Transcripts
1. 1.1 Introduction - Welcome to the course: Hello and welcome to the master. Solid works three D cad course. My name's Johnny Watterson, and I'm a design engineer from England. Now, if you're taking this course, you probably already know a little bit. About what, three days? So we're just gonna have a very short introduction to explain a bit about the core structure and how you can get the most out of it. So, as you probably know, can't stands for computer aided design. And at its widest definition, this is essentially just using a computer system to help with the creation or optimization of the design. And these designs could be anything ranging from a very simple single power all the way to a very complex assembly with thousands of parts. These days, cat is used to design nearly every product on one of the reasons that is so popular and widespread is that it really streamlines improves the whole design process. As part of the design process, you usually gonna have many different iterations. So what you gonna do is design a product and then make it and test it and then probably find out something isn't quite as you expected, so go back make some changes tested again and keep doing this until you have a product that you can take to market. It's very rare that something is designed on the first go, with no changes on what can't does is it allows us to reduce the time and cost spent on these restorations. Because we can design directly in the computer, we can find out things will work straight away. You can find out any problems. We can even run simulations and tests to find out how it work in the real world. Another reason why it is so popular is that almost all manufacturing is now integrated with can't you might hear the term cap camp, which is computer aided design, computer aided manufacture. And what this means is that you can use your cat designed to interface directly with the machines in a factory, and you can make things very accurate on you can make things which probably would be impossible to make by hand. And this isn't just on an industrial level, with things like three D printers, small laser cutters, small CNC machines, you can actually make your own cat designs on use them to make physical parts within your own home. This course will focus just on solid works, which is one of the most popular three D cad programs, and that's because it's very powerful. It's also reasonably easy to learn how to use, but what you find is probably with lots of camp programs. The principles are very similar, so if you learn solid works, you can probably transfer it onto another cap program later on. This course is specifically made for solid works 2018. But the principles of solid works are very similar for all versions, so the skills that you learned in this course will allow you to use any version of solid works. However, solid works can't open files from future versions of solid works. So, for example, if you have solid works 2015 16 or 17 you won't be able to open the example files From this course, you'll only be able to open these files if you have solid works 2018 or newer. So if you are running an older version of solid works, then I have a very similar course, which is almost exactly the same content. But it's made for solid works. 2015 So if you're running 2015 2016 or 2017 then you might find that course a little bit more helpful as you'll be able to use all of the example files. So if you start this course by mistake, but you prefer to use the old, of course, then please send me a message and I'll send you a free coupon for it now a little bit about the course itself. I looked online and lots of solid works cat courses on What I found is that they tend to use very abstract examples and exercises so they might say, draw bracket. But five holes here put two holes here, but because it's not a really physical item that you used to see, and it's quite hard to remember what to do. So, of course, is different because it actually uses riel world examples, and hopefully these will be easy to remember on. They'll be easier to learn from. I think one of the best ways to learn cat and something that I found very helpful when I was first starting is to just look around, find some real world examples, so find something like maybe a phone or camera, and just think about how you can model this in solid works. So, of course, we used 12 real world examples, and these range from really pretty simple all the way up to quite complex parts and assemblies. And we'll use these to learn all the different features of solid works up quite a high level. So why am I qualified to teach this course? I've been using solid works for over 10 years now. I've got a degree in sustainable product design, and that was when I first learned to use solid works back in 2006 at University in England . After I graduated, I had various product design jobs on. Have you saw the wrecks in every one of them? One of my employees even set me on a solid works professional training course, so really learned from the best instructors since 2014. I've Bean, a full time freelancer working as a design engineer, and I designed all sorts of different things, from mechanical product products to electron ICS, enclosures, packaging, even kids toys, and I really wanted to pass on some of my experience to you guys. So before we get started, on making your first parts on the basics of solid works, just a little bit about how to get the most. After these videos feel free any time to pause the video escape back. If you need more time to do anything and if you have any questions, take a look at the Q and A's below. If they're not already answered, then send a question and I will answer it as soon as possible. Congratulations on starting yourself works training course. I really hope that you enjoy it, and I really hope that you can design something cool.
2. 2.1 PCB - Getting started - Introduction to the Solidworks Interface and Sketches: Welcome back to mustering solid works. Three D. Cad. In this set of videos, we're gonna be making our first ever part. We're going to be making something like this PCB or printed circuit board. No, quite complex is this one, but something along the same lines. Chances are you've probably seen one of these in your life. But if not there, probably all around you in your computer, in your phone and in all sorts of electronic devices. So this Saad videos will cover an introduction to solid works. The interface, How to use the View controls the types of files on starting your first part, who will also cover sketches, which is the basis of all parts, and introduce you to some basic features. So let's get started. The first thing that we're going to do is download three files, which you need for this lecture. So we have the solid works, part file of the circuit board, a PdF drawing of the circuit board and a J Peg drawing of a sketch will be creating. And you can tell this is a solid works file because it's got this little solid works icon in the corner. So what double click on that and solid works will open. And this may take a few minutes, depending on how fast you computer is. And here we can see the solid work circuit board parts. The solid works interface is quite similar to most other Windows programs along the top. Here you have the menu bar, then below. You have the command manager, and this is where you'll find most of the features, which will be using to create your solid works models. There's a number of different tabs with lows of different options on. We'll go through these throughout the course, and we'll learn what most of them do you down the left here, you've got the design tree, and this is where you find all the features which make up your solid works parts. Then in the center here, you've got the graphics area, and this is where you'll find your actual part, which you're working on. We're not going to learn about the solid works view controls, so grab your mouse hole down the middle mouse button the scroll wheel button. Just move your mouse around on. This will rotate your model in any direction you can also zoom in and out using the scroll wheel, and you'll notice that you zoom in at the point where your cursor is so you can actually use this to move around the model. You can also move the model by holding the control key, pressing the middle mouse button on moving your mouse around, and then finally, you can also seem in by pressing the shift key and the middle mouse button. And moving your mouse up and down on this sometimes just gives a bit better control than using just the school will. You can also rotate your model by using the arrow keys, and if you hold the shift key and press the Cherokees, then you'll rotate by a 90 degree increments. If you press the space bar down, we'll get this orientation view menu, and if you click on this little pin in the right corner, then it will stay open and it will stay on top of everything else, and you can move there any way you want on the screen. And this their menus really useful because it's got a load of different set views. So, for example, we can click on the front view back view bottom view, and it will automatically move the model. To that view, we've also got some three D isometric views. We also have some more view controls up here. We'll go over these in more detail as we go through the course. But for now, probably the most useful one is just this one on the end. Zoom to fete on. What this does is if you're fully zoomed into the model, you can click this and it will zoom out. So your model fills the whole graphics area and you can also press the F key. We're now actually going to start making your first model. So close down the example model. The first thing that we need to do is start a new document so we'll go to file new and that we can see that there are three different types of solid works documents. The most simple of these is just a part which is a representation of a single design components. Then we've got an assembly, which is a collection of parts, and then finally we've got a drawing, which is a two D representation of a part or assembly, so we'll click on parts and then click OK, and this will open a new part. Virtually all parts start off with a sketch, so the first thing we need to do is draw a sketch. So if we go over to the design tree on the left here, you'll see that there's three features already in the model called France Top and Rights. And these are called planes, and these are basically a representation of a three D direction. So I've got the front plane. The top played on the right plane on the first sketch, has to start on the plane, so it's used the front plane and then we'll open a sketch. So if we go up to the command manager at the top, if you know already on the sketched out click on that and then click on Sketch and this will open in new sketch you see in the graphics area that the front plane moves. So it's flat on with a view and you see over in the right hand corner in the confirmation corner that we've got this little sketch icon and that shows that we're in a sketch. Sketches are made up of sketch entities and these are things like lines, rectangles, circles. So what we'll do is we'll click on the line and then we'll just start drawing some lines. So everywhere you click with your left mouse button will be the start of the line, and then when you click again, it will be the end of a line, and this sequence will continue until you DoubleClick, which ends the sequence. You can also press escape, which will end the sequence and exit the tool. And then, if you want to start sketching again, you have to go up and use the line tool again. Then you can continue. If you click on existing point, it will also end the sequence with the sketch entities. You can use a lot of standard Windows commands so you can do things like left click to select and then press the delete key on your keyboard to delete the entity. You can impress control Z to you undo to select multiple entities can hold down the control key and left click on the entities, and you can also left, click and drag to select anything. One really nifty feature about solid works is that if you left, click and drag from the right to the left. You get this green selection box and that will select anything that it touches. Whereas if you click and drag from the left to the right, you get a blue selection box, and that only selects entities which are fully within the box. See, these two lines weren't selected because they weren't fully within the box. Or is it a click and drag from the right to the left? They are selected. You can also use standard windows commands like control seats a copy and then control V to paste. So now we're nearly at the end of the first video. And if you're finishing a session here, you can now press control s and save your part and continue on when you next time. Or you could just continue on to the next video. Now, to recap what we've covered in this lecture. There are three types of solid works documents initially starting with a part. All parts initially start from a sketch and sketch is most start on planes. Sketches are made from sketch entities, and these are things like lines, circles, rectangles and so on. And these can be manipulated using standard Windows commands like Control C and Control V for copy and paste. In the next video, we're going to actually sketch out the base for our first feature, which will be the base of the PCB.
3. 2.2 Starting to Sketch the PCB, and Basic Extrudes: following on from the previous section. We had an open part document with a sketch in it with some lines in it. So now we're actually going to start making your part. So press control A. That will select everything in your drawing and press delete. Just have got completely empty drawing, and then we'll have a look at what we're trying to draw. So if we go back to the original PdF, this is the circuit board. It looks pretty complex, but we can break it down into manageable parts. So the first thing we need to draw is just a rectangle, which is 300 long and 1 50 high. So if we go back to solid works and grab the line tool and just click anywhere on draw vertical line down and you'll notice as you drawing, you get this little yellow icon with a vertical line in it, and this is a relation, which indicates that the line is vertical. Click to end the line and then draw another line out to the rights and you'll see again. You get this yellow icon, which indicates a horizontal line. Click again, draw another vertical line and as you go up, you'll see this construction snap line, which indicates that you're in line with the original start points. So click again and draw a line to the left back to the start point and click again and this will and the line sequence because it's in a closed loop. And there you have your rectangle, so we'll click to close the line properties and we'll click to close the line tool. And there we have the first rectangle. What we need to do now is add some dimensions so we'll go up to the command manager on will choose smart dimension. And you see that the points of changes to the smart Dimension icon would click on each end of this line, and then we'll just drag upwards and left Click and then we'll write in 300 press enter or okay, And that now means that this line is 300 millimeters long. You can use any kind of units you like if you look down here in the right, your seats says MMG s, and that means that we're working in millimeters. If you left click on this, you can see a loaded different common units. So, for example, if I click Inches will exit the sketch, so we've got to get back in and re edit the sketch. So to do that, we go over to the feature tree on we left click where it says sketch one. Well, then choose the edit sketch option from this little menu, and you see we're now back in. The sketch on this length is 11.81 inches, so it's exactly the same length as before is just in inches rather than millimeters. So if we go back to millimeters and then go and edit, this gets again, you see it sit still. 