head down to the timeline and click the red icon, which represents a grounded component and hit the delete key on your keyboard. We'll talk more about grounding components in just a bit, but for now, let's go ahead and take a look at the model itself. Now the tripod appears to be pieced together. But if I click in Dragon apart, you'll notice that can drag each one of the components around freely. So they're really not joined together. And of course, that's what I'm going to show you in this video lesson. Now the first tip for those of you new to assemblies is when you move something around but decide that you wanted to go back to the original location. You can select reverts in the toolbar or in the position drop down list, and you'll notice that selecting Revert moves the component back to its original position. Now, in order to see the middle components of the tripod. All zoom in and I'm going to click in drag on the red stand and I'll drag it over to the right and also click and drag the camera mount over to the right. You can now see some of the other key components of this tripod assembly in order to make sure these two pieces we just moved, don't get reverted back to the original position will want to click capture position in the toolbar or from the position drop down list, which will capture the current position of all the components. Now the capture position feature is Parametric, meaning that it's part of the order of feature and can be used to create additional features. Later on, you'll notice that the capture position icon is now located in the timeline below. And if you roll back the design, the parts moved back to their previous position. And if I roll the timeline forward, the parts return back to their new position. The next thing we're going to discuss is what grounding a component does. I'm going to zoom in on the top of the tripod, and if we look at the part of the stand, you'll see that this piece has the leg joints and the joint for the camera mount. So because we'll be applying a number of different joints to this specific component, we'll want to ground this piece so we don't accidentally move it now. This is the important part. To ground a component, you'll have to ground the lowest level component. So for this example, this piece is a sub assembly, so we'll have to toggle open the stand sub assembly folder and then I can right click on the Components 25 select a ground, which is located near the top of the list. Now, if I try to select this component and move it, you'll see that it is in fact grounded or frozen in place. Typically, you'll find it helpful to ground at least one component in your assembly file, although this is certainly not something that is required now that we have part of the stand, Grounded will want to add some joints to the legs of the tripod. If I select the assembled drop down list, you'll notice that Fusion 3 60 has two different types of joints. We have joints and we have as built joints. Now both of these joints have seven different types of motion that could be created. But it's important that you leveraged the correct type of joint to help save you time and streamline your workflow. Put simply as built joints are used when the components are already in the correct position . Yet they need to be joined together as bill joints are most commonly used when creating an assembly with imported geometry from the existing model, such as our use case here or if you built your designed with a top down approach where the components were built in place, either touching or relative to each other, which means that they don't need to be moved into position. Contrary joints. Air used when fusion 3 60 components need to be assembled together, but the parts are not in their current position. Later on, when we used the Joint Command, you'll notice that the first component selected moves to the second component that we selected, which allows us to define position and a relative motion all at once. If I zoom out a bit and we take a look at our model, you'll notice that most of our tripod here is already in the correct position. Therefore, will be using as built joints for these components. On the other hand, will need to use joints when we go to assemble these other pieces that we moved away from the main assembly. Let's go ahead and use an as built joint to join the legs. Together, I'll select as built joint from the assembled drop down menu or by hitting the keyboard shortcut shift plus J. Then, before I select any of the components, I'll set the motion type. If I open up the drop down list, you'll see that Fusion 3 60 currently offers seven types of motion. We want the pulls of the tripod to be able to slide within one another, so we'll select slider from the list of options. Now I can select the two cylinders that make up the legs. I'll select the lower great tube first, and then I'll select the white tube. After selecting both tubes, you'll notice that we now have the position option in the dialog box to set the position of the slider motion. I'll select the bottom circular edge of the white tube and you'll notice that it gives us a nice preview of the motion toe hope. Ensure that we're setting it up correctly Now, looking at the preview, everything looks good, so I'll click OK in the dialog box. One thing to note before we move on is that you'll notice that the as built joint we just created was also automatically applied to these other two legs, and this is because they were copied from the original. In other words, all three legs are instances of the same sub assembly. So fortunately for us, Fusion 3 60 is smart enough to apply joints to all instances that are the same. Next, we'll want to add in as built joint to the end caps so they can't be moved around. I'll hit Shift Plus J on the keyboard to call the as built joint, and then I will change the motion type too rigid. You can think of the rigid motion type as gluing two pieces together so they're not able to be moved, and you'll notice that their rigid is first on the list because this joint type is used most often, Infusion 3 60 the engineers have went ahead and organized this motion list based on the frequency that the motion types are used. Now I'll need to select the end cap and then the gray leg and I'll click OK. You'll also see that the in caps were also part of a sub assembly with the same instances. So this rigid joint that we just applied was automatically applied to the other two instances. Now we'll want to add a joint to the top of the lake. I'll zoom in a bit so it's easier to see. Then I'll right, click and select repeat as built joint you'll see that rigid ISS still selected because we use that last. So all we have to do is select the top end cap and the white cylinder and click OK, I'll now, right click once again and select re P as built joint. And we're going to repeat the same steps to connect the arched connector that's kind of hidden here to the top of the cap. And after selecting each, I'll click OK in the dialog box. The next joint will want to add is the Revolution motion that will allow this top connector to move along the stand piece here. All right, click and select re p as built joint. And this time I'll change the motion type to revel oot because REV. Allure will allow this to revolve around a single access. Then I'll select the connector that we used previously, and I'll select the stand bracket for the position will want to select the whole here where a pin or bolts will go and you'll notice that it immediately gave us a preview, which looks correct. So I'll go ahead and click OK now, because the stamp piece is just one component. This as Bill joint was not automatically applied to the other two legs, so we'll have to complete the same steps for the other two legs at this point. Will want to test that our joints were applied properly. Will simply click and drag on one of the legs and you'll see that I can move the lake around the revolution, and I can also slide the bottom two inside the upper tube and to