300 millimeters. So next we want to add a dimension to this vertical line, so click smarter. Mention again. You need to click on the line or click on the points of each end of the line, and then it's drag out the dimension on right in 1 50 press censor. To edit these dimensions, we could just double click on them, and then you can write in the new number or, for example, safe. We realized we wanted to add 12 millimeters. You could just right plus 12% and solid works will work out the new dimension for you. You can also do things like divide by two or even more complex equations. You can also use any units. So, for instance, you can write six i N for six inches on. This will be converted into millimeters. You can even write things like, for example, six feet five inches on. This will also be converted into millimeters, so double click on the dimension. Change it back to 300. As per the drawer and press enter within. Zoom back here by clicking his seem to fit or pressing the F K, and then we're ready to move on to the next step. If you click on any entity, you can see the properties over here on the left. In the property manager, see things like the length, the angle on any relations, and you can also see the relations using these green icons in the sketch itself. If I click a point of this rectangle and I try and drag it around, though, you realize that it can just move around. It's not anchored to a fixed point in space. That's because the only fixed point is the origin, which is this point here, and it's very important to always link your sketches to the origin so we'll go to smart Dimension on will add some dimensions from the origin to the corner of the rectangle, so we'll add them horizontally and vertically. And as we do this, you can see that the sketch turns black, which means it's fully defined and you can also see down here at the bottom, it says fully defined. So if it now grab the sketch and try and move around, we can't because it's fixed in place. If I delete any of these dimensions, you'll see certain entities become believe on at the bottom. It says the sketches under defined. We can now drug it around horizontally, but not vertically because we're still fixed with this dimension. So if we delete these dimensions, we can also grab one of the points and drag the sketch directly to the origin. And you see, we get this little icon, which indicates a coincident relation, and that means that two points, the origin and the corner are in exactly the same place and fix together, and we've got the coincident relation up here is well, if we click back on the point and click on a little icon and delete it again, the sketch turns blue because it's no longer fixed to the origin. What we can also do is click on the origin, hold control down on click on another point. Then we can go over here to the left and we can click. Add relations Coincidence and that I'll make the two points moved to the same place. Now it's very important to ensure that your sketches always followed to find. Otherwise it can cause you're lots of problems later on. The easiest way to do this is just to start your sketch from the origin in the first place . We can now exit a sketch by clicking up here in the right hand corner. On there, we have our first sketch and you'll notice here in the feature tree sketch, one has appeared. So now we're ready to make our first feature. So what we'll do is go to the command manager, click on the feature tab and click extruded Boss Base, and it says, either choose a plane on which to sketch the feature or choosing existing sketch. So we'll click anywhere on our sketch on. We'll get this three d view with a yellow preview. If we go over here to the left, to the properties manager. You see, we can change the thickness on this shows on the preview, we'll set the thickness down to two millimeters as per the drawing and press OK, and there we have our first feature. If we look over in the feature tree on the left, you'll see. We've now got this boss extrude feature and it looks like the sketches disappeared. If we cook on this little plus symbol to the left, you see that the sketch is actually being consumed by the boss feature. If we click on the sketch and press edit sketch, we can go back into it and we can make any changes, change any dimensions or anything and press enter and exit the sketch and these changes will pull through onto the feature. We can also edit the feature itself. If we click on it and click edit feature, we can then change any of the properties here. So we did a blind extrude, which means we extruded just in one direction only as you can see by this little arrow. If we click on this drop down, there's many different options will go through them throughout the course. For now, we'll just click on mid plane. And if we zoom in, that means that we've extruded equally in two directions so quick. Okay, and there we have our first feature. Now we just need to change the length back to 300 from 3 50 so we double click on the feature. You should get the dimensions, pop up and weaken, double click on one of dimensions, and then just change that. I mentioned to 300 Press. OK, and there we have our finished rectangle feature. So it's a recap we used sketch entities to build. A past sketch on your sketch should always be linked to the origin. We're used smart dimensions to fully define a sketch on one of sketches fully defined. The entities will be black. We can then you sketches to create features such as extruded Boss Base. In the next lecture, we're going to look at adding more features, more complex sketch entities, more complex relations and mirroring
4. 2.3 Adding more Sketch Entities, and more Relations: Welcome back to the PCB section in this video, we're going to build upon the base feature from the previous video and we're going to add some slightly more advanced sketch entities and we go to talk a little bit more about sketch relations. This is where we left the previous video. We have this boss extrude, which is basically a rectangle which is 300 millimeters long, 1 50 high and two millimeters thick. If we look back at the drawing, you'll see we've drawn this green background. Next thing we're gonna do is we're gonna add the surface features you might remember from our first video that we said that the first sketch has to start on a plane. But subsequent sketches can actually be made on any flat surface. So which used this front surface on from the fly out menu, will select start new sketch. Now, be careful. That reaches the bottom American, which is starting new sketch rather than the top one, which is edit the existing sketch. So press starting you sketch, then we'll press the normal to view control. And you can see from the icons in the top right corner that we're now in the sketch. So if we look back at our Jay Peak sketch drawing, this is the sketch that we're trying to recreate in our model. The first thing that we need to do is draw the four circles, so choose the circle tool and just draw four circles anywhere to the first quick sets the position of the circle, and then you can drag out and set the diameter, and the second quick sets the diameter and you'll see that they're all still believe, because they're not the find yet so well that some smart dimensions now. So the top two circles are both 20 millimeters diameter, so we'll click on the 1st 1 and we'll add 20. Now we could use smart dimensions again. Toe add 20 to the 2nd 1 as well. But what we'll do is use relations. So hold down control, click on the first circle and then click on the second circle and we get a small menu with all the different relations we cannot, and we're going to add an equal relation. This means that both circles will be exactly the same diameter. You can also click it down here on the left. You see now that both circles are exactly the same diameter, and if we just the size of the first circle, the 2nd 1 will also automatically increase. The 1st 2 circles should also be lined up horizontally, so we'll select the center of the 1st 1 hold down control and select the center of the 2nd 1 And then we will add a horizontal relation and you can see there now both lined up horizontally. Well, then, you smart dimension to fix them in position so quick. The center of the first circle on from the bottom of the PCB. It's 85 millimeters. Then from the left inside of the PCB, it's foresee millimeters. And there's also foresee millimeters spacing between both of the circles. And you can see as I had the dimensions the sketch entities turned black to indicate that they're fully defined. If you look at the third and fourth circle on the drawing, you'll see that there actually concentric, which means that they share the same sense of point and they're both fully aligned. We'll add some smart dimensions to the third circle first so at the diamond. So by clicking the outside 30 millimeters, and then we'll set the position, which is 60 millimeters from the left hand edge and also 60 millimeters from the bottom. And you can see. As usual, the circle turns black because it's fully defined. So the 1st 3 circles are now fully defined to the fourth circle. We want it to be concentric with 1/3 circle, so what we can do is select the third circle, hold down control and select the Ford Circle. Then, from the fly outs, we can choose Concentric. If we zoom in, you can see that these two circles are now fully aligned, and they share the same sense of point, a slightly simpler way of doing this. If I see him out again and press controls that to undo that first relation, what we can do is just grab the center point of the fourth circle and just drag it towards the third circle. And you see that as we line up the center points, we get this yellow icon, which also means that the two circles of Concentric the fourth circle, is still blue because we haven't defined the diameter. So we'll do again. Grab smart. I mention and from the drawing. There's five millimeters between the third circle on the fourth circle, so it is quick on both circles and then add in five millimeters and press OK, and then we have our fully defined sketch. So far. The next thing we need to do is at the Ellipse, which is basically a squashed circle. So grab the Ellipse tool from the commander manager and will be making three clicks. The first click sets the center of the Ellipse. The second click sets the major diameter on the third clicks. That's the minor diameter. More press. OK, we'll use some smart dimensions to define exactly where the ellipses. So if you click on the sensor, then go to the left, had 60 millimeters and then click on the bottom of PCP and back to the center of the Ellipse, and we'll add 120 millimeters. If we click on these points, we can set the width of the ellipse, which is 70 millimeters, and then we can click on these points and set the height. If you're dimensions of getting a bit cluttered, you can just grab them and space them out. So they're a bit clearer now. If you look back at the Ellipse, you can see. Although it looks like it might be fully defined, it's actually still blue. And if we grab one of these points and move it around, we can see that the orientation isn't set, so we need to add some new relations. So grab these two outside points using control. Click and then we'll add a horizontal relation from the fly out menu. And now this sketch is fully black and it's fully defined. The next thing that we need to do is add the three rectangles so previously, when we drew the rectal will use the line tool that now we'll use the wreck single tool, which is a bit more efficient. So click on it. Make sure you have corner rectangle selected, and then we'll just draw our three rectangles roughly in the right place. Make sure you leave plenty of space between them, then click OK and add some smart dimensions, and we'll start first with the vertical dimensions. So from the bottom, we're adding 38 25 73 32 110 And then finally, the top dimension is 135 for the horizontal relations. From the right hand edge of the circuit board, it's 160 on 195. More press OK, now we could add smart dimensions to the other two rectangles as well, but instead will use relations. So if you click on the left hand vertical line of the lowest rectangle and then hold down control and click on the left hand vertical lines of the other two rectangles, then from the relations venue that pops up, we want to add a co linear relation. And this means that the lines are all along the same line on the rule directly aligned. So we'll add that relation. And you can see that the left hand edges of all of the rectangles are now aligned. Do the same on the right hand side, So click the bottom one. Holding could drunk quickly over two and then at the coal. Any relationship so you can see our sketches now looking pretty good. The only thing we need to add is this top angle line on the top rectangle. So grab the line tool and zoom in a bit, and you can see that anywhere I hover along this vertical line, we get the coincidence simple except for the very sense of where we get a new simple, which is the midpoint symbol. This means that were exactly halfway along this vertical line. So start line there. Then we'll just drag up to this top horizontal line and we'll click around here. Make sure you get the coincidence simple. Then we'll double click to end the line and close the line tool, and we'll add some smart dimensions. Now we know from the drawing that the start of the angled line should be 125 millimeters from the bottom of the PC Bay. If we try and at the dimension you can see it's actually 100 and 22.5, and when we click, OK would get this warning message. And it says, adding, this dimension will make the sketch over defined. So if we press OK, you can see we do actually have the dimension, but it's grayed out, and that's because this is a driven dimension with this vertical line. We've already to find the start point on the end points over here, and we know that the start point of the angled line is halfway up this line, so the only possible length that this dimension can be is 100 and 22.5. So what we need to do is select that start point and delete the midpoint relation. Then we can delete the driven relation, and we can re add it in so select smart connection and add in a dimension from the bottom of the PCB to that start point and make it 100 and 25 you can see the line moves up slightly. Now we need to add the angle relation, so select the vertical line and select the angled line, and then you should be able to add in the angle, which is 120 degrees. You can see, as we added in the young good line, actually changes in length, and that's because there isn't a coincident relationship between the start of the line on the vertical line. So just grab the start of the line and drag it over to the vertical line, and you should get the yellow coincidence symbol, then just released the sketch on. You should get a fully defined sketch. So it's a recap in this video. We learned that you can start a sketch on any flat plain, and you can control Click to select multiple entities, and then you can add more advanced relations to fix them in place. In the next video will introduce the trim tool, and we'll have a look at mirroring both sketches and features, and we'll add some more features to RPC Bay.
5. 2.4 The Trim Tool, Mirroring and adding more Features: welcome back to the PCB section. Continuing on from the last video are sketches now almost complete. And the only thing that we need to do is trim away these two lines in the top corner of this top rectangle. So grab the trend tool from the command manager. Make sure you're on the power trim option. Just go to some empty space on hold down the left mouse button and to strike your mouse around and you'll see that we get this trail following the mouse and anywhere that this trail cuts through will be trimmed. So hold down the left mouse button and just drag through those two lines that you don't need and they will be deleted on. Your sketch should still be fully defined. So if we exit the sketch, you can see here we've got the complete sketch ready for the features. So I click on the sketch in the feature tree, which selects it and then we'll press extruded boss base. And as usual, we get the yellow preview. So what set the thickness to four millimeters extruding a blind direction and press OK and then we have our second feature what we're going to do now. If you go over to the design tree, you can see you've now got these two boss extrude features, and we're going to rename the features now. You don't always have to do this, but it's good practise, especially if you've got a really big model can get really confusing if you've got loads of similar features, so hover over the first feature and just do a slow DoubleClick, and then you should be able to rename the feature. So call this top one PCB base and just click off it. And again we'll do the same of the 2nd 1 Just do a slow DoubleClick and we'll call this one chips, and then it's press enter or just click anywhere else. Now we have some of our service features, but if we look back at the drawing, you'll see that we've only modelled half of the surface features. But the other half are exactly the same, but mirrored so we can go back to our model, and we can edit the sketch again. So select the sketch from the feature tree. You may have to click on the plus to the left hand side of the chips feature and then press edit sketch with impressed Normal, too, and his or sketch. So what we need to do is mirror all of these entities on the left hand side, over to the right hand side. If you've got any dimensions in the way, just move them out of the way, and the first thing we're going to do is add in a center line to go to the line tool. But instead of clicking on it, click on the little drop down to the side of it and you can see we can select centerline. You can also just select the line to was normal and then on the left hand menu. Here, you can choose for construction, so construction line and a center line are essentially the same thing. Go over to the sketch on hover over the top edge of the PCB until you get this midpoint relation pops up and then start the line there and draw vertical line all the way down until you get the midpoint relation on the bottom edge and then double click to end the line and close the line tool and you can see that we know got this dashed line, which is a construction nine and it's already fully defined because they start in the end. Points are fixed. Construction line is a line which is ignored by usual features in solid works, and it's very useful for laying out the rest of your sketch. Now we want to mirror all of the sketch entities on the left hand side of the sketch over to the right hand. So go to the command manager and choose the mirror entities command. And you see, we get this pop up on the left hand side. First thing we need to do is choose the entities to mirror, and that's all of the entities on the left hand side so we can drag a box around all of those and you see all of the lines go into the entities to mirror box. Next thing we need to do is choose a mirror about point so quick in this box, and it should to in blue we can then choose your construction night and you see we get this automatic yellow preview off what we're going to mirror press. OK, and there we have all of our mirrored features now if you click on any entity in the sketch , you can see we now have this new relations simple, which is the symmetric relation, and that indicates that these parts have bean merit. You can also see it over here in the properties manager. So if we exit the sketch and you can see that the new entities have also pulled through onto the existing feature, now we can see that we've got all of the surface features on one side of the board. But if we look at the drawing, you can see there's actually chips on both sides of the board, and they're both the same. So what we can do is mirror features as well. A sketch entities. So in the command manager, make sure you're on the features tab and then choose mirror. The first thing we need to do is choose a face or plain to mirror about, and we want a mirror about the front plane because that's in the sense of our model. But you can see that the design trees hidden. We can't see where the front planus. If you click up here on this plus symbol, you have a second design tree exactly the same as the 1st 1 So choose the front plane and you see the selection automatically goes on to the second box features to mirror, So we just want to choose our chips feature. You can click on this in the model, or you can click on it in the design tree you see. As usual, we get the yellow preview. If we click. OK, you can see we've now got features on both sides of the model in this video. Firstly, relent about the trim, too. Then we learned he can use construction lines and center lines to mirror sketch entities, and you can also mirror features. In the next video, we'll learn about removing material, using the cuts extrude, and we'll also learn about using the whole wizard.
6. 2.5 Extruded Cuts and the Hole Wizard: welcome back to mastering solid works. Three D cad In this video, we're going to look at cutting material and also adding holes. So if you look back at our drawing, what we're going to do is at these two slots on also at these four holes, similar to the boss extrude features, cut features also start with a sketch. So we'll select this front face and we'll start a new sketch. Then we'll just click normal to, and we can start the sketch for the cut features. So if we look at our drawing, the first thing we need to do is draw this lot outline. So grab the line tool on will draw something similar to this one vertical line. One line to the right, and then one vertical line back up on the top of this lot is actually an ark. So we'll go up here and we'll select the Ark tool on on the left. You've got three different options will go. This one, the three point arc. This means that you're gonna be making three clicks to set Iraq. So the first quick is the start of the ark. The second quick is the end of the Ark on the third click sets the diameter to close the art tool. But this doesn't really look much like our drawing, so we need to add some relations and dimensions. The first thing that will do is at a horizontal relation between the top of these two vertical lines, so they're both the same length Well, then click on the Ark itself. Hold down control and click on one of the vertical lines, and we'll add a tangent line. And this means that the curve is exactly tangent to the straight line. You see, that looks more like our start in our drawing now, so we just need to add some smart I mentions, so the distance from the edge is 27.5. The thickness of the slot is five millimeters, and the total height of this thought is 40 millimeters to click on the bottom edge, and then we click on the Ark at the top. We can add this dimension, but if you look carefully, the dimension actually only goes to the center of the arc, not to the outside. So press escape a few times and then click on the bottom edge on this time, hold down, shift and click on the Ark, and this time the dimension will go to the outside of the Ark. So I make that 40 and close, Smarter mentioned. Now this lot on the other side is exactly the same. We could just mirror it using a center line and the mirror command. But what will do instead is we'll have a look at the slop tool. Click on the slot tool up here, and we get four different options. We'll click on the 1st 1 which is a straight slot, and again you're gonna be clicking three times. So the first click starts those thoughts, then go vertically upwards. Second click sets the length and then drag outwards on the third click, sets the diameter and then press OK. We can then at some relations and smart dimensions to fully define the sketch. The 1st 1 will add is the radius of the arc, which is 2.5 millimeters, and this corresponds to a slot with of five millimeters. You see, if we try to at the five millimeters, then you see it's actually driven dimension, and then at a horizontal relation between the two slots because they're exactly the same height. Then finally, we can add a sense of line and add a symmetrical relationship. So what the sense of I and then control quick thes two inside lines of the slots and then also control quick on the center line and you can see we can add a symmetric relation, and then we can see our sketches now fully defined. Now all we need to do is use this sketch to produce the cup feature, so go to the features tab and press extruded cuts, and you can see we get the usual yellow preview similar to the extruded boss based feature . We can set the thickness to whatever we want. We'll just leave it at 10 millimeters for now and again, we have loads of different options, but we'll leave it on blind and we just press okay, and there you have your first cup feature. Next we need to add are four small holes on. We could just do this by making a new sketch and then using the circle tool, destroying the circles and then using the coat extra tool again. But there's actually a better way to do it. We're going to use the whole wizard tool. So if I exit this sketch and discard it and then click on the whole wizard up here in the command manager and we get the property manager opens and we can see all these different types of holes. First thing we need to set is the type, so there's loads of different holes to several different kinds of screws and all different kinds of uses. What we need for now is just a standard hole, which is this one. Then we need a dowel hole. We can then set the size there's loads of presets sizes, or you can set any size of one. Next, we need to position the holes so a quick on the positions tap up here and it says, Select the face for the holes So we'll select this face and you'll notice that the cursor is actually changed to a point, and we've automatically selected the point tool up here. So everywhere you click and put a point down, the whole will appear. So put our four holes roughly in the correct place and then press OK and you can see we now have our four holes in the model, but we haven't actually defined their positions. So if we go back into the hole, was it to go over to the feature tree left, click on press edit feature and then go back to the positions tab? We can then use smart dimension and relations to set the exact position of these holes. So if we press escape to exit the point to and we go normal tea with a view, we can then start adding, since I mentions with smart dimension to the first hole, his 20 millimeters high and 50 millimeters from the edge on the second hole is 100 millimeters high, and then we can use relations to line up the rest of the holes. Vertical relation, horizontal relations, another horizontal relation on another vertical relation. And we know that the holes are symmetric. So again we can use a symmetric relation, so we'll add a center line down the middle off the board. Then we control click on these two bottom holes and also in the sense alone, and then we'll add the symmetric relation, and we can see that the sketches now fully defined. So if we exit there. We have our full holes. The whole wizard is very good because it allows you to very easily change any parameters later on. If anything in your design needs to change, he needs to change the size, the type of the whole, the spacing, anything you need, Teoh. So what we need to do now is renamed the cut feature, so we'll do a slow double click on. We'll call that slot cuts to recap This lecture sketches are used to create cut features in a similar way that they used to create boss extrude features. We've had a quick look at the slot tour and tangent relations. The whole wizard can easily be used to add all different kinds of holes, and it can easily be used to change anything later on. If any of your whole parameters change in the next video, we'll be looking at Phillips and Champers
7. 2.6 Fillets and Chamfers: welcome back to mastering solid works. Three D Cat in this video again to look at adding fillets and champers, starting with Phillips So, Phil. It's a very common in engineering and product design on their when a corner interior or exterior has just been rounded off. There are many reasons you might want to do this from just aesthetic. Maybe it makes you report it look a bit nicer removes the sharp edges. So it's a better user experience on from an engineering point of view, having a rounded edge instead of a shop. One actually reduces the stress concentration so it can actually make your products stronger. Depending on where you live in the world, you might hear these called different things. Maybe rats or radius is or rounds, but in solid works, then owners Phillips and they're very easy to or we need to do is go pay to the Philip Tool and then set the parameters here on the left. So I've got 10 millimeters set already. Then all we need to do is select the edge that we want to fill it. Zoom in on the model on hover over the edge. You see, we get this orange selection. Click on that on the abilities added well, then do the same on the other side, over over the edge that you want to select. Make sure you don't accidentally select the face, and if you do, you can just click on it again to remove it. And you can also remove it in the box on the left press. OK, and there we have our Phillips Simple is that similar to all the other features? You can also go in and edit the feature, and then you can change the size or any other parameters. As usual. Sham furs are also very common in design, and they're pretty similar to a fill it, except they have an angled edge. Instead of a rounded edge, you might hear them called an angle or a phase, and they can be added in a very similar way to the Philips. So go up to the Philip Tool. But instead of clicking on it, click on the little arrow underneath it and then choose Sham for, and it's the same sort of principle we consume in, and we can select the edge we want to Shumpert. You can also actually select edges through the model. Then over here on the left, we can set the parameters so we can either set the angle and distance, or we can set the distance and distance. So, for our example, will use the angle and distance 10 millimeters 45 degrees and just click OK with shampoos and Phyllis. You can also add them at the sketch level. So if we get back to our PCB sketch and edit the sketch here, we've got a basic rectangle, and we got to the top. You've got the sketch. Fill it in the sketch Samper commands, which use the sketch. Fill it enough. We click on any corner, or if we click on any two lines, you can see that the fillets are added to the sketch, and if I increase the size, it's a little bit more obvious. You can also do the same with champers, and we'll talk about this a little bit. Maurin two videos time, but it's really up to you whether you add your Philipson champers at a sketch level or at the feature level. So just control that, said those to undo them and we'll go back out I'd recommend when you start enough, keep your sketches as simple as possible on add your fillets and champers as separate features. This just gives you a lot more flexibility and a lot more control over your model. It's also good practice to add your fillets and Shumpert features at the end of your model . After all your other features. It's a very quickly recap. Fillets and tempers can be added by choosing the fill it or Shumpert tool, setting the parameters on the left and then choosing the edge or face, which you want to fill it or sham for. They can also be added at a sketch level. I would recommend for now that you have them a separate features at the end of your model. In the next video, we'll be looking at linear patterning.
8. 2.7 Linear Patterns: Welcome back to mastering solid works. Three. D Cat In this lecture, we're going to look at linear patterns, so we go back to our drawing. You can see all we need to add. Are these 45 contacts along the bottom? If we look at the detailed drawing, she was 45 them their 450.2 millimeters high off the board in 25 millimeters in length, two millimeters wide, their space three millimeters apart on their 6.5 millimeters. From this lot Etch So achieves this surface. Start a new sketch and we'll choose the corner rectangle and we'll sketch the first contact so it looks. Something like that will add some smart dimensions. 25 millimeters high two millimeters wide and 6.5 millimeters from the slot edge. We can then choose the extruded boss based feature and right in 0.2 millimeters and press OK, and there we have our first contact. What we need to do now is pattern this along, so we've got 45 of them in total. First, we'll look at sketch patterns, so we'll go back into the feature and edit a sketch left click on it press edit sketch and go to the commander manager and press linear sketch pattern. So the first thing we need to do is set the direction and this could be any straight line. But if you look in the box, it's actually already being pre filled with the X axis, which is what we need in this case. Then you've got the spacing, the number of instances and if you go down here, we've got the entities to pattern. So we need to zoom in and select all of these lines of our first rectangle. And as we select them, you can see we get the yellow preview. We then seem back up. We can add in the number of instances 45 and we can put the space again, which is three millimeters. But if we look at the preview, you can see that looks like they're actually too close together. The spacing should be three millimeters between each contact, but the contacts themselves are actually two millimeters wide, so the total spacing should be five millimeters. And if we put that in, that looks more correct, so press OK, you can see that most of the sketch entities air still blue, so they're not fully defined. So we need to add some relations. We'll click any of these two top points and add a horizontal relation, and then we'll just add in a three millimeter spacing and you can see that that pulls through to the entire pattern. So now the whole sketches fully defined, we can exit a sketch and they have your contacts. So what we need to do now is renamed the feature. We can also use a feature pattern rather than a sketch pattern. So if you press controls that, too, and do what we just did, keep pressing it until you get back to your single contact sketch and then exit the sketch and you'll see we've just got a single contact was a feature there. Now we'll go to the command manager, make sure you're on the features tab and choose linear pattern. And again, the first thing we need to do is add in the pattern direction so quick in this blue box and click on the bottom edge and consume selected Edge. One on this arrow indicates the direction of the pattern. Again, we've got the spacing and the number of instances and quick down here to select the features to be patterned. We can then zoom in on select the first contact and, as usual, would get our yellow preview or we need to do now is set the spacing five millimeters on the number of instances 45 and press OK and what you'll find in solid works is that there are many different ways that you can achieve essentially the same end result. I would recommend that you try and keep your sketches as simple as possible, and you add extra details using features. This just gives you a lot more flexibility later on. If you need to edit things later on to RECAP patterns, we can create patterns using the sketch pattern feature well, then set the direction of pattern, the spacing, the number of instances and choose the entities which we wish to pattern. We can then add smart dimensions and relations to ensure that the pattern is fully defined . We can also add patterns using the linear pattern feature, and this generally just gives you a bit more control. It's very easy to go into the pattern later on on edit. Anything you need to in the next lecture will be talking about the design tree design intent and simplifying your models
9. 2.8 The Design Tree and Design Intent: our first model is now almost complete, so we're going to talk a little bit about the design tree on design. Intense. We never a little bit about the design tree already. We know that it's where all of our features and sketches appear on. We know that we can slow, double click to rename things. We could also move features around, so you may remember that we said that your Philips and champers should, ideally, always be at the end of your model. So this hover over the Philip or the sham for hold down the left mouse button and dragged the feature to the end of the design tree. Another thing that we can do in the design tree is suppressed features and sketches. So if you click on any feature and click on suppress and this basically removes the feature from your model, but without deleting it so solid works won't calculate it. And to turn it back on you just click un suppressed. So just click the button again, and this is very useful if you have a really big model, for example, and you want to turn off some features temporarily, or if you just want to remove a feature from your model temporarily, and then you might want to add it back in later on. Now, if you look in the design tree and you try to suppress the chips feature, you see, we've also automatically suppress the mirror chips feature. They're both grayed out. That's because the mirror chips feature is a child feature off the chips feature, so it's not possible to mirror it. If the chips features turned off. There's nothing to mirror and you see if we unsurprised the marriage chips feature, it also automatically un suppresses the chips feature. We can suppress just the child feature, and this won't affect the parent feature, and then we can just un suppress it as normal. It's also not possible to drag child features before the parent features. You can see we get this little no entry sign. The final part of the design tree that we're going to look at is the Rollback bar, which is this blue bar along the bottom of your features. If you hover your mouse over it, the points that would change to a hand and you can hold down the left mouse button and drag the bar to any point in your model and you'll notice that all the features after the bar are now suppressed, and we can now add new features in at this point in your model. So, for example, if I just do a quick cut, extrude and impress, okay? And you see, we've got this new cut extrude feature and if we tracked the robot bar back down to the bottom, you see the cut extrude feature remains at that point in the model. And this is very useful because you can go back to any point in your model and you can add features. At that point, the next thing we're going to talk about is simplifying a model. So if we look at the way we built our PCB so far, we've got the PCB base. Then we've got the chips features and the mirror chips. Then we got the slot cuts and then we've got the four holes, but we could actually have modeled this all as a single sketch. So if I just quickly start a new part just to show you, you don't have to follow along with this bear and then we can see how we could have modeled this all is a single sketch. We just speed up this section slightly. So here we have our rectangle at this lots and will add the four holes that if we go to Boss extrude, we can just extreme this all as a single part. We could even go back into the model on we can at the Phillips and the champers into the sketch so you can see we've created in a single part what, in our other model was 12345 different features. And so you might think this is a better way of doing it because it simplifies your model. But I'd actually recommend that you keep your sketches as simple as possible, and you add your extra items using extra features. That's because it makes it much easier to edit later on. Say, for instance, if you wanted to now remove these slots, I would have to do is grab the trim tool or delete them. And then if we try and exit the sketch, we get all sorts of errors because we now have gaps in the model. We don't have a close profile, then we need to go and find out where the gaps are and you see, was starting to lose relations and dimensions, the sketches becoming under defined, and it's just a bit of a nightmare sometimes, whereas with the original model all we have to do it's going to the design tree on either delete the feature or suppress the feature, and you can see our contacts feature on our contacts pattern feature have also been suppressed, and that's because they're a child feature of this lock feature. The last thing we're going to go over is design intent. So here we have a simplified version of our PCB base. It's got the four holes in it, and it's the exact same size as the other 1 300 by 1 50 On the whole, spacing is exactly the same as our other model. So the holes of 15 millimeters from the answer edge on their symmetrical about center of the board Now say, for example, if we want to change the length of our board, weaken, double click on it and change the 300 to 400 press OK and you can see that the model doesn't update straight away that's because it needs to be rebuilt. We've got this small traffic like symbol on the feature that needs to be rebuilt, and we've also got the rebuild symbol down here. So if we click on rebuild up here, you can also press control be you see the model now updates on the holes are all still 15 millimeters from the outer wretch. If we think about other ways, we might have dimension the holes. So if we go back into the hole wizard and edit the feature, go to positions. And if we remove this symmetric relation, we can just start in a distance so we can say that the holes, for example, should always be 370 millimeters apart and you see the sketches still fully defined. If we exit the sketch, it still looks exactly the same. The feature looks exactly the same. If we now double click on the main board and we change it back to 300 again, we have to rebuild the model. So click on rebuild. You see, we've now lost this fourth hole because it's actually still out here in space somewhere you can see it's not there, so this is part of what we mean when we talk about design intent, you should always spend a few minutes just thinking about the best way to dimension your model in the best way to build your model before you start to recap this video. We've had a look at moving features around in the design tree we've looked at suppressing on un suppressing features. We've briefly looked at child and parent features, and we've looked at using the rollback bar to go back to any point in your model. We've also briefly talked about simplifying your model on why it's usually best to use lots of simple sketches and features rather than trying to put everything into one sketch. And we've also talked briefly about design intent In the next lecture would be looking at adding some appearances to your model on doing your first ever render
10. 2.9 Appearances and Renderings: our models now looking for eager, and it's almost finished, but it doesn't quite look right because it's all just colored in gray. So what we'll do is add some appearances. Go over here to the right and click on this small ball with four colors on it, and you'll get the appearances, scenes and decals menu. You can close the orientation of you menu, and you could drag this out a bit further if you need to see, conceive it more of it and click on the plus next to appearances. And here you see a load of different materials, which we can add to the model. The 1st 1 will add is just the overall green color. So if we expand the plastics list and then get on some medium gloss, you can pull out the menu a little bit more, and if we scroll down, you can see all the default colors that you can add. We'll double click on agree, and you can see the green color is added to the whole model. We can also add appearances to specific features, so we'll select the chips, feature holdout control and select the mirror chips feature. So we've got both sides selected. Then open the appearances. Scenes and decals top began and go to low glass plastic. And then we'll scroll down and allowed maybe a dark grey plastic DoubleClick and you see now the chips on both sides a dark gray, so finally will add the contacts. So select the context. Hold on control and select the contact pattern. Minimize the plastics material and open the metal material. We'll get onto gold and will add Matt Gold so double clicked at that and you can see our model is now looking a lot closer to the final product. Now, if we want to change any of the appearances later on, we can go to the display manager tap on the top left here, and this shows us all of the different appearances within our model. So you say we've decided that the chips are a little bit too dark. What we can do is go over on right click on the appearance over here and press edit appearance, and then you get all these options appear. You may be on basic or advanced with basic. You can just change the color and select which features you've selected. And with advanced, there's loads more options to change things like the illumination settings. For your rendering, select a lighter grey and then just click. OK, and then we're done so you can get back to the design tree tab up here. All we need to do now is do a render, so go up to the command manager and click on the Render Tools tab. You might already be on the features or sketches tab, so click on the render tools tab on. All we need to do is click Final Render, and you should get a preview box pop up and then you render should start. You may get a box pop up recommending that you change your view to perspective mode. And if you do, just click OK and then you're render should continue and it should look something like this . When it's done, you'll hear a little tone play, and then you can save the file as alerted. Different file types so we'll just choose either P and G or J Peg and press OK, and there we have our first render, as I just mentioned when you click to render, you may have got a message saying, You should put your view into perspective mode. And to do that we just click on the view settings up here and click on perspective, and you can see your model now look slightly more realistic in terms of the angles. We can also click on the render options. Here we can do things like change the quality of the render, change the size, so we'll put it up to a better quality, maybe choose best quality and then press final. Render again and your view will now be rendered again. It may take a little longer than before, but hopefully it will come out with a better image in the end. And when you're done, you could just save that as normal and so change back to a normal view. Just click on the View settings menu again and click the perspective button again. So it's a recap. We can add appearances using the appearance scenes and decals tap. We can then edit them in the Display manager tab, and we cannot appearances to specific features by selecting them and then double clicking the appearance we want to add. We commend the renders by using the final Render button in the Render Tools tab, and you can change all the different options as you need to in the next video. We'll talk very briefly about saving your files, and we'll have a quick look along the different types of files that you can save us.