move everything back in place. All select Revert in the toolbar. Now we'll want to complete assembly by attaching the camera. Mount First will want to select as built joint from the assembled drop down list. I'll change the motion type back too rigid, and then I'll select the Panhead and the stand connector and click OK, now this should finish up. Everything with the components that we already had in place, as we discussed earlier, will now need to use the Joint Command for the remaining components because we'll want to move them in place and add emotion at the same time To call the Joint Command. I'll simply hit the keyboard shortcut letter J. So no shift key for the Joint Command. I'll make sure the type is set to rigid, and then, as we discussed earlier, will first select the component that we want to move. So look at the model from the bottom and select the bottom of the red stand, and I'll want to select it where the flat surfaces and the cliff icon appears over the center hole. I'll reposition the model so we can look at the top of the stand, and I'm going to want to select the Centre Circle. But you'll notice that it's hard to see because it's technically hidden by this other component. So we'll need to hold down command on Mac or control on Windows toe, lock this face in place, and then you'll see that I can select the center hole and the component will automatically move over and we can click. OK, the last joint will want to apply is a ball joint for the camera mount. All right, click and select repeat joint and then set the motion to ball. I'll select the ball of the camera mount because we want this component to be moved, and then I'll look at the amount from the top, making it a bit easier to select the inside ball. Now you'll notice with this preview that Fusion 3 60 does not detect the material interference that is going on, and you'll have to set up contact sets in order for it to not run through this red component, which is something that will have to be covered in another video. I'll click OK, and I'll just move the camera mount around to make sure that the ball joint does move correctly. Hopefully, this gives you guys a very beginner overview. Two joints in motion infusion 3 60 If you're coming from a different cab programs such as inventor or solid works, then you need to come into this with an open mind. I understand it could be frustrating at first, but once you grasp the concept, I think you'll find that fusion 3 60 joints and motion are much more efficient when creating assembly models. 30. Day #26 - Fusion 360: Create 2D Technical Drawings: Hey there it's Kevin Kennedy and welcome to day number 26 of Learned Fusion 3 60 in 30 days . By the end of this tutorial, you'll be able to create a two D drawing from your Fusion 3 60 file. This lesson is for beginners who have never used the drawing workspace. We'll take a look at how to create a base and projected to you how to add dimensions, how to update a drawing If the file changes and how to export a drawing for this tutorial, I'll be using a demo file that is located in your data panel. Open up your data panel by clicking the grid icon, then scroll down until you see the sample section. I'll double click on the basic training's section and then scroll down until you see the number eight hyphen drawings and double click on that folder to open it. Now I'm gonna use the connector joint file so I'll double click on the connector joint file toe, open it and then you'll notice that just above the toolbar, it reminds us that these sample files are read on Lee. We'll have to make a copy by going to file save as. And then you can change the name or location if you like. And when you hit the blue save button, it will create a copy of the file. Now that we have a working file, we can create R two D drawing. And there are two ways that we can do this. The first way that you can create a new drawing is from any of your design files in the data panel. If you right click on the file in your data panel, you can select new drawing from design, which will open up a two D drawing file in a new tab. The second way is to have your design file open, then go to file new drawing, and then you'll notice that you can select from design or from animation, so I'll go ahead and select from design. Since this is a design file, you'll notice that any time you create a drawing this way, it will first prompt you with the create drawing dialog box that gives you a few different options to set up your drawing. The first option is what the drawing will reference. You'll see that it defaulted to the full Assembly. But if I didn't want a drawing of the entire assembly, I could uncheck this box and then you'll see that I can select specific components. For now. I'll go ahead and leave that set to the full assembly. The next option, which is drawing currently only has the create new option because I haven't created a drawing with this file yet. Next, you'll see the template option. I'm going to leave this to the default of from scratch, but it's important to note, if you find yourself creating a lot of two D drawings, you can save templates to help speed up your workflow. And, of course, this is where you would select the templates that you're wanting to use. The next option is standard where you can choose from either a SME or ISO standards, so I'll go ahead and leave this set to SME for now. Just under that is the units option, and this will default to whatever the files units were set to. But you can always change this two millimeters or inches. Last but not least, you'll see the sheet size where you can change the dimensions of the sheet. So if you're gonna be printing this two D drawing out or sending this over to someone else who will be printing it. Then you'll want to make sure that you select the correct sheet size. I'll leave this set to the default 17 by 11 inches for now. Now, before I click. OK, I want to point out that this standards and the units options cannot be changed once you click the OK button. However, after the drawing has created, the sheet size option can be changed at any time. Now I'll click OK and you'll see that it opens up a new tab with the two dimensional sheet . And as I move my mouse cursor around, you'll see that has the base view pre populated for us. If you want, you can change the orientation and the appearance and the drawing view dialog box. Selecting a different orientation will change the orientation of the base view as you'll see here with the preview. However, the style won't change in the preview, and we can always change any of these settings later on. So for now I'm going to set the scale so 1 to 1 and you can either change the scale by selecting the pre populated options, or you can always type out a scale size. So let's go ahead and set this base view to front, and I'm going to click on the left side of the sheet and then click OK before we move any further. I want to point out that the drawing workspace is the Onley workspace infusion 3 60 that doesn't allow you to toggle back and forth between workspaces. You'll notice that the toolbar is a bit different, and there aren't quite as many options as the model workspace, which is really doing part that there aren't as many functions that you'll need to use with two dimensional drawings. Now to finish, offer drawing want to create some projective use of the model, which will allow us to show some more Ortho graphic faces? I'll click on projected view in the toolbar, and then you'll notice that you have to select the view to project from now. In this scenario, we only have one option here, so I'll select the front view and then you'll notice that I can drag the mouse around. In the view, Preview will change based on the position of my mouse now to set the top view, I'll go ahead and click above the front view, and then I'll set a perspective you by clicking over in the upper right hand corner. Then, to confirm these views and to escape the projective use feature, you'll have to select the enter key on your