11. 2.10 Saving and Filetypes: now our models completes on. All we need to do is save it now. You may have already saved yours if you've broken up this part into a few different sessions. But all we need to do to save is go to the safe. I can appear we'll go to file safe. I've already saved this before, so click on Save, as so we can see the full dialogue box, and this is a pretty standard safe box. You can choose the location where you want to say that, and you can choose the type of file you want to say that house, the standard file is thought SLD PRT, which is just a solid works part file on. One quite important point is that you should always try and use unique file names. That's because if you have an assembly and you have two parts in the assembly that have the same file name, maybe something common like screen or circuit board, this can cause problems with solid works. Solid words can get confused with which parties which so always try and use a unique file them. There are loads of different options that you can choose to save your file out and at the top. We've just got the standard solid works part on will quickly go over a few more of them. There's loads of different can't formats. A useful one is Paris Solid is useful for sharing with other cat programs. I just in step are very common in manufacturing. So if you're trying to make something in a factory, they might ask you for those files, then. STL files are often used for three D printing. E drawing files are also quite useful. E drawings is a separate, free, standalone program, so you can send any drawings file to somebody who doesn't have solid works, and they'll be able to open it in the free E drawings program, and they'll be able to view it in three D and measure things and do some simple cat operations. Then we've got some other cat program files. GXF is also quite common in manufacturing. Then we have pdf, which you probably already familiar with quite a standard document, former and then at the bottom. We just got some image files, things like J picks, Photoshopped files, illustrator files. So if we go back to pdf, you see When we click on it, we can click this box, save us three d. Pdf. And that means that your model will be saved us three d within the pdf file, so you can send it to somebody who doesn't have solid works and they'll be able to open it without any special software, and they'll be able to zoom in on spin it around in three D, And it's very useful for sending to people you don't have cat. You also noticed that on a lot of these file types, we can click on the options menu, and this brings up further options. You can do things like change the export quality and change specific settings for each file type. So for now, we'll just save is a part file will do, save as and we'll just press. OK, I've already previously saved this file, so it last me. If I want to replace it, I'll just quit. Yes, on our first parts is finished in the next video. We'll just be doing a complete recap of everything you've learned with this first part, and then we'll be ready to move on to our next part
12. 2.11 Circuitboard Recap: would now completed our first model on learn the very basics of solid works. So to recap what we've learned, we're going to close this model and rebuild it from scratch. The first thing you need to do is start a new document, and you'll remember that there are three types of solid works. Documents, parts, assemblies and drawings. Parts of the most simple. So start part now terms of the interface. Up here we have the menu bar. Then we've got the command manager on the left. We have the design tree, and here we have the graphics area. We also have the orientation view menu. The only things in your model will be the front plane, the top plane and the right plate on the origin. So we have to start with a sketch. So I select the front plate and we'll click on new sketch. The first thing that we need to do is draw. Our base rectangle can either use the line till or the corner rectangle to We use the corner rectangle tool and start from the origin. It's very important to always link your models to the origin, would drag out our rectangle and then you smart dimensions to set the correct size. So 300 by 1 50 and you can see that our sketches fully defined. We can now use this sketch to create our first feature, the extruded boss base. If we click on that and we can choose in mid plane extrude with a thickness of two millimeters, it's good to use a mid plane extreme because this means that your front plane stays at the center of your model and then you can use it later on for mirroring features. We can then rename our first feature to PCB base, and the next thing we have to do is at our chips features. So if I click on this surface, you can click on any flat surface and start a new sketch, and then we'll choose the circle to and start drawing off four circles. Well, then, you smart dimension again to start adding some dimensions and fixing them in place, and we'll also use relations to fix them in place relative to each other. Next, we will add the ellipse using the Ellipse tool, and we'll remember that the first click sets the center of the Ellipse, the 2nd 1 sets the major diameter, and the 3rd 1 sets the minor diameter. And then we'll use smart dimensions and relations to ensure that is fully defined in space . Next, we'll add our three rectangles. Using the rectangle tool will put them roughly in the right place, and then we'll use smart dimensions and relations to set them exactly in the correct place . So you standard smarter mentions, and we also use some Colin E relations. You'll remember that to select multiple entities, we hold down control and click, and then we can add the relations using the fly out menu or using the menu on the left on. The final thing that we need to do is at the angle top of the top rectangle, so choose the line tool on would draw the line in. Be careful not to accidentally select the midpoint and have that relation added automatically. Well, I didn't distance on the angle, and then we can grab the trim tool and cut away the lines that we don't need any more. Using the power trim, we then need to mirror the entire drawing about the center of the board so we'll grab a center line from the line to hover over the bottom edge of the board. Picking up the midpoint relation on will draw a center line, and we can then mirror everything so quick. Tip. If you select the whole sketch and you've only got one center line in it, and then you press the mirror entities button. Everything will automatically be mirrored about that center line. And if I press controls that and go back and do the old way, we've got nothing selected. We can choose. Mirror entities can drag a box around the entities and then next select the center line manually. So that's just a bit of a quicker way to do if you select everything beforehand. Now we've got our complete sketch. We can use the extremely boss based feature and add in four millimeters to have the first chips and press OK can then rename this to surface chips or chips, and we want to mirror the chips. Feature about the front plane so similar to the mirror sketch. If we select the chips, feature on hold on control on also select the front plane and then press mirror feature with automatically pre filled all of the selection boxes. So all you do is get the preview and press OK if I cancel that and go back to the old way. If I press the mirror button first, then you've got to manually fill in the plane on the features to mirror. The next thing we need to do is have the slot cups, so choose the front surface. Starting new sketch on We'll draw our slots will use a straight slot. And you might remember we got three cracks. The 1st 1 starts a slot. The 2nd 1 sets the length, and the 3rd 1 sets the wit, and we can then use smart. I mentioned to lock it in place two dimension to the outside of a curve. Hold down, shift and click on the curve, and then we wants a mirror. This sketch. So again we'll choose a center line over over the middle of the edge on pick up the automatic mid plane relation. And then, as before, if we select everything with a single centerline in our sketch and we press mirror, we get the automatic memory. We can go to the features tab and press extruded cuts on. We can cut through any amount for millimeters will do press okay, and there we have our slots. Next, we'll use the whole wizard to at the four small holes, which use a standard whole a dowel hole and set the sizes 10 millimeters Well, then go to the positions tab and click on the front surface and click where we want to put our four holes. We can then use smart dimension to set the holes in position, and we can add our horizontal and vertical relations. We can also add our center line and add a symmetric relation to ensure that the holes are symmetrical. We click OK are four holes are now added to the model. The order of the next features is slightly different to the way we learned. We're going to have the contacts next, so start to sketch on this surface. Use the rectangle tool to drawing the contact and then you smart dimension to set the correct size. Well, then extreme this rectangle by 0.2 millimeters. We will then rename the feature on. Now we need to pattern the feature, select the feature and press linear pattern, and you can see the features already being pre filled into the features box. So what we need to do now is choose the direction, so choose this straight line on the bottom edge. Then we need to set the spacing on. The number of instances has already set from before press okay and they would have all of our contacts. The final thing we need to do is at our fillets and champers. So select the Philip Tour. Choose 10 millimeters if it's not already selected, and then choose the two top edges. Press okay on our fillets surrounded. Next, we need to add the champers. Choose the sham fertile just below the PhilipsEl again set 10 millimeters 45 degrees and choose the two edges. And now model is geometrically complete. Now that our models complete, we talked a bit about the design tree, about how you can reorder things by dragging them. You can use the rollback bar to go back to any point in your model, and you can suppress features. And if you suppress apparent feature the child speeches automatically suppressed, then we can easily un suppress features. We also talked a bit about design intent on how you should always keep your sketches as simple as possible on add items in using features, if possible. Finally, we talked about adding appearances to our model. We opened the appearances, scenes and decals top, and we selected the material appearance that we wanted to add to our model. We can also select individual features and add appearances directly to those on. We can edit appearances in the display manager tap. Finally, we can create renders using the render tools tap on. The very final thing we did was save the model, and we talked a bit about the different types of files that you can say that so well done. You've created your first model, and you've learned quite a bit about solid works in the process. Next will be going on to the second model, which is the pencil.
13. 3.1 Pencil Introduction - Modelling the Lead and Casing: Hello. Welcome back. Congratulations on making your first part, the circuit board part. And if you've got this far, then you've really got what it takes to learn the rest of solid works. Everything from now is just building on those foundations. Next, we're going to be making the pencil, and you may think that pencils a very simple thing. If you think about it, it's actually quite complex. So there's four different materials. You've got the lead, which is probably a mixture of graphite and clay, and you've got the wooden casing, which is maybe cedar. Then you've got the rubber, a razor on the end, and then you've got the metal feral, which holds the razor onto the pencil. And these materials have probably come together from all over the world to make the pencil . We're going to be learning new features. The revolved on the cut revolved, and we're also gonna be learning about multi body parts so you can have these four materials within one single part. Before we start, you can download the example files the solid works, part file of the pencil on a pdf drawing of the pencil, with all of the dimensions that you need. So let's get cracking. We'll start a new part and start to sketch on the top plane, and we'll draw a circle for the lead, which is 2.5 millimeters in diameter. Then we'll extrude this, using a blind extrude to a length of 185 millimeters on just Press. OK and rename the feature has led. In the introduction, we mentioned that a pencil is made up of four different parts, but on a bill of materials it would probably only show up is a single part. So we'll make it as a single part in solid works, but with multiple bodies. First thing we need to do is start a sketch on the end. Face here for the pencil would encasing select Normal to, and we'll draw a polygon using the polygon tool. Make sure the number of sizes set up six because the pencil is hexagonal and click to start the polygon, dry out to the diameter and then at smart dimension of seven millimeters and you'll see that the polygon still under defined because we haven't set the orientation. So it just choose any one of these lines and will add a vertical relation. We also need to draw the circular cavity for the pencil lead itself. So draw a circle, hold down control on, click on that circle and click on the outer circle of the lead. And then we can add a co radial relationship, which means that the circles have exactly the same diameter. Well, then extrude I would encasing by 185 millimeters and you can see that it tries to extrude in the wrong direction. And if we press this direction, but you can flip the direction of the extreme If we press okay and zoom in, you can see that our 1st 2 features have actually merged into each other on We don't want that. We want to keep them separate. So edit the second feature and uncheck this box which has emerged results and impress. Okay. And if we zoom in now, you can see that the lead on the wooden casing and now separate bodies. And if we look in the design tree, we now have this folder called solid Bodies on in that there are two separate bodies. Multi body parts can also be a very useful way of modelling some complex shapes, and we look at those more later in the course. So both of our boss extrude features use blind extrude. But the problem is, if we now try to resize the lead, for example to 200 millimeters, we might need to rebuild the model by clicking on the rebuild the top that you can see that the wooden casing is now too short for the lead. So the way we can get around this is if we edit the feature and for the end condition instead of blind. If we choose up to surface, we can then select the surface that the wooden casing will be extruded up to. So if you select the end of the lead and press OK, now, the wooden casing will match the length of the let. So if we change the length of the lead back to 185 and press OK and rebuilt, you can see that the wording casing is automatically the same. Next, we need to add the A razor so it starts a sketch on even the lead or the wooden casing and draw a circle that seven millimeters diameter will then do a boss extrude of 10 millimeters . But you'll notice that when we click OK, all of our solid bodies have now been merged together and we've lost the solid bodies folder from the design tree. And that's because the new extreme all of the other features that touches it, will merge them together. So we need to go into the feature and uncheck the merge features box on. Now when we exit you see, we've got three solid bodies got the razor, the wording casing on the lead. So I just had a small fell it to the top of the eraser to finish off and press OK. In the next video, we'll be introducing the REVOLVED feature to make the metal feral, which holds the A razor onto the top of the pencil.