keyboard. If you want to reposition the views under sheet, you can simply click and drag the CenterPoint around. And if I do this for the front view, you'll notice that the top view will move along with it now. Any time you project Ortho, graphic views will remain connected with the exception of the perspective, which could be placed anywhere so you'll see that I can drag the perspective you around and I can place it anywhere now. A lot of times it's helpful that the perspective you is in full color. If you want to change the appearance style, simply double click on the view and then it will open the drawing view dialog box. I can change this appearance to shaded and then hit close and you'll notice on Lee. This view changed as this perspective is not dependent on the Ortho Graphic views. Before I go any further, I'll click the save icon. One thing you'll notice is that every time you create a drawing from a file, it will automatically add the word drawing to the end of the file name. I'll click save. And now let's take a look at changing the appearance of the front view. Now, which appearance you choose really depends on your knees, but often times it's helpful to show more details. Toe fully depict the shape I'll double click on the front view and then change the tangent edges to full length. You'll see that the update right away and if we take a closer look, this line here better depicts the rial shape, and it helps the viewer understand how these components touch. Just below the Tanja edges option is the interference edges. You can select this option if your model has multiple components that intersect. When interference edges is turned on, an edge is displayed that shows where the components meat. Lastly, you'll see the thread edges option now by default. Threads are not shown in drawings, but if you check this option, it will show any of the threads in the selected view up to this point are drawing still isn't most helpful because we have no sense of scale. We'll want to go ahead and add dimensions to the Ortho graphic drawings, and this is the last major piece of the drawing workspace that I'll be covering. In this beginner lesson, I'm going to zoom in on the front view, and we'll take a look at how to dimension it now. The easiest way to add dimensions is by hitting the dimension tool in the toolbar. Or you can also select the keyboard shortcut letter D for dimension. Then you'll see as a move my cursor around. It will preview some dimensions for us now. One way to create a dimension is by clicking on a line. So if I click the outer vertical line, I can create a dimension for that line, and I can move my cursor around, and I'll have to click once again to set the dimension in place. Now, after setting a dimension, you'll still technically be using the Dimension Command unless you hit the escape key. Now, the next way to create a dimension is to select two points. If I click on the lower left point just above the fill it, and then the lower right point, just above the fill it. You'll see that I can create a dimension for the width of this part, which is 2.25 inches. And once again I'll have to click to set the dimension in place. Now, using the Dimension Tool, you can dimension just about everything, however, sometimes you'll find it hard to dimension specific geometry. Because of this, the fusion engineers have went ahead and made mawr specific dimension commands. If I click on the dimension drop down list, you'll see that there dimension commands specifically for linear lines, angles, the radius or diameter of circles and a few others. I'll go ahead and select the diameter dimension tool, and you'll see that this tool will only work if I select the edge of a circle or an ark. And the benefit of this is that I don't have to worry about accidentally clicking on any of these other lines, as I would if I were using the General Dimension Tool. I'll click on the innermost circle and then dragged the dimension out and click to set in place. I'll go ahead and click on the second circle and dragged that dimension out as well. And once again, I'll have to click to set the dimension in place. If you're new to the world of CAD, including two dimensional drawings, then you'll find that what you're doing with your model will help you decide the best way to set up your drawing. If you're working with another company that's going to manufacture the product for you, you'll want to check with them to see what standards they follow. On the other hand, if you're creating a drawing for fun or for your own purposes, you'll still want to follow some best practices for Dimension ing two D drawings a link to an article in the description below that talks about the best practices. More in depth. But here are three of my top rules that you should follow when dimension ing your drawing files. Rule number one is that dimensions should not be duplicated. For example, we labeled the right side as 1.5 inches, so I wouldn't put a label on the left side unless it were something other than 1.5 inches. Rule number two is to use the minimum amount of dimensions required to produce or inspect the part. Having unnecessary dimensions just makes drawings mawr cluttered and harder to understand. Rule number three is to never cross dimension lines. Now this one could make things really confusing. So be extra careful and pay close attention to where you set your dimensions. Now for the sake of time. I'm not going to add any more dimensions to this drawing. But I will point out that I would need a few more dimensions toe fully depict this model. Let's take a look at two more things that you can do with the drawing. Worse space, the second to last feature that I want to show you as what will happen if your original model changes. I'll go back to the three D file, then I'll hit the keyboard shortcut letter Q. For the press pull feature, and I'm just going to extend one of the faces out to the right and I'll go ahead and save this by clicking on the save icon. Now, if I go back to the drawing, you'll see that it gives me a warning message that says changes have been made to the reference design. Soto let these changes happen. All you have to do is click on the Link icon at the top and you'll see that the model and all of these projective use are automatically updated now. The part I changed wasn't mentioned, but say that I changed this area that has the dimension with 1.5 inches. Had that changed, the dimension would automatically be changed as well. As you can imagine. This is pretty powerful, and the fact that they're linked can save you a ton of time from not having to go back and edit drawings. Alternatively, if you wanted to make changes to the file and not have it affect this drawing, you would have to create a copy of the file in your data panel, and then the copied file would be independent and no longer linked to the drawing. Now the last thing will take a look at in this beginner lesson is how toe export the two dimensional drawing. If you want to print the drawing, you can use the keyboard shortcut command plus P on Mac or control plus P on windows, which will allow you to choose the printer and a few other print settings. Otherwise, you can export the drawing to three different formats. If you look at your toolbar, you'll see an output drop down list at the far right. The first option allows you to export and save the drawing as a PdF file, which can be helpful if you need to share the file with someone else. The second option allows you to export as a drawing or D W G file, which could be useful if you need to open it up and another CAD program or another piece of software that accepts D W G files. Lastly, the third option allows you'd export as a CS V or comma separated values file. Now this option really only works. If you've created a parts list in the drawing workspace, and if you have created a parts list, then this export option can help you migrate to another platform, such as an Excel sheet 31. Day #27 - Fusion 360: Patch a Model (Patch Workspace): Hey