14. 3.2 Revolved Boss/Base - Adding the Ferrule: We now have three of the four materials for our pencil, and the final thing we need to do is draw the feral, which is the little metal part, which holds the A razor onto the top of the pencil. Start to sketch on either the front or the right plane. It doesn't really matter which one on we go to draw a profile of the fell, which will be revolved around the center line of the pencil. Une easier way to visualize. This is if we use the section view so quick the button and this will cut a section through your model. You can change the parameters on the left, like the thickness, the orientation of the cut and so on. And if we zoom in, we can now see the razor, the lead on the wooden casing. So setting normal to view on, we'll start drawing the profile of the Pharaoh. But the first thing we need to draw is a center line on. This is where the profile is going to be revolved around, so choose the line tool and you centerline that would draw a line right down the middle of the razor, using automatic midpoint relations. Now we're ready to draw the feral itself, so choose a corner rectangle, draw in roughly the correct place and add some smart dimensions. It's 10 millimeters long, and it's halfway between the pencils and the eraser, so it's five millimeters from the top of the wooden casing. It's half a millimeter thick, and if we check back on the drawing, we can see that the outer edge of the feral is 4.1 millimeters from the center line of the pencil. The next thing to do is at the small circles, which gripped the pencil on the razor. So first late will click on this outer line and press four construction, and that turns this line into a construction mind. Then select a circle and draw small circle with a sense of point on the construction night . Set it one millimeter away from the bottom edge. You remember. If you hold down shift, you could dimension to the outside of the circle. On the diameter is point for millimeters. There are four of these small bumps, so what we'll do is a linear pattern. Set the angle to 90 degrees on the spacing two point for the sketch still isn't fully defined, so I grabbed a center point of one of the circles in the pattern and drag it so so over the construction line. Until you get the automatic relation, added the coincident relation we can then set the spacing, which is 0.4 millimeters on this get should now be fully defined. We only actually need the outer half of these circles. So grab a trim to make sure you're in power trip and dragged down and cut away the inside half of all the circles. And as you do, your sketch will probably turn yellow, which means it's over to find. So click down here, click on the over defined text on on the Left. You get the sketch expert, and it will give you some options to diagnose a sketch. If you click on diagnose, you'll get a load of different solutions to fix the sketch. She can quick three days. Ideally, what we want is a solution where everything is fully defined, where everything's black, so you'll see if we click this. Certain relations or dimensions are taken out of the model automatically and quick, okay, and your sketch should now be able to find a valid solution. Now we need to mirror these circles to the top half of the feral. So grab another center like draw centerline halfway up the construction line that you just read on. Drag it along to the center of the eraser. Then you can select the four semi circles well done control and select the center line and impressed mirror entities, and they should automatically be mirrored to the top half of the barrel. Next, we need to close the profile of the sketch. So select the line tool, just drawing these three lines for a closed profile, and we're almost there. If you look at the drawing, we actually have these circles on the inside of the barrel as well. So click on the inside line and again click four construction to make your construction line and will mirror the outside sketch entities so drawer center, line down the middle of your feral, then select all of the outside sketch entities. Make sure you also get the very top and bottom line. Hold on control and also select the new center line, which he just drew, and then press mirror entities on your sketch would automatically mirror to complete the feral profile. Now that we have are closed profile, all but we need to do is revolving around the center line. All the revolt feature really does is take a close profile and spins it around the line. So exit the sketch that make sure you've still got is selected in the future tree and then press revolved Boss base and we choose the axis of revolution, which is the center line down the middle of the pencil. And as usual, we get our yellow preview press OK? And we've made our first revolt feature. If you zoom in, you can see the small circles which gripped the pencil and the razor. You can see this is only half of the revolved because we're still in the cross section view . If you look carefully, we can see everything as merged together and we've lost our solid bodies folder. And that's because we didn't uncheck the merge bodies box. So for you edit the feature again, uncheck that box and then press OK, and now we can see that we've got four separate bodies the lead, the feral the razor Underwood encasing So there we have the basics of our pencil. In the next video, we'll be making some finishing touches, including learning how to embossed text.
15. 3.3 Pencil Finishing Touches - Fillets and Text: you may have noticed that our pencil hasn't been sharpened yet, so it's not very useful, and we're going to deal with that in just a moment. But first we're going to add some more finishing touches. If you zoom in on the pencil, you'll see that is quite angular and sharp, so it probably won't be very comfortable to hold. So what we're going to do is add some small Phillips to the sharp edges. Select the PhilipsEl and we'll add a one millimetre fillets and you'll notice as you do. You get this fly out menu with different options. If you hover over each one, you'll get a load of purple selection lines. If you lose it, just select an edge again, and it should pop up again. And these are automatically propagated fillets. So if you hover over each one, you get a preview of what you're automatically going to fill it. We'll choose the 1st 1 which is these six sharp edges, and press OK and they're all fell. It'd in one go rather than clicking them one by one, depending on your exact model, the size of your Philips and things like that. This doesn't always work in every model, but it can be a very useful time saver. Next, we're going to add some text to the pencil to make it look a little bit more realistic, and text is added as a sketch entity up here using the text tool. Firstly, we need to start a sketch on a face, so choose any of these flat faces start to sketch and will go normal to then select the text tool from a commander manager and right in your text. Let's just write something like pencils to be. If you zoom out of your sketch, you can see that are texters started down here? So it's in the wrong orientation and it's in the wrong position. So what we need to do select a line to align the text along to zoom in a little bit. Just select any of these edges you can see the orientation is now correct, but the position is wrong. So exit the sketch text tool. We want to draw a construction line for the text to be positioned upon, zoom in slightly, select a center line from the line tool and will destroy rain. A construction line in about the right position so safe from here all the way up to the Pharaoh. Let's put it 0.75 millimeters high on make it 30 millimeters long. We now need to attach the text to the construction line. It's a few Z amount on hover over the text that we've already written. The cursor would change, too. In a click on, you'll open the sketch text tool again. We can then delete the old edge that were previously aligned to, and we can click on our construction line that we just drink, and this will set the text in the correct position and orientation that you can see. It's probably a little bit too big. You give it to the properties on the left and uncheck, use document front and then click on this front button, and you can choose any fun that you've got installed on your computer and any size and any style. So we'll stay with Century Gothic, and we'll set the size down a little bit smaller. Let's try 14 for example, and it doesn't update until you click. OK, so you can see that's probably a little bit too big. Still so quick funds again on Let's Try 10 again a little bit too big. So go all the way down to eight. We probably need to move the line down a little bit as well. Tuesday. Eight. Press OK, and then exit sketch text tool. Then we can edit this construction life. Move a little bit lower 0.5 or point for whatever looks best to you and exit the sketch. We can now use this sketch as usual to do things like Boss extruded and cut extrude. What? They're very shallow cut extrude to represent in bossing the text slightly. So we just cut down North 0.1 millimeters. And there we have our text, the pencils now looking pretty good, but we need to add some materials to it to really bring it to life so quick on the appearances, scenes and decals tab and we'll add some material appearances. The first thing we'll do is add something, maybe a medium glass plastic in yellow. I know the pencil isn't actually made of plastic, but the material looks pretty similar, so it should look pretty close. And what DoubleClick That To apply it to the whole model. Next we can select the six round edges. You can either select them one by one by holding control, click and clicking on them. Or you can just select the Philip feature in the feature tree. And we'll add something like a medium gloss black plastic to represent the black paint on the outside of the pencil. And it's already starting to look a bit more realistic Now. Next, we'll add the fair or material on. Let's go for a metal, maybe something like a chrome. It's really up to you that at this stage, and finally, we can add the eraser material so we can choose rubber on. There's only one black option so would choose that. Then go into the display manager tap on the left, right click on the rubber material on press edit. Appearance on will change the color to something more suitable, maybe something like a pink or orange next, well out of material for the lead. And if you zoom in rather than just clicking this front face, we can select the whole body, and then the entire thing has the appearance, so that's before we don't actually have to choose something which is physically correct. Just something that looks correct so we can go for something like, say, for example, wet concrete. And that looks about right. Then, finally, all we have to do is select this end face of the wooden casing on add a natural wood material to it. If you go into organic materials, there's loads of different types of wood. So does choose one that you like the look of, maybe something like a pine on. Add that to the end face, and then we have a pencil. It looks about right. Obviously, it's still need sharpening to very briefly recap what we learned in this video. We added some fillets on. We use the fly out menu toe. Add multiple edges at the same site rather than selecting them one by one. Next, we added some text using the text tool from the sketch entities in the command manager. We anchored the text to a construction light, and if you hover over the text until the cursor turns into this a you can click it and then you'll open the properties manager. And from there you can choose whether Texas aligned you can change the text itself. And if you uncheck this box, you can change the phone style or the size where then did a very shallow cup to in Boston text. And after that, we used the appearances. Scenes and D counts tap toe, add some materials just to bring the pencil to life. Obviously, we still need to sharpen it before we can use it on. We're going to learn about that in the next video about cut revolves.
16. 3.4 Sharpening the Pencil - Revolved Cuts: our pencil is now almost complete, and the only thing we need to do is sharpen it. And we're going to recreate what you'd actually do in real life in a pencil sharpener. So going to be revolving a profile to cut. First, we'll get to a section view, and you can see that here we have the lead on here. You've got the wood encasing revolved. Cuts is very similar to a revolved boss base in that first you have to draw a sketch and you have to draw close profile, and you need a line to revolve it about. So it starts a sketch on whichever plane is normal to you, and the first thing we'll do is draw a center line down the middle of the pencil. Next, we need to draw the profile, which will actually be used for the cut. So get a line tool and draw something like this. Make sure your line doesn't start in the very center of the drawing on draw a triangle something like this, which extends outwards beyond the edge of the pencil. Then we'll add some smart dimensions. So from the center line, make the first corner 0.5 millimeters. Make the outside line five millimeters and make height. 15 millimeters. We could also use an angle to set this angle now were set up, and we're going to revolve this profile around the center line. So exit a sketch and then make sure you've got the sketch selected in the feature Tree and press revolved cuts and, as usual, will get the yellow preview of the area we're going to cut. And this is the axis of revolution, the center line of the pencil. So press OK, and we have a cut. If we now exit a cross section view, you can see our pencils looking really good. The only thing we have to do is change this end face, so it's got a wood appearance. We're now almost complete. We'll just rename the revolt feature as sharpening cuts, and then we'll have a look at a few common errors with Revolved cuts, select the sharpening cut feature in the feature tree and then edit sketch, and we'll take a look at the first error. So firstly, delete this five millimeter dimension and we'll drag in the edge of the cut so it's coincident with the outside of the pencil. And if you look from this view at the profile where it's cutting around, it looks like this might actually be correct. This might cut correct line, but when we press okay, we get this error, it says, unable to create this feature because it would result in zero thickness geometry. So we'll have a look at what this actually means. So we spend the model around slightly and we get back into the sharpening cut feature on edit the feature you can see we do actually get the yellow preview now. The problem with this feature is that the line that we're trying to cut, which is the outside edge of the yellow preview, is exactly seven millimeters. But these six straight lines on the hexagon are also at exactly seven millimeters, so solid Rex is trying to cut down to a zero thickness, and it's not possible to calculate us. It's impossible within the program, so solid works doesn't really know what to do and can't make the feature. So the way to solve this is to move your cut slightly larger or slightly smaller, so we can close the feature by clicking on the Red Cross but then edit the sketch. We can delete the coincident relation and then dragged the cow a little bit further from the preview about their looks Right. Then we can add a smart dimension toe 3.5 millimeters, and if we click OK, now you can see that the feature works correctly. Well, now look. Another common problem you might get with a Revolved cuts or a revolved Boss base. So go to the shopping cut feature again, edit the sketch and zoom in. The first thing we'll do is just extend this outta cuts. So we have a nice wide cup, so extend out to five millimeters, then delete the 50.5 millimeters and we'll drag the whole sketch over So the corner is on the other side of the center line. Now, if we try and exit the sketch, see, we get a different era. You see, it says the sketches open self intersecting or intersects the center line. And the problem with this if we edit a sketch again and zoom in, is that this profile is trying to revolve around this center line. But it's transfer revolve on both sides, so it's trying to cut itself, and it's not really possible to do that within the program. So you should always make sure that the profile is only on one side of the center line. Otherwise, it was self intersect on. The future will fail, so we can just add in it. I mentioned again change around to cut back to 3.5 and exit the sketch, and you see the feature does work. But we've got these extra bits hanging down, which we don't want. You can get back into the sketch changes 3.5 out, so maybe four rebuild the feature, and that looks perfect. So we're almost complete or we're going to do now is a quick render, and this is a tip to help improve the quality of your renders. If you go into the display manager tab and right click on an appearance on press at its appearance, then go to advanced and illumination and scroll down to the bottom. And in this round sharp edges box, just put a small value, maybe something like 0.2 millimeters. Do this for all of your appearances. It's a bit of a tedious, drawn out process, but it really does help improve the quality of your renders. And the reason that this makes your renders look better is because if you look at any real world object and you look at the edges there never completely sharp, even something like a knife if you zoom, then far enough would always be slightly rounded. So by assessing this value and you can play with different values, you're making the model behave in a more realistic way as it interacts with light. So you're making the render look better. Then we can go to render tools and position your pencil wherever you want it. If you're not sure where it's gonna be in the render window, you can press preview window. And when that pops up, you can move your model around by holding down control on the middle mouse button on moving your model around. And then, when you're happy, you compress final render, and when you've done it should come out looking pretty realistic. And then you can just say that render if you won't see to recap what we've learned in this video, a revolved cut is very similar to a revolved boss base, and it starts with a sketch. The first thing you need is a center line to revolve around on a closed profile. Make sure the profile doesn't intersect the sensor light and make sure you don't have any zero thickness. Geometry can then exit a sketch and press revolved cuts, which is on the command manager under the features tab, and you should be able to cut your evolve. We also looked at a tech for improving the quality of your renders. You go to the display manager, tap, edit the appearance and then go to illumination under the advanced settings and change the round shot edges value up from zero to a small amounts, and they should make your models look a little bit more realistic. In the next video, we're going to recap everything we learned from the pencil. So the revolves on the multi body parts, and then we'll be onto the next project. Your first ever multi part assembly. The pencil sharpener