there it's Kevin Kennedy and welcome to day number 27 of Learned Fusion 3 60 in 30 days . By the end of this tutorial, you'll be able to patch and repair an imported model within the patchwork space. We'll take a look at what the patchwork space is commonly used for. How to extrude a surface model, how to delete faces and how to stitch a surface model. Many of you that are new diffusion 3 60 have probably seen the patchwork space in the drop down list, but you find yourself always reverting to the model workspace or maybe even the cam workspace. So before we dive into patching an imported model, I want to briefly talk about the intention of the patchwork space. The Fusion 3 60 patchwork space has two main purposes. The first purpose is to patch or fix surface models that are not completely solid or watertight models Infusion 3 60 A surface is a geometry within the software that has no mass or thickness but still allows users to form and create the shape or style of a model infusion. The surface or surface bodies are considered a patch hints the patchwork space models that have holes to be patched could be imported from another CAD program. Or they could be models that were created in the sculpt environment that are not fully closed. The second main purpose of the patchwork space is to create surface models from scratch and some scenarios models air best created with the patch environment and then modified further in the parametric, or direct modeling environments. This type of cad workflow is most commonly used in the packaging industry, especially with plastics. You'll see this a lot with complex bottles, vessels or containers that are easily modeled as surface bodies and then stitched together . For example, Take a look at your laundry detergent bottle. If it's one of these standard detergent style bottles. That is very likely that someone first created this design with a surface model approach in the respective CAD software. Now that you know why the patchworks based exist, let's take a look at how to actually use some of its core features For this demo. I'll be using a file located in your Fusion 3 60 data panel. Click on the data panel grid icon in the upper left hand corner, then scroll down until you see this sample section. Double click on the basic training's group and scroll down until you see the number 12 folder Hyphen patch. I'll double click on that folder, and then I will double click to open the Buckle model. Now Fusion 3 60 sample files are read on Lee, so we'll have to create a copy of the file Head up to file, Save as. And then you can change the name or the location of the file if you would like and clicking that blue save button will create a copy of the file. Now that we have a copy of the file, we can start working on it. The first thing I want you to notice is the type of file in the Fusion 3 60 browser Taco opened the Component folder and then the Bodies folder and take note of the icon here. This icon represents a surface body infusion 3 60 If you ever import a model from somewhere online and you're wondering why you can't use the Parametric modelling tools toe, alter it, then double check to make sure the body is a solid body and not one of these surface bodies . In our case, we don't have a solid body yet, so want to fix that? Looking at the model in the home position, I'll zoom in a bit, and I'm just going to use the View Cube to take a look at it from the middle and you'll notice here right in the middle. There's a huge hole in the middle, so this model is clearly not solid or watertight, as we already figured out by looking at the type of body in the Fusion 3 60 browser first will want to make sure that we switch to the patchwork space by selecting Patch and the workspace drop down list, then will want to use a tool that will let us patch this surface hole. And to do this will actually be using the Patch Command, which you'll see is in the toolbar, or I can select it from the create drop down list. The first thing the patch doll Oh box prompts us to do is to select the boundary edges. We'll want to select all four edges that go all the way around the hole, and sometimes you'll find that you have to select them one by one, and sometimes you'll be able to select the entire perimeter with just one click. You'll also notice that the preview fusion is giving us is already showing the surface patch and some scenarios you may want to use The group edges command. In our case, we only have four edges, so it's not too bad, but you may run into a model where you have a large number of edges to modify. Selecting this group edges will allow you to make changes to all of the edges at once. We want this surface to be nice and smooth, so I'll make sure the continuity is set to connected as connected. Creates a surface with G zero edges, which are edges that are connected at an angle. Just below that, we could select a rail or point if we did have one to reference, which would make this patch even more predictable. For now. Just selecting the edge. Patch the shape very well, so I click OK toe exit the patch dialog box. Next, I want to make sure that the holes on the sides are also patched. The patch. These holes will use the extend command from the modified drop down list. We're going to want to extend the circle out into the hole where it's perpendicular to the side. Therefore, the first thing I'll do is set the extend type two perpendicular. Then I'll select the outer edge and all type in negative 5.153 as I'm just making sure it goes past this other hole, and then I'll click OK in the dialog box next a right click and select a repeat extend, and I'll select the inner circle. The extent type should have defaulted to perpendicular, so all you'll need to do is extend this surface out until it's passed. The outer edge that we just created as that will make the next step easier for us. Click OK in the dialog box, and then we'll need to repeat these exact same steps on the opposite side. Ah, look at the model from the other side of the View Cube, then a right click and select repeat extend. I'll click on the outer circle and you'll see that it has the last dimension we used, as well as the perpendicular set for the extend faces. So all we have to do is click OK, then. All right, click and select. Repeat, extend once again and this time clicking on the inner edge. I'll just want to make sure that the surface is extended enough to go past the previous edge. At this point, will want to trim out the excess surface because the surfaces internal will want to look at the model from a section analysis. If you needed to create a new section analysis, you could select it from the Inspect drop down list. Fortunately for us, the Fusion engineers have went ahead and set one up for this sample file. So all we have to do is click to turn on the light bulb next to the analysis folder in the Fusion 3 60 browser. I'll zoom in on the left side so it's easier to see and you'll notice you can see the surface that extends past this edge because we don't need the surface, I'll select it and then hit the delete key on the keyboard. You'll also want to do this to the other side, but before that will also want to delete the other edge that sticks out. After deleting this face oil pan back over to the right and I'll delete the other two edges that we don't need. I'll go ahead and hide the analysis folder because we're done using the section analysis for now. And if we look at the bottom of the buckle, you'll notice that part of Buckle is messed up. We want this to be one solid piece, so let's zoom in and take a look at it. Looking at each piece, they look like they're close surfaces. So what will want to do in order to make them one piece is delete the interfaces, and then we will stitch all of the faces back together while holding down the shift key. I'll select the right face, the bottom face and then the left face, and I'll hit the delete key on a keyboard to delete all three faces. Now to rejoin, the faces will use the extrude command from