17. 3.5 Pencil Recap: congratulations on finishing your second part, the pencil and learning about revolved features and multi body parts as before, I'm going to rebuild the part again from the start so it can recap everything that we've learned and you can either follow along or you could just watch the video. So he started a new part, and we started a sketch on the top plane for the lead. We used a circle tour to draw the lead, which is 2.5 millimeters wide, and we extruded it using a blind extreme 185 millimeters. Next, we started a sketch on the end of the lead on. We used the polygon tool on the circle, too, to draw the wooden casing. Remember that you've got to have some relations to the polygon to ensure that the orientation is fully defined and you'll remember that we use the co radio relation to ensure that this new circle is co radial with a pencil let and again, we use the boss extrude to extrude the pencil casing. Rebbe conflict the direction by pressing this button, and rather than doing a blind extreme we used up to surface, this ensures that the pencil casing is always the same length as the pencil lead. We also unchecked the merge result box, and this gave us two separate solid bodies, one for the wooden part on one for the pencil lead. Then in the design tree, you can see that the Solid Bodies folder appears, which contains all of the solid bodies in your model. And you may remember that multi body parts can be used, for example, if we want a single item on a bill of materials, but it's made out of multiple, smaller parts. So next we drew the A razor by starting a sketch on the end of either the lead or the wooden casing on drawing a circle, which is seven millimeters diameter. We then, extremely, this 10 millimeters. Remember to uncheck the merge results box again because otherwise everything that your new boss touches will be merged into one single body. Then we'll rename the feature on. We'll add a small fill it to the top, rename the Philip feature and you can see in our solid Bodies folder. We now are three solid bodies, and you can see that the solid bodies are named after the last feature in the body. Next we introduce the Revolved Boss space feature, and we started by just going to a cross section view to get a bit of a clearer view of where we need to draw the profile. Then we started A sketch on the front plate could also be the right plane because it's revolved. It doesn't really matter. Then we add a center line and we start building up the sketch profile of the feature We want to revolve. So you started off with a rectangle we added in our smart dimensions. Then we turn the outer line into a construction line by clicking on it and clicking on the four construction box in the Properties Manager. Next, we started adding the curved sections of the line first day, using a small circle, and you remember, if you hold down shift, you'll add a dimension to the outside of a circle. We used a linear pattern and change the angle to 90 degrees and set the spacing on the number of instances the four. Then we added some extra relations and dimensions to fully define the sketch. Next, we used the trim tool to true away the inside of the circles that we didn't need, and this made our sketch over defined. So I clicked on the over to find warning and impress diagnose on the sketch expert tool and this gave us a load of different solutions and we clicked through until we found one where everything was fully defined, so the sketch was fully black. Then we accepted that solution. The next thing we needed to do was mirror the four semi circles, so we added a center line halfway up the feral. Then we selected before semi circles on the center line by using control. Click clicked on mirror entities and they were mirrored to the top half. Then we close the profile using three more lines because the construction line is ignored by solid works when we revolve the profile. So next we need to mirror the outer entities to the inside of the barrel, so we need to add another centerline down the middle of the feral, ensuring that you have a midpoint relation. We can then make the in a vertical line for construction, and we can select all the parts we need to mirror select the center line and press mirror. And don't forget to mirror the two top and bottom small lines. Press revolved Boss Base and it was select the axis of rotation, which is the center line. Remember, we also need to uncheck the merge results box so everything doesn't merge into one single body. And there we have our Pharaoh. Next, we want to add the small fillets to the outside of the pencil, so select the Philip Tool set one millimeter and choose one of the outside edges. We can then use the Edge selection toolbar to select all of the other similar ages without individually clicking on them. So hover over these buttons and see which preview looks correct and then click on it and press OK and all of you fill it should be added. The next thing we learned about was adding text and Texas added as part of a sketch. So we need to choose a flat surface, start a new sketch and will go normal, too, can then hold on shift and use the arrow keys to rotate the model. So it's easier for us to work with, and we'll draw a construction line, which can then be used to very accurately set the position on the orientation of the text. Then we can add our text itself by clicking on the text tool. We're right in the text we won in the box and was select our centerline. It's upside down or in the wrong orientation. You can click these buttons to flip it horizontally and vertically on. Obviously conceit. It's still too big. So if we uncheck the use document front box and then click on the front button, we can then set any phone, any style on any size. If we need to recon, change the alignment of the text and impress. Okay, and here you can see the reason why we made the fillets before we made the text. Because now we can dimension from the very bottom off the flat edge. Whereas if we added the fillets after the text, this dimension would probably have to change. So now, if we exit the sketch, we can use this text to create a small extruded cut. Now, this stage, we added some appearances. Firstly, we just added a medium gloss yellow plastic to the whole model, and then we started picking out the details things like making the fillets black, making the text black. We made the feral chrome, and we used a rubber material for the a razor and then later changed the color in the display manager tap, as we mentioned before. It doesn't necessarily matter if you don't use exactly the correct material on, you may end up using a completely different material that just looks the same in the render . And there are tons of different types of materials in the library, and you can even make your own materials, so it's very likely that you'll find something suitable in there. Now we're almost completes, and the only thing we need to do is sharpen the pencil and introduce the revolved cut feature. So this feature is very similar to the Revolved Boss base. It's probably easiest if we start with a cross section view there. We need to start a sketch on either the front or the right plane, and we need to add our center line down the middle of the pencil. We can then at the profile that we once it cuts, remember that this shouldn't intersect the center line or itself, and it's probably good to extend a little bit past the edge of the pencil so we can avoid any zero thickness problems. Once we have our sketch fully defined, we can either exit a sketch and then choose the feature. Or we can just choose the feature directly from inside the sketch, and this just saves a few seconds. Gives us the preview automatically fills the axis of revolution because there's only one center line in the drawing. Make sure you've selected all bodies down here and then click. OK, then, if we exit are cross section view you can see our pencil looks almost complete. The only thing we need to do is select this cut face on, add the wooden appearance to it and say to finally finish off. We just make sure that all the features air renames and we learned a little trick with appearances. If you go into the display manager right click and press edit the appearance, you can then select the advance tab on the illumination tab and then go down and just change the value in round sharp corners from zero up to a small value. And you don't have to do this every time. It's really a matter of preference, but it just generally give you better renders and to finish off the model. We just clicked on Final render. So congratulations on finishing your second model on learning about revolves and multi body parts. Next, we're going to be making your first ever assembly on. This is going to include three different parts, and it's going to be a pencil sharpener to go with a pencil.
18. 4.1 Pencil Sharpener Introduction: Hello. Welcome back. Congratulations on finishing your pencil model and also finishing the PCB model. You've now learned two of the four major features that you use in the majority of your models. I have learned the Bostick Street on the revolved extreme. We've also learned that cut versions of each before we go into the Final Two, which are lofts and sweeps, we're going to have a quick look. Assemblies. An assembly is basically a collection of parts. So what we're going to be making next to go along with the pencil is a pencil sharpener. It seems like a very simple assembly. It's only three parts. We're gonna break it down and build each part separately and then put it all together and figure out how assembly's work. I should also mention that assemblies don't just have to contain parts that can also contain service employees. So if you imagine you have something like a car, the entire car would be the top level assembly. And then underneath that you've got subassemblies. Seem I have an engine, self assembly, maybe suspensions of assembly and so on. And then even within those subassemblies that could be further subassemblies to the engine might have something like a car Beretta, some assembly all the way down until you get back down to part level. So let's take a closer look at our pencil sharpener. It's made of three parts, and if we unscrew it, you can see there the blade, the body and the screw. And I actually physically measured these parts before we made the model. So used my digital calipers, depending on what kind of work you're doing. These are very useful, very good investment, not too expensive to get a reasonable quality pair, and you can get very accurate measurements is exactly 16 millimeters on for something so disposable is kind of amazing. They're so accurate as usual, you can download the course files before we start. So this time you have three part files, which are the blade, the body in this group. Then you have an assembly file, which is them all. Join together, and we'll explain a bit more about that as we go through. We also got a PdF drawing, which has a few pages, and it shows the entire assembly, and it also shows the parts. It probably looks a bit daunting, a bit complicated if you look at the body drawing, but it's just for reference really on. We'll go through step by step and we'll build up from scratch.
19. 4.2 Pencil Sharpener Body - Part 1: before we can make the assembly. First, we need to make the parts that go in the assembly. So firstly will make the pencil sharpener body to start any part. Draw a sketch on the right plane on will draw the side profile of the pencil sharpener. Use the line tool to draw the rough profile and be aware that these lines aren't exactly vertical, so make sure you don't pick up the vertical line with the automatic vertical relation by accident. So something like this looks about right now. If we add the smart dimensions, if we dimension the bottom line, we'll see that it's completely the wrong size. It should be 26 millimeters, but it's actually about 68. But if we just change this first dimension to 20 sex, then you'll see the whole sketch automatically resize it. This only happens with the first I mentioned that you add there's a very useful little feature next to allowed in this angle 84 degrees. Then we need to add the length of this right hand line. You see, if we use smart dimension, we actually get to dimensions, so we get the vertical dimension, and then we get the actual length of the line, and you could toggle this by just moving your mouse around a little bit, and it should switch between the two, so make sure you get the actual full length of the line, and that should be 10 millimeters on with a smaller line on the left. It's the exact same thing. We don't want a vertical dimension. We want the actual length of the line, and that should be five millimeters. The final thing that we need to do is ensure that the right and light on the left online both parallel. If we control quick and both of them and add a parallel relation, you can see the sketches now over defined. And that's because we had a perpendicular relationship between the top line and the left line, which was automatically added. So this means that sketch can't solve. So if we select the top line on delete the perpendicular relationship in the property manager on the left, now the sketch confined a valid solution on its correctly, fully defined. So we need to do now is do a boss extrude feature. We can do Mid plane 16 millimeters and press OK and then rename the feature. Imagine that we now want to know the length of this top line. If we double click on the face to access the sketch, we can see that we didn't actually define. The length of this line is driven by a worthy other dimensions. But if we want to find out, we can use the measure to. So go to tools and then measure and you see this box pops up on the curse of changes to the measure icon. You can then use this to measure lengths, angles, anything you need. Really click on two lines. You can get the angle so you see we correctly have our 84 degree angle there. But it can be a bit of a pain to constantly have to go into the tool menu to use the measure tool so we can create a short cut to it. So go back into the Tools menu and go all the way down to near the bottom and click on customize well, then have loads of different options to customize the toolbar. Shortcuts, commands, menus, anything within solid works, really. So click on the keyboard tab and Here we go, all of our keyboard shortcuts. And if you start to type in measure, you'll see measure pops up on. There's no shortcut yet, so we can just double click in the short cut box and press em that if we exit this every time you press end now, we'll get the measure tool. If we go back into customized. Another really useful keyboard choker is the normal to We seem to be using this a lot. So if you start to type in normal to in Syria, it's already got a keyboard shocker, which is controlled eight, which isn't really that easy to press. So we can change this toe end and you'll probably get a warning. Papa, that says that the N Key is already assigned to another command, but this isn't a very common command, so we can overwrite it with N for normal, too. And then, before you close the customization menu, go to the mouse gestures tab at the top. Make sure you've got this box checked, enable mouse gestures and set it to eight mouse gestures. So to actually use mouse gestures, hold down the right mouse burn and then move the mouse slightly in any direction, and you should get this menu pop up. It has eight different options. And basically, if you swipe in the direction of one of the options, you will use that command. So if I swipe to the right, then we're automatically gonna get to write view. Then if I swipe up and right, for example, will go to an isometric view. And once you get used to these commands there really fast way of navigating your model and they're also context specific. So if we go into a sketch, you get a whole new set of commands. So starting on the right and going clockwise, we've got this circle tool philipsel rectangle to trim, to line to convert entities which we haven't used yet. Smart dimension. And then we just have exit sketch in the top, right? So, for example, if I hold the right mouse button swipe right, we get into the circle to If I hold it and swiped left, we're going to the line tool, and this is a really great way of speeding up your workflow bits. The next feature you want to add over to grips on the side of the pencil sharpener, so it starts a sketch on the top face, and now we can just press end to go normal to instead of away from the button. What you want to do is cut out to chunks one from each side of the pencil sharpener, so firstly will add a center line because it's symmetrical. And if we look at the drawing, we need to use a narc tool to grab the Ark. Two. Make sure you have a three point arc and start drawing a narc on this left hand edge. Drag the diameter out to any diameter. And were you smart? I mentioned. So they started. The art is 7.5 from the top and 7.5 from the bottom. Now, if we hold down shift, you remember weaken dimension to the outside of a circle or a narc. So hold down, shift and click on the outside of the Ark and then click on the center line and you'll notice if we keep the cursor to the