the create drop down menu. I'll select the left edge and then to get the extrude man to come all the way to the other edge. I want to select a corner point so I'll select this lower corner point and it looks correct . So I'll click OK in the dialog box. If we now look at the Fusion 3 60 browser, you'll see that we have three different surface bodies. We have to for the extremes that we created and one for the original surface body, as we talked about in the beginning of this tutorial or goals to turn this service body into one solid body. So at this point, what will want to do is stitch all of these surface bodies together. To do this, I'll select the Stitch Command in the toolbar or from the modified drop down list. Then I'll first select the two surfaces that we created with the extrude command. And last, I'll select the original surface model. You'll notice the second thing in the dialogue box is the tolerance will want to make sure that this is set 2.1 millimeters, so the tolerance is fairly small, making sure we don't have any unusual gaps. We'll also want to make sure that the operation is set to new body, and then we'll click OK to see if this works. Looking over at the Fusion 3 60 browser again, you'll see that it did in fact work, and we now have one solid body that we can manipulate with either the Parametric modelling or the direct modeling modes. You'll also notice in the browser that the body left the original component. So to fix this simply dragged the body back down to the component folder. Last but not least, our section analysis was deleted when the solid body was created because the original surface model no longer exist. If I turn these section analysis back on by selecting it from the Inspect drop down menu, you'll see that we do, in fact have a solid and watertight model. 32. Day #28 - Fusion 360: Render a Utility Knife (part 1 of 2): Hey there it's Kevin Kennedy and welcome to day number 28 of Learned Fusion 3 60 30 days. By the end of this tutorial, you'll be able to set up a product to render Infusion three sixties render workspace. We'll take a look at how to apply appearances and physical materials, how to apply decals and how to create custom appearances. For this demo, I'll be using a file located in your Fusion 3 60 data panel. Click on the data panel Grid Icon in the upper left hand corner, then scroll down until you see the sample section. Double click on the basic Training's group and scroll down until you see number seven hyphen rendering. I'll double click on that folder, and then I will double click to open the first model, which does not have any color applied to it. Now Fusion 3 60 sample files are read only, so we'll have to create a copy of the file head up to file save as, and then you can change the name or the location of the file, and clicking that blue save button will create a copy of the file. Now we'll want to switch to the render workspace by selecting render from the workspace drop down list. You'll notice right away that there are less features in this workspace, as the intention of this environment is to give you on Lee the capabilities to create realistic product renderings, you'll see that this sample file already has some colors and physical material appearances applied to it. Let's take a look at how to alter or change the appearances. To get the appearance dialog box, you can click the appearance icon in the toolbar, select it from the set up drop down list, or you can always use the keyboard shortcut Letter A for appearance. Once the appearance dialog box opens up, you'll notice that it has three different sections. The first section is the apply to section, where you can choose whether to apply in appearance to an entire body or component, Or you can also choose the faces option, which will allow you to apply in appearance to specific faces that you select. The second section is titled in this design. Now this section displays all the different materials that are currently applied to your design. The third section is the appearance library, where you can choose from a number of different materials and appearances that have already been created. You'll see that this library is organized by different categories, and we can also search the library with this search box. I'm gonna go ahead and click on the plastics folder and the opaque folder. I'll scroll down until I see the glossy yellow. Now to apply this yellow plastic color to the body of the utility knife. All we have to do is simply drag the material onto the component and again. Doing so will color the entire component embody because we have that option selected in the apply to section, we'll want to add an appearance to the right side of utility knife as well. Another way that we can add color is by dragging and dropping the color directly to the component in the Fusion 3 60 browser. To be successful, inefficient in the render workspace, you'll have to use both of these methods now. Which method you use really depends on the complexity of your model and how the components are pieced together in the assembly. Let's go ahead and add the appearance of rubber to this back grip to find rubber quickly, I'll simply type out rubber in the search box. One thing to point out is that your rubber appearance may not be accessible quite yet. You'll notice that many materials have to be downloaded. You want to make sure that the show downloadable materials box is checked and then to download materials, you'll just need to click on the download icon on the far right side of each material, and you'll see in a matter of seconds the material is downloaded. I'll drag and drop the soft rubber onto the back grip. Now, looking at the Fusion 3 60 browser, you'll notice that there is a second grip, which is the grip at the top of the knife. For this piece, I'll use a more textured type of plastic. I'll type polka in the search box and then click on the download icon to download the appearance. Once the polka material is downloaded, I'll simply drag that over to the model, and if I zoom in a bit, you'll see that it has a nice textured polka dot pattern toe. Add some grip to the top of a knife, taking a look at the model you can see how quickly the model can start to come to life. As we apply these realistic appearances, let's go ahead and add a few more appearances to finish off the model. We'll want to add a stainless steel appearance to the blade of the knife. I'll search steel in the search box, and I'll just dragged the stainless steel hyphen satin appearance over to the blade component looking in the Fusion 3 60 browser. It looks like we have one last component, which is the Blade cradle at the bottom of the list. We want this piece to stand out so the user of the knife understands how to open and close the blade. So I'll get rid of this recent search and go back to the plastics folder to take a look at the available options. Now I like this map blue color, so I'll go ahead and drag that over to the blade cradle component. Now that we have an appearance applied to each component, let's take a look at how to edit the details of an appearance. If I decided I wanted the color of the body to be red instead of yellow, then I could simply drag the red glossy color to the yellow color above, and you'll notice that it replaces it. And because the same yellow appearance was used on both sides of the utility knife, you'll see that the red color was automatically applied to both components. All hit command plus Z on My Mac twice to revert back. I'll show you another way that we can do this. I'll use the keyboard shortcut letter a toe. Open the appearance dialog box once again. If you double click on a material, you'll notice that you can use the color picker to change the color. You can also change the roughness and reflect INTs, and if you click the advanced options, you'll be presented with a number of options to completely customize the appearance. These options can get pretty complex, so we'll have to save them for another video. I'll hit, cancel and then double click to reopen the yellow color, you'll notice at the top you can select the color libraries button, which will let you choose from all of the available Pantone colors. Now a few other quick tips with the appearances. If you right click on an appearance, you'll see that You can add appearances to your favorites, which will put them in the favorites tab of the library under the right Click menu. You'll also see that you can click on select objects applied to, which will highlight all the components. Bodies or face is that the appearance is applied to also on the list is unassigned and delete, which will remove and delete all occurrences of that appearance. And last but not least, you'll see that you can do Click eight in appearance Now. Duplicating an appearance allows you to create a new appearance by customizing it without messing up any pre existing appearances. If I right click to edit the duplicated appearance, you'll see that you can rename the appearance at the top as well as all the other features that we previously discussed. Now for the remainder of this video, I want to show you two more essential things in the render workspace. First, I want to point out the important difference between physical materials and appearance materials. The appearance materials are the colors and textures that we have been applying to the model, therefore, appearance and representation purposes on Lee, and they do not affect the physical properties of the model. You'll see that physical materials under the set up drop down list work in a similar fashion as appearance materials. But these physical materials do effect the physical properties of a model, which is important. Should you need to run a simulation or another type of analysis and the simulation workspace. You'll see that the body of our utility knife set to mild steel, and we want this to be plastic, so all right, click and select unassigned and delete, which will remove that steal material. Next, I'll click on the plastics folder in Select a Bs Plastic, and I'll drag that over to the body of the knife and click close on the dialog box. You'll notice right after I click close. It shows the appearance that we previously added as changing the physical material does not remove any appearances that have already been added to the model. The last thing that I want to show you guys in this part one of a two part video is how to add a decals to your model for this demo. I'm going to use the Autodesk logo, and I'll link to that file in the video description. To add a deke out, you can select decals in the toolbar or from the set up drop down list. Then you'll have to first select the face of where you want the decals ago. In this case, I'll select the left side of the utility knife. Next, we'll have to select the image from the downloads folder, and you'll see that places the file on the face that we previously selected. One thing you'll find helpful when working with decals is looking directly at the face of the model that the D cow was applied to. So in this case, I'll use the View Cube to take a look at it. From the right side, I can now use the rotation slider and the planer position icon to move the decal into place . When I'm happy with the look, I'll click OK in the dialog box to confirm the decal changes. So finishing off the decals wraps up part number one of the render workspace In day number 29 or part two, we'll take a look at how to set up the environment, how to set up lighting and a few other details to make the render look realistic, as well as how to actually process the render 33. Day #29 - Fusion 360: Render a Utility Knife (part 2 of 2): Hey there it's Kevin Kennedy and welcome to day number 29 of Learned Fusion 3 60 30 days. This is a two part video where you'll be able to set up a product to render infusion three sixties render workspace. Be sure to watch day number 28 1st If you have not already watched it, we'll take a look at how to set up and change lighting and how to process your rendering locally or using the Fusion 3 60 cloud in Part one. We went ahead and applied appearances and physical properties. Let's go ahead and finish this render off by setting up the environment. If you had closed the file after day Number 28 you go to reopen the file, you'll notice that it defaults to the model workspace before we start to change. Any of the lighting will want to make sure that we set the position of the model. So if you're in the render workspace, go ahead and switch to the model workspace by selecting it in the workspace. Drop down list. Now, if you're trying to create a realistic product rendering, I always recommend taking a look at how products are being advertised. This will save you some valuable time as someone's already done some of the research and work for us. If you do a quick Google search, you'll notice that most utility knifes playoff the fact that they have a sharp blade. So want toe angle the knife to be in a similar position where the knife essentially looks like it's in use before we can use the move command, you'll notice that we have some grounded objects in this model. We'll want to delete those first. I'll simply click on both grounded icons or the red thumbtack, and I'll hit the delete key on my keyboard. Next, I'll hit the keyboard shortcut Letter M for move, slash copy and in the dialogue box will want to make sure the move object is set to components. Then we'll want to select all of the components in the Fusion 3 60 browser. I'll hold down the shift key and click on the right component, and then I'll select the bottom of the list. So select all six components. Next, I'll use the View cube toe. Look at the model from the right side, and I'll simply take the rotation slider and drag it to the left. And I'm just going to go about 25 or 30 degrees, giving us a similar position as if the knife were in use and I'll click OK to save the changes at this point will want to set up the rest of the scene. Settings will first have to switch back to the render works based by selecting render in the workspace drop down list. Now I'll click on the lamp icon or the scene settings icon in the toolbar In the Scene Settings Dialog box, you'll see that we have a ton of options to alter the environment of the rendering. I'll click on the Environment Library tab and you'll notice that there are a number of lighting options that we can apply again. You'll typically want to think of the environment that your product would be in. If your product is going to be outside, then you may want to use a warmer light or some of these other downloadable options. In our case, we want our product to appear like it was shot in a studio with a solid background so we can try out some of these other options To apply options. Simply Dragon dropped them onto the canvas. I'll drag soft lights over and you'll see how the scene automatically changes. You can also drag the scene directly to the current environment above. I'll select the photo booth option and dragged that above, and you'll see that as soon as I released with my mouse. The lighting updates automatically. Now our utility knife is getting more realistic. But it's also hard to see exactly how this render will come out because of this vision. 