left of the center line. Then we have the distance from the arc to the center line. If we move the cursor over to the right then we have this symmetrical distance, so we'll set a symmetrical distance and set it to 13 millimeters. Draw a line between the two ends of the Ark to close the profile next week in press control . A. To select everything in the sketch. And if we click on mirror entities, everything's automatically mirrored because there's only one center line in the drawing. Then we can stay in the sketch, go to the features top and press extruded cuts on you see will cut through using both of operate files, then just rename the feature as grips. The next thing we need to do is do a revolved cut for the tapered hold that the pencil goes into and if you look at the drawing is actually offset from the center of the pencil sharpener. So we need to add another plane. Up until now, Always used is the front play in the top plane in the right place. But it's pretty simple to add an extra plane, so make sure you're on the features tab of the command manager on Go to reference geometry and press plane, and you see, we can select different references on the left inside depending on how complex your plane is. You don't have to select all of these references to fully to find your plane. So we just open our second feature tree and will select the right plane. And then on the left we can set a distance off two millimeters. So you see, we now have a new plane, which is parallel to the right plane. But offset by two millimeters on this plane should be on the left hand side of the right plane. If we look at the pencil sharpener from the large face, if it's on the wrong side, just click this button, flip offset, and then you'll be able to flip the direction of the plane. And now we can see the plane in the graphics area we can see in the feature. True, we have the plane feature, and you can edit it here just like any other feature. Now we want to start a sketch on plane to to draw the actual revolt feature itself. So select plane to and then press section view and you'll see we automatically bean sectioned at plane, too. Press okay and then move your model so your normal to the section view, then make sure you got playing to selected and press sketch. You can either select it demographics area or in the future tree itself. The first thing we need to do is draw a center line. So if you look at the drawing, the center line needs to stop from the midpoint of the left line and get to the midpoint of the right line. With the right hand line, you might have to zoom in a little bit to ensure that you don't get this perpendicular relationship with the line. The midpoint is actually slightly below it, and now we can start to draw our sketch profile. So if we look at the drawing, we want to use the line tool and draw a profile. Something like this. The length of this left online should be 1.7, and again make sure you get the actual length of the line and not the vertical dimension on on the right. It should be four millimeters. We can then select our center line while still in the drawing. Go to the features tab and press revolve cut. You see, we get the preview. If we zoom in slightly. You might remember that our sensor line is no exactly perpendicular to the right hand edge . So when we try and create the revolver, we get an arrow with zero thickness. So the way to solve this is we need to actually extend the cuts slightly beyond the edge off the existing body. So we compress controls that to undo back to the point where we only have the center line. Now to extend the cut beyond the edge of the existing body, we're gonna use, um, offset lines. So go to a sketch tap on the command manager and select the officer entities to you can see the parameters on the left hand side. Firstly, would just click an edge. So click the left hand edge and you could see this yellow preview is the left hand edge offset by 10 millimeters would change the distance. The one millimeter press, OK. And you see, there we have the officer edge. We'll do the same on the right. So select officer entities still got one millimeter set and click on the edge and then press OK, and if you need to, you can change the direction of the offset by checking this reverse box. Now we can use the line tool to drawing the two extra lines of our profile. And for the lower line, it should be between the to mid points off, the to offset lines. So it's exactly kill Lydia with our original center line. Then we can just use the trim tool to cut away the excess. And you see, we're no longer fully defined. It's every exit, the trim to just drag up the line. What we need to do is select the centerline underneath, hold down control and select the lower line, and then just make sure they've got cold, linear relationship. Next, we need to dimension the top line. But because we've offset the left and right lines, this will be different to the drawing. So we need to add in some specific points to dimension to so select the point tool from the sketch entities in the command manager. Then we'll add two points. The points need to be added where the top line cuts the edge of the existing body. We hover over the corrects area. You can see we get this extra white symbol. Women, the correct area and if we click there, you can see we now have two coincident relations on the left, so it's one for the left hand edge, and it's one for the horizontal line, and we can do the same on the right hand side. And as a check, you can press escape to exit the point tool, and you just see if you can drag around the point and you should only be able to drag it up and down the edge. And if not, it means that is not fully defined. So you need to select the point, hold down control and then select one of the other lines and then and a coincident relationship. The Americans I mentioned from those points down to the center line, so the left on one is 1.7 on the right hand. One is four millimeters. Select the center line in the drawing, then go to the features. Tap on press revolve cuts, and you should again get the yellow preview. Then, when you press OK, we should get the tapered cut correctly, And if you exit the section view, you can see it's really starting to look like a pencil sharpener shape now, and you can just rename the feature in the feature tree to recap what we've learned in this video. We'll just drag back through the model, and you remember that we started with just a mid plane extrude off the pencil sharpener shape. We then talked a bit about customizing your solid works on adding keyboard shortcuts and using mouse gestures. So to use the mouse gestures, hold down the right mouse button on drag in whichever direction next week of the grip sections out to the edges of the pencil sharpener. And we saw that if you have a center line in your model, you can drag you to mention past it to get a symmetrical dimension. Then we added a new plate by going to the features tab reference geometry and add new plane . And you can also do this by holding down control on dragging an existing plane. Next, we used a revolved cut to cut the hole that the pencil goes into, and we were introduced to officer entities. In the next video, we'll finish off the pencil sharpener body, and then after that we'll go onto the blade and scree parts
20. 4.3 Pencil Sharpener Body - Part 2: Welcome to the second part of the pencil sharpener body video. This is where we left the body at the end of the previous video. Next, we need to add a cavity on the top of the body where the blade sets to start. A sketch on the top face will go normal, too, and was stopped drawing our cup rifle. It's basically a rectangle with a rounded edge, so make sure you starting this very bottom edge and draw something like this. And here's a little tip if you're drawing straight lines. If you finish a line segment and move the cursor away from the point, then go back to the point. Don't click on, then move away again and you should automatically have a narc section. So just close the profile and I'll show you that again. So you drawing lines, finished the line segment, then move away. Go back to the point. Don't click on drag away again, and you've now got a narc section. So to select all that and delete it, and we'll add some relations to the existing profile. So the left hand edge is 2.3 from the edge of the pencil sharpener that Kurt is seven millimeters wide, and it's one point for from the top edge, remember to hold down shift to dimension to the outside of the ark. And if you're curve or you are goes a bit, don t like this. Just make sure you've got a tangent relation between the Ark and the straight lines, so control. Click. Select the Ark and the straight lines and add a tangent relation. We don't want to cut down the profile 1.2 millimeters, and if we move around, you can see the pencil sharpness looking pretty good. So just rename that feature on well at the screw hole. As before, we can use the whole wizard to cut the hole. This time we want attacked hole, which is a whole with the thread cut into it so that you can screw screw into it. So what, You straight tap, which is this one, then would choose M 2.5 from the size, and that's the size of the screw that will screw into it. Then down here, we need to set the end condition So rather than through all we need to set a blind hole depth and we'll set it for millimeters deep and we'll set a four millimeter threat. Then we just need to set the position to go to the position. Tap click on the rough position of the whole, and then we can use smart dimension two. At the correct position, you can use your mouse gestures if you hold on the right mouse button and swipe up, you get smart dimension and it's 12 millimeters from the bottom edge and 2.8 from the left and edge. Then press OK, and there we have our whole we're now almost complete or we need to do is add some finishing touches and cut the grip on the side of the pencil. So select the top face. Start a new sketch. We need to cut six small circular sections out of each side off the grip, so first we can draw six holes any size. Make sure that the center points of all of them are coincident on the circular edge of the grip. There we can select them all and add an equal relation. Then we can add smart dimensions to fully define the sketch. So the circles are one millimeter in diameter. And for the spacing. They're all 1.65 millimeters apart, starting from the top of the curve and then continuing around the curve. Next, we'd like to mirror everything so out of center line press control A to select everything in the sketch on Empress Mirror entities. And then we just want to cut these profiles through the entire model. Suppress, extremely cut. We can either do blanket and extend the distance. Or we can just press through all which will cut through everything in your model press, okay, and then rename that feature we're now almost complete or we need to do is add some fillets , so get the fill it, too, and add one millimeter Phillips to the four outside edges. Press OK, and then we just need to finally, at a 0.5 millimeter, fill it to all of these sharp edges because they're probably a little bit sharp on your hands. So I select one of the edges and then we'll go over the edge. Selection toolbar on will choose which selection looks correct. You see, this 2nd 1 looks almost correct, but it's got to extra faces at the bottom of the Blaker. So the 3rd 1 is probably the best one to choose. Press okay. And the preview looks about right, So press okay on that Looks correct. And now we look like we're pretty much finished. The very last thing that we're going to do is a sign of material to our model. Now, this is different to appearances. It's actually a physical material within solid books, and it's got all the engineering specifications to go to the design tree and right click on material and press edit material. And you can see we get this massive list of different materials. Our pencil sharpener body is probably made from aluminium, so we'll expand aluminium alloys on we'll just out of 10. 60 alloy. And you can see we've got all this engineering information. This could be used for simulations if we get advanced. And it can also give us the exact weight of the part So press supply and impress close. And we could see in the design tree that our materials now changed a 10 60 alloy. And if you right click here, there's also some common selections to save you a bit of time. So we'll stay with a 10 60 our lawyer. What this means now is that we can click on the evaluate tab on. We can click on the mass properties butter, and this will bring up all the exacts properties of our model so we can see what the exact weights or mass would bay 5.4 grams. That probably sounds about right because it's a very small piece of metal. So to recap, first we added the blade cut, and we saw that if you're drawing a straight line, you can move your cursor back to the line point and then move away again. And that will give you a narc without having to go into the Ark tool. We then use the whole wizard and added, attacked hold. We selected the size on the end condition, and then we set the position as usual. And then finally we cut the finger grips to reuse six circles or with unequal relation. Then we merit the sketch and then we did occur extrude using the through all feature. Then we finished off by adding some Philips, and we used the edge selection toolbar to speed up, adding all of the Phillips, the last thing that we did was a sign of material to the model, and this allows us to look at the exact mass properties under the evaluate tap in. The next short video will be modeling the blade, and then after that, we'll start looking at putting the assembly together.
21. 4.4 Pencil Sharpener Blade: in this short video, we're going to make the pencil sharpener blade, start a new parts and draw a sketch on the top plane of the pencil sharpener Blade profile . We use the line to start from the origin, draw a horizontal line and then a vertical line. Then we can use the auto transition again so quick to end the line, point the drag away, drag the cursor back to the line point and then move away again. And you should have Iraq, and then we'll draw a vertical line down or line down to close the profile. Then we can add relations and dimensions, so the blade is seven millimeters wide and it's 23.5 high. Remember to hold shift to dimension to the outside of the ark, and you may need to add a tangent relation between the Ark and straight line by holding down control, clicking on both lines and adding the relation. Next, we need to add a further vertical line because the blade isn't actually this full seven millimeters with so use that line till draw vertical line within that profile, and the distance from the left hand edge is 6.7 millimeters. Now we want to extreme just this left hand section of the profile so we could use the trim tool and cut away all the excess lines that we don't need. You see, if we do that, we start to lose all of our dimensions and relations on our sketches now under defined. So what we can do instead is just extrude a specific section off the profile. So if we go to extruded boss base and just try to extremely sketch as it is, we'll get an error, which says the sketch has both open and closed contours and solid works doesn't know which section you want to extreme, so it just throws up this era. You can actually choose the section. So in the graphics area you can either quick on a close section, and it will turn red if it's a fully enclosed area and you can select it. If you have any problems selecting, make sure you click in this box on the left hand side, selected contours and then choose the areas you want to extreme and you see, we only get a preview for the section that we've selected. You can also select more than one contour so we could actually extrude the whole profile. And if you want to remove a section of the profile, just click on it again, or you could remove it by deleting it on the left hand side here. So let's extra just the left hand side of the profile. By 0.8 millimeters. We can rename, not feature Justus Blade, and then the next thing we need to do is at the cutting edge so we could draw a triangular profile and then cut it out along the edge of the blade. But it's actually much easier just to use a sham for feature. If you look at the drawing, we're going to be using distance distance. Click on the sham fertile, and then click on the distance distance button up here, then make sure you've selected asymmetric rather than symmetric. From this drop down, this will allow you to put in to values for the distances the first distance is nor 0.8 millimeters, which is just the thickness of the blade, and then the second distance is 1.2 millimeters. If we click on the right and edge, you can see from the preview that that looks correct. Press OK, and then we have a blade cutting edge. The final thing that we need to do is add in the hole for the screw. So press whole wizard on the whole sides that we want is 2.8 millimeters, which isn't really a standard size. But if we scroll down, you can click this box show custom sizing, and then we can put in any size we want. So put in 2.8 millimeters, click on the positions tab and then just click to position the whole that we can add some smart dimensions so you can use your mouse gestures. Shortcut if you like, hold down right Mass Britain and swipe upwards to get smart. Dimension on the whole is 11.4 from the bottom, and it's 2.7 from the left hand edge. Then press OK on our blade should be complete a very simple little part. Now we can also specify the material so right click on material in the design tree, and we'll just put it as a plain carbon steel Syria color changes slightly. Then, in the evaluate tap, we can click on mass properties, and we can see that the mass is less than one gram, and that's probably about right, because it's only a tiny bit of metal. So it's a very quickly recap We started with a simple profile, but we extruded anyone specific region of it. We then added the Shumpert at the Blade Edge, and we used the whole wizard toe. Add a custom size hole, and then we just added all material. Next, we'll be putting the parts together in our first ever assembly.