3 60 has the in canvas render option. If you click the in canvas render icon in the toolbar, you'll see that the model starts to render in real time, and it starts off pretty fuzzy as it starts to use your computer CPU to render the image. As you see here, we have a more realistic preview of how the final rendering will actually process. Now we can change the lights and settings to better suit our needs. I want the highlights to be a little bit more sharp, so I'll drag the sharp highlights environment over to the campus. After I released the New Environment, you'll notice that the in canvas rendering starts to process again. This will take quite a bit from your computers processing power. So if you're going to make multiple changes, I'd recommend pausing the in campus render by clicking on it in the toolbar or by clicking the pause icon in the lower right hand corner. I'm also going to reposition the utility knife so the top shows more. I'll simply drag the view cube around until about 2/3 of the top is showing. I'll resume the in canvas render and then click on this settings tab to see what other options will want to change. You'll notice the ground section allows us to toggle on and off any ground shadows. Now. I don't want any ground shadows for this specific perspective, so make sure that it's turned off in the environment section. You'll notice that we can change the brightness of the scene along with the background color. I want to change the background to a light gray so I'll select the color box, move the color picker and hit, apply and okay, and you'll notice that the background color updates accordingly. The rest of the settings allow you to alter the camera in the focal length, along with saving your settings as defaults, which can be quite helpful if you need to make a number of different renderings. Now, these settings arm or advance so we won't be going over them in this video. If you would like to see more videos on rendering, including some of these advanced features, then let me know by commenting below. For now, I'll go ahead and hit the close button to close the scene Settings Dialog box. At this point, if we're ready to render the model, we can click the render icon in the toolbar. The first thing that you'll notice in the Render Dialog box is that it has predetermined settings, depending on what you need the image for for this tutorial. Ah, select Web. And it's also important to note that the last option is custom, which gives you the most amount of customization. Now, back in the Web section, you'll notice that as a few different aspect ratios, I'll select the 3rd 1 which has the highest resolution. The next section is the render with section, where you can choose between cloud or local rendering. Local rendering means it will render the image solely using your computer CPU. Therefore, the amount of time that you're rendering will take really depends on the power of your computer. It's also important to note that should you choose to render locally, you may not be able to perform too many other functions on your computer. But again, it really all depends on the specs of your computer's hardware. The other option we have is cloud rendering, which will use Vision 3 60 servers to process your render. This means they won't rely on your local machine at all once you submit the render, and you can continue to work on another angle or another project. Now. One thing that causes a lot of confusion with cloud rendering is that it requires credits. You'll see that it says this render requires one cloud credit now, depending on what Fusion 3 60 license, you're using such Aziz the education license. You'll be given credits for free, but you're also limited toe How many credits you can actually use now. The number of credits really depends on the license, and this does change from time to time, so I'll try to put a link in the video description below to the Autodesk website, where you can learn more about these credits in summary. The higher the resolution of your rendering, the more credits you'll need to process the rendering. The other option you're able to change is the render quality. Now standard will render your model at it lower quality, which is great if you're just trying to test the outcome of the render or for various reasons where the quality of your image does not need to be the highest contrary, the final selection will output a very high quality. Render the's renders will take longer to process, so you'll only want to use these renders when you need a final or finish quality render. I'm going to go ahead and set the options to cloud, render and final click that blue render button. This will save the file and submit the render to the cloud you'll notice. It also adds the image to the rendering gallery below. If you click on that image in the gallery, you'll notice it opens up the image and shows you the approximate amount of time left. The amount of time for cloud rendering varies based on how many files are being rendered at any given time and also on the size and quality of the rendering that you have just submitted. You can also cancel the render. Should you decide that you no longer needed. At this point, you can also submit other renders the cloud. For example, I may want to use the View Cube to change the perspective of this model. I could hit render again and submit this one to the cloud as well, and I could continue to do so for as many renderings as they need. Now, for the sake of this tutorial, I'm going to speed up the time that it takes for this image to render. When the image is done, you'll see that it displays a preview in the rendering gallery. Now, when you click on it, you'll see that you can download the image to your local machine. Hopefully, this two part video on rendering gave you guys a solid understanding of the foundational skills to producing renderings. Infusion 360 34. Day #30 - Fusion 360: Animate a Tank Assembly file: Hey there it's Kevin Kennedy and welcome to day number 30 of Learned Fusion 3 60 30 days. By the end of this tutorial, you'll be able to animate an assembly file infusion three sixties animation workspace. We'll take a look at the animation in her face, how to create camera views, how to manually explode components, how to show or hide components and how to annotate components. For this demo, I'll be using a tank assembly file, which you can download in the video description or by going to the link on your screen. You can also follow along with any other assembly file, as long as they're set up as components. Now the link will take you to the Fusion 3 60 hub, or you'll have to click the blue download button. Then you'll want to select the Fusion 3 60 archive file. This will prompt you to enter your email, and it will email you a link to download the file. Once you have the file in your Downloads folder, you'll want to upload the file to your data panel. Click the data panel icon in the upper left hand corner, make sure you're in a Project folder, and then you'll see the blue upload icon. After selecting upload, you'll be prompted to select the file from your computer and hit upload. Once the file is uploaded, you can double click on the file toe. Open it up. Now that I have the file open, I want to switch to the animation workspace. To switch workspaces, simply click the workspace, drop down list and select animation. Now, before I get started with some of the animation basics, I want to point out the general purpose of the animation workspace. There really are two main purposes of the animation workspace, which is to animate how a design should be operated. Or the second purpose is to animate how a design should be assembled. The reason I wanted to point this out is to note that the animation workspace is not a full fledged animation software. If you're looking to create photo realistic or very complex animations, infusion 3 60 may not be the software for you. Another quick thing to note is that your file must have components set up for the animation workspace toe work. The animation commands will not work with bodies with that, said Let's get started with the animation workspace. First off, you'll notice the animation workspace has a timeline section at the bottom. This is where all the actions will be recorded, and we'll get to that in just a bit. Just to the left of the timeline is the scratch zone. If you move the timeline, play head to the scratch known. None of the actions will be recorded, so you'll want to move the play head here any time you want to take a look at your model. But you don't want the change of perspective to be included in the final animation in the lower left hand corner. You'll see that, says Storyboard one. You can think of each storyboard as its own unique design or animation. You can create more storyboards by clicking the plus sign, and you'll notice in the dialog box that they can be clean as in created from scratch. Or they can also be sequential or starting from the end of the previous storyboard. You can also rename each storyboard by double clicking on it or by right clicking all right , click and select rename, and then I'll type out explode Demo. Lastly, I'll just point out the display settings have been moved to the top of the animation workspace because the timeline takes up too much of the bottom. The first thing you can do in the animation workspace is a record changes of the camera view you'll notice in the toolbar. We have the view option with a red dot, which means that by default, the camera view is recording. So to create our first action on the timeline. All we have to do is move the play head further out in the timeline, so I'll move it out to about two seconds, and then we can change the camera view. You'll notice that automatically created the camera action. And if I hit the space bar or the play button below, you'll see our model animates following the change in camera view. If I dragged the play head out to four seconds this time, I'll use the free orbit tool to move the model around once again, creating an action in the timeline below. If I hit the play button again, you'll notice that the free orbit was also successfully recorded. You'll also notice that you can change the length of each action in the timeline by simply dragging the ends in either direction. Or, of course, you can also move the action around the timeline by sliding it. You can also double click on each action. If you'd like to type out a specific start and end time because the record view is active by default, there may be a time where you don't want to record the view. If you'd like to turn it off, simply hit the keyboard shortcut command. Plus are a Mac or Control plus R on Windows. Or you can always turn it off by selecting view in the toolbar. And because it's super easy to forget whether this is turned off or not, you'll notice that the fusion engineers have went ahead and put this big red text at the top, noting that the view is not recording for now. Let's delete these sample actions by right clicking and selecting delete. I'm going to put the model back in the home position by selecting the home icon next to the View Cube. Now we'll take a look. How to meet will explode the model, which will give the viewer a better idea of how it was assembled. First, I'll select deterrent component in the Fusion 3 60 browser. Then I'll select the keyboard shortcut, letter e, or you can select Emmanuel Explode from the transform drop down list. You'll see. This prompts us to select an arrow or the direction we want the component to explode. I want the turret to move straight up, so I'll select the Y axis, Aargh and all just the explosion scale arrow. So the turret is set up in the air and I'll hit the green check mark. Now, if I hit the play button, you'll see that the animation successfully moves the turret. Let's go ahead and repeat these steps for the shell of the tank. I'll select the shell component and hit the keyboard shortcut. Letter e. I'll hit the up arrow, and then I'll drag the play head slider over to about five seconds. Also, adjust the explosion scale so the shell moves up along the Y axis, but not quite as faras the turret. And then I'll click that green check mark. If I hit Space Bar to play the animation, you'll see that the turret now moves first, followed by the shell of the tank. If we want the view to change as well, then we could create a view action in the timeline. I'll drag the play head to about three seconds, and then I'll change the view using the view. Cute. Now, if I hit the back to storyboard beginning button and then hit play, you'll see that our model explodes as the view changes. The next animation feature I Want to show you is the show slash hide command. First, let's set up another camera view. I'll drag the slider to about six seconds, and then I'll select the top corner of the View Cube. If I wanted the remainder of the animation to focus on the wheel assemblies that I may want to hide the turret and shell components to get them out of the way. Holding down the shift key, I'll select the shell component and then the turd component, and I can select them either in the canvas window or in the Fusion 3 60 browser. Then I simply have to select the show slash hide option in the toolbar. You'll see this added the show slash hide action in the timeline. So let's hit the back to beginning button. I'll also want to make sure that the components are turned on at the beginning, and then I'll hit the play button. Like any actions, I can move the ends around to shorten or lengthen them. I'll go ahead and dragged the turret, hide action to the left so the turret highs before the shell component. Next, I'll drag the slider out to eight seconds, and then I'll zoom in using my mouse will. This will create a camera action, and if I drag the slider to the beginning of the action and hit by space bar, you'll see it zooms in Nice and study for us as the animation place. Now, one thing you'll notice with this file is that the tires air actually subassemblies, as noted here in the Fusion 3 60 browser with the sub Assembly icon. If I talk will open the first hire sub assembly, you'll see it has the components nested within it, hence why it's a sub assembly. The last thing I want to do in this animation is manually explode the subassemblies. I'll move the play head to 11 seconds, then I'll hold down the shift key and select all the tires at the top. I'll hit the keyboard shortcut letter e for manual explode, and then I'll choose the arrow on the X access. Once again, we'll have to set the explosion scale, and I'll move it until the tires air about their own length away from the axles. Now, to save the changes, I'll select that green check mark. I'll now repeat the previous step on the lower tires. I'll hold down the shift key and select all of them and then hit the keyboard shortcut Letter E. I'll drag the explosion slider, and so the tires air moved away from the centre axles. And then I'll select that green check mark. I'll also dragged the play head over another second or so, and I'll hit this top left view to record that in the timeline below before we hit play. To take a look at these changes, I want to drag the explode actions for the tires to the left, so the animate a bit longer to do them all at once. I'll simply hold down the shift key and then select all of them. Then I'll drag the left side over to about eight seconds or So now we'll hit that back to beginning button and then the play button to take a look at the animation. The last thing I want to show you before covering how toe export the animation is how to leave an annotation or three D call out Annotations are a great way to leave notes on the animation, which can remind you or a colleague to fix part of the model before the animation is completed. For example, if I wanted to leave an annotation to change the tire rim to aluminum, I could simply click the annotation command in the toolbar and select the tire rim. After typing out the note, I'll suck the green check mark. Now, if I replay the animation, you'll see that the call out appears. And it's important to note that this call out will appear in an exported animation unless you hide or delete it now, to hide it, simply toggle. Open the call outs folder in the Fusion 3 60 browser, then select that lightbulb icon to toggle it on or off. If you'd like to delete it, simply right, click on it in the browser or in the canvas window and select delete. Now to export the animation, I'll select the keyboard shortcut, letter P or select publish in the toolbar. Then you'll notice that we have to select the video scope Now. If we had created multiple storyboards, then we could have this set to export all the storyboards within one single file but for our case will select current storyboard below that, you'll see that you can se