22. 4.5 Making the Sharpener Assembly: Now that we've completed both the blade on the pencil sharpener body, we can make our first assembly. Make sure you've got both parts open in solid works. You can switch between different parts by going to the window menu on clicking on the model that you want and you get a small preview as your hover and reach one. You can also switch between open documents by holding control down, impressing tab, and this will cycle through all of your open documents. So to start a new assembly, we can either click on the new documents button up here or we can get a file new and then click on assembly. And this is what you should get. It's just an empty assembly. But because we've got the two part models already open in solid works, they should show up here on the left. If you don't have the part documents open, you can click on browse and then you can navigate to wherever they are on your hard drive and you can open in that way. The first thing that we need to do is place the first part. So if you click on body on the left and then you get into the graphics area and you'll see that wherever you put your cursor, the body model will go, And if we click that will place the body model down at that point in the assembly. But don't click just yet and go over to the left hand side and go up to the green tick in the left hand corner and you can see we get a preview off the body model being right in the center of the model. And this is because the origin of the model will automatically be linked to the origin of the assembly. So click on that green tick in the left hand corner and the body will be placed, snapped the origin, and we can see on the left that the body part has appeared next to. But you can see there's a small F on. This indicates that the part is fixed, and if you try and grab the part and move it around, you can see you get a message. The selective component is fixed. It cannot be moved. So next we need to add our second component. So go up to the command manager and you'll see there's a new tab, the assembly tab. Then click on the insert components button and we want to choose the blade components. So click on that and you can see again. Anywhere in the graphics area would put the cursor is where the blade will be this time. We don't want to snap it to the origin because it will end up in the wrong position. So just click anywhere else in the graphics area, and then the second part is placed and you can see appears on the left inside. That has got a small minus symbol next to it, and this indicates that is not fixed in space. Next, we need to somehow link the parts together, and the way that we do this is using mates. So click on May in the assembly tab and you get all these options on the left. Makes a kind of similar to relations, but they use for assemblies. And if we think about how our model will be joined in real life, these two holes will probably be aligned because the screw go ST them. So the first mate we want to add is the concentric mate, so click on concentric mates on the left and then select the hole in the pencil sharpener body, and you can see that this selection appears in the Mate selection box on the left. Next, we need to select a circular face of the hole in the blade, and when you do this, you'll see that the holes of the two parts are lying in the small fly out menu. We can click the flip mates alignment button on. This will flip your alignment round by 180 degrees. So if your blade looks like it's the wrong way round, try pressing that button. And when you're happy, click OK. Now, if we try to drag the blade, you can see that it's not fully fixed. But we can only drag it along the axis of the holes because both the holes are concentric next weekend at a coincident mate, so that the blade always sits flat within the blade cavity on the body. So select this top part of the cavity in the body, and you don't need to select a mate. Type here and spend your model round and select the underside of the blade, and you should automatically add a coincident mate and then just click. OK, so now the blade is almost completely defined. But you can see that if we grab it and try and move it around, it can still spin around. So it's not quite right yet. You'll also notice that we still have the small minus sign next to the blade, which indicates that it's not fully fixed yet. We need to make the edge of the blade on the edge of the body parallel. So quick way that you can add mates is to select the edge of the face that you'd like to mate and then hold down control and select the other Edgell face on another part. Then Emmanuel pop up with different mates options on it. You can also get back to their mates tool by using this option appear. But for now, we just want to add a parallel mate. So click on this on the blade part should move to the correct place if we click. OK, we can now see that the minus has disappeared from next to the Blake part, and if we tried to drag the blade, you can see that that is now also fixed. So all the parts in our assembly and now fixed. If we spend the assembly around, you can see that it looks about right. The blade overlaps the gap slightly on everything looks to be in the correct position. If you go over to the left and go underneath your parts, you can see we now have this mates option. And if you expand it, this has all the mates within your model, you can hover over them and you can see a preview of what they are. And we can also edit them here if you want to change any aspect of your mates later on. So before we had the screw, we're going to talk a little bit about the assembly itself. Over here on the left, you've got all the different parts of the assembly on, similar to the features in a feature tree. You can suppress them by this clicking and pressing suppress, and you can also un suppress in the same way. Another thing you can do is hide them by clicking, impressing height. You can see that the parties disappeared from the model, but it's still actually being calculated by solid works, so It's still essentially part of the assembly, but it's just not visible, and you can re show them by this clicking on them again and pressing show. You can also hide parts by just hovering over them and pressing the tab key. And this could be a very quick way to hide certain parts of your model. If you're just trying to look a specific area, for example, another thing that we can do is click on the transparent button, and this will make your part semi transparent. And this is very useful. If you want to see behind apart, for example, or you want to see how different parts interact, maybe you want to see if there's any interference between the two of them. And to get back to normal, just click on the part again and then click transparent again, and it should go fully solid. Then finally, if we want to go back to Part two editor, we can click on it and we compress open part and then we'll be taken back to the part documents. So now if we use our control tab shocker, you can see we now have three documents. The two part files on the new assembly file. If we go back to the assembly, you can also edit parts within the assembly. So you click on the part and press edit part. You might have to save your assembly first, and then we can see the other parts are grayed out. So we're just editing the part, which is solid, and you can access all of the features from the design tree and you can edit them within the assembly, which could be very useful if you want to see how different parts interact with each other and you can see that you're editing apart because you also have this icon in the top right corner. And to exit the editing of this part, just click on this button you will have noticed when we saved the part that there are loads of different options and the standard sword works. One is dot SLT, a essa and similar to the part files. There's loads of different file types. So S L. D. A. S M is the standard. One step is also very useful because it saves in a single part that expands to multiple parts when you open it and then you can also save us things like a three D Pdf on Here's Justin example of a solid works assembly file within a Windows folder. A really important thing to remember with solid works Assembly files is that an assembly file essentially just takes the part files and tells them how to interact together. So to correctly open and assembly, you'll need the assembly file and also all of the part files. So let's say, for example, I deleted apart files and just sent someone the assembly file. This is what would happen. You can open the assembly file, but you get an error saying that the actual part files themselves and missing, and all you can do. You can try and browse for them. If you don't have them, then you won't be able to open them. So you can do is suppress their components and you'll be able to see on the left or component should be in the model, but you won't be able to open them, so make sure you always send the part files along with the assembly file. Now, for example, if we go back to our folder and I undo the delete so we now have the part fails. Now, if we try to open the assembly, it should open correctly and you can see that we have to correct parts. An easy way to get around this problem is to use the pack and go feature. So go to file, pack and go on. This menu will pop up. And what this does is it collects all of the files from your assembly, and it packages them together in a single file. So if you press safe to zip, you can then export. This is a single zip file. You can send that to somebody and they could unpack it and they should have the full assembly. Before we recap, we're going to look at slightly quicker way to make your assembly. So get back to the pencil sharpener body file on Dr Have been clicking on new assembly. Just go to the Fail menu and click on make assembly from parts. Well, then get a new assembly, open up and we can just click OK in the top left corner on our part will be automatically snapped to the origin, and it's going to save you a few steps on a little bit of time to recap and assembly is a collection of parts or recollection of subassemblies. To make one, we can either get to file new. We can get to the new documents button, or, if you're already in a part, you can get to file. Make assembly from parts. If you've already got open files in solid works, you can choose which part you want from the left or you compress. Browse on, find the correct part on your hard drive. Then, if you click on the tick in the top left, the part will be placed automatically snapped to the origin, and you can tell that it's fixed to the origin because it will have an F next to it. Then we can go to insert parts and add further parts, and you can see there's a small minus in brackets next to the part, which indicates is not fixed. Mates are then used to fix the parts together so quick on the mates button, and then you can choose the type of mates and select the edges or surfaces that you want to mate. You can edit makes by expanding the makes folder at the bottom of all the parts. And then you can edit the individual mates. You can flip them around, suppress them at new ones or remove them as required. And now we've completed our very basic first assembly. In the next lecture we're looking, adding the screw using the solid works toolbox.
23. 4.6 Adding the Screw: Now our pencil sharpener assembly is almost finished. The only thing we need to do is add a screw to stop the blade falling out the size of this screw is end 2.5 by five millimeters, so it's 2.5 millimeters diameter five millimeters long. We're going to use the solid works toolbox to address. This is a library of all sorts of different parts in solid works that you can add to your models to help you save time. So go over to the right and click on the design library tab, and you should get this menu pop out and at the top you should have toolbox. If you expand the toolbox and scroll down, there should be loaded different flags with all different countries. Standards it. Now. If you don't have that there, there may be a few things that are wrong. So if you don't have it, go to the Tools menu and scroll all the way down to add ins and quick. That's then here in the list you're looking for. It solid works toolbox, and if you have it and it's not checked, just put a check in the box and press. OK, then you may have to wait a minute or two and you compress the design library button again . And now you should have the toolbox in that menu. If you still don't have it, or if you don't see it in that list of add ons, it's possible that you don't have it installed with your package of solid works. It only comes with certain packages, so if you don't have it installed, its not a massive problem because we actually have a part of the screw file, which is exactly the same size, and we can just add it manually. But if you don't have it installed than most of this, video probably isn't that relevant to you, so you can skip forward to the second to last section, and then we'll add in the screw manually. This section of the video assumes that you do have the toolbox installed, so go to the design library tab on expand the toolbox. And here we have loads of different types of parts, different standards from all around the world, so antsy Inch is mainly used in America and symmetric used all over the world, and then we have Australian, British, Canadian and so on. If you expand one of these sets, so will expand and see metric. You can see underneath there's loads of different types of parts. You've got things like bearings, nuts, rings. And then, if you expand them further, there are even more specific types of parts. So, for example, we can get into ball bearings and is different types of bearings and go all the way down to the bottom. And we can actually drag these parts into the model and use them just like normal solid works parts. So for now, we want to add a screw. So expand bolts and screws, and we want to add machines crew and the war we want to add is a pan slotted head. So just hold down the left mouse button and drag it into the model. You see, it appears in the model, and when you release, it will appear and we can set the size with this drop down menu. This will set the outer diameter of the screw. So, for example, M five and eight, we want to go back to end 2.5. Then over here on the left, you can set the length, and you can also set a threat land. So we'll set the leant on the thread length both to five and press OK, you can see as we press. Okay, the 1st 1 is placed, and then we have this ghost inversion, which follows the cursor. This is so you can add multiple screws at once. So everywhere you click your places, screw and when you press exit, you'll start placing them, and you can see that these five screws have appeared under the rest of the assembly parts. Select for the screws that we don't need to. You can drag a boxer on them or select them on the left hand side and press delete to remove them from the model. If we realize that we've added the wrong size of screw, we can actually right click on it and press edit to what's components. And then you can change all the parameters again. So next we need to make this screw into the hole, select a circular face of the whole and then hold down control and select a circular face of the screw and from the menu that pops up, we're going to open the mates tool, and we can see that the concentric mates is automatically selected for us. That's because we've selected to circular faces the screws actually upside down there so we can quick flip mate alignments, and that should spin it. Round is underneath the model, but that doesn't matter for now. So this press OK to add that mate. Then you'll know, since we still have the mates toolbar open. So we want to add a coincident mate. So click on the top of the blade and then spin your model round and click on the underside of the screw head. And you should automatically get a coincident, May added. Then the screws should be in the correct place. If he closed the mate tool and dragged the screw around, we can see that we can still rotator, but its cruise pretty much fixed, and I'd say our model is about complete. There's actually slightly quicker way to apply screws from the toolbox as well, to delete the one that we just started on. Open the toolbox again, then grab the screw that we want and keep holding down the left mouse button and drag it into roughly the correct position. Drag it above the hole and you'll see that as you do, you should get this pagan whole, like on appears, and you'll notice that the screws snapping around slightly if you hover over the top of the blade. But around the region of the whole, it should snap into position, and then you can release the button and press. OK, We're still placing additional screws, so click on one of the Red X is to stop that. And now, if we dragged the screw around, you can see that it already has concentric and coincident mates. The toolbox really does have a huge range of parts in it. There's things like bolts, nuts, rings, even things like gifts. And these will all save you a lot of time when modelling also as well as national and international standards. There are also parts from specific manufacturers, so this is a really great addition if you have it in your solid works. So that's all fine if you have the toolbox installed. If you don't, we can have the part manually. So go to the course fails on the part you're looking for is M 2.5 by five millimeter screw solid works part. Download this and open it. Can they go back to the assembly and we can click on insert components, then your screw should appear in the open documents, so just bring into the model. You see that we can't use the automatic meeting feature because it isn't set up because it's not a toolbox part. So just drop it anywhere in the graphics area, and we'll Adam mates manually. So click a circular raj hold down control, click circular edge of another part, and then we'll just add the concentric mate directly from these shortcut menu, and you see that your screen might flip to the wrong direction. And if that happens, we can expand the makes folder. Find the correct mate. You'll probably the last one of the bottom of the list. We can right click on it and edit the mates. Or you can just click directly here. Flip mate alignment on Another way you can reduce this happening is if you preposition the parts close to the orientation that you want and then click on the mates. It's less likely that they'll flip, and you can do this by rotating the parts by holding the right mouse button and then just dragging the part around in the graphics area, and that should rotate it. Then all we need to do is out are coincident mate. So click on the top of the blade, hold on control and then click on the bottom of the screw head, and it should automatically be added. And if we wanted to make a model completely defined, we could select one of thes straight edges on the screw head, hold on control and then select a straight edge on the pencil sharpener and we get at an angle mate or parallel mates or a perpendicular mate, and that will stop the screw rotating, and you see that the model is fully defined to very quickly recap. You can add all sorts of different parts using the tool box. Or you can just add them manually using dumb parts, and you can make them as normal. In the next video, we're going to look at some more advanced assembly features, including things like exploded drawings, interference detection and mass properties.
24. 4.7 Assembly Features: our pencil sharpener. Assembly is now finished. So we're going to look at some handy things that you can do within assemblies. The first thing we're gonna look at his mass properties so we can actually get the weight of the entire assembly. You remember that when we made the body and the blade parts, we assigned them a material. But this crew actually doesn't have a material assigned yet. So what would do is click on it and click open part. You make any era saying you're about to just a read only part. But that's okay. Just click, OK, because we're not going to say that. And when the screw opens, right, click on the materials and we'll just set the material as something like a playing carbon steel. I can then use control tap to get back to the assembly. Now we have materials set for all of the parts within the assembly so we can go to the value a tab and click on mass properties, and you can see all mass is about six grams. And that's about correct, because you remember that the body was about five grams. That blade was a little bit less than one on the screw is probably less than one as well, so they can give you the weight of your whole assembly. The next picture we're going to look at is exploded views, and you can use these to see how all the parts in your assembly fit together. Or you could just use them to explode your model so other people can view it more clearly. Click on the assembly top and then exploded view and, as usual, get the property manager on the left. And first we need to choose a part to explode. Say, for example, will click on the screen and you can see on the left is selected here, and then we get these adjustment arrows, and if you select any of these, you can then drag that part in that direction. You can also adjust the distance of the explode in the property manager on the left if you want to be a bit more accurate, so we'll grab this group and drag it upwards along the Y axis. Then, when that steps complete, we could do the same with the blade. So select the blade on, just drag it upwards. Press okay, and that's all there is to it. The exploded view can then be accessed in the configurations manager tap, so we can then double click on the exploded view to collapse it and double click again to explode again. You can also right click on Let's get some more options so you can animate the collapse and you get these animation controls appear, and this will allow you to see how all the parts of your model fit together. You can also expand the view, and then you can see the individual steps and we can right click an edit feature, and then you can go back in and edit any of the individual steps. If you click on them, you can then change the explode distance by dragging on the appropriate arrow. These exploded views will now be safety in your model and can also use them later in drawings if you need to. So we go back to the design tree and that's exploded views. Next, we're going to look at interference detection, and this allows you to see if there's any clashes between the parts of your assembly. The first thing that we're going to do is expand the mates and we're going to suppress the parallel mate. This will allow you to move the blade around. Obviously, it couldn't do this in real life because you'd have a clash between the body and the blade . But we can set in any position in the model. It's quite obvious that there'll be an interference between the blade and the body. If you've got a very large model with lots of components, it might not be obvious where the interferences are, so we can click on the evaluate tab on press interference detection. You see, we have selected the entire assembly, so press calculates you should hear a tone play on. Then you're interferences will be calculated. So we've got three and they're shown in red. The 1st 2 will be pretty obvious there between the blade and the body, and if you expand each individual interference instance, then you'll be able to see the parts which are interfering. The third interference is a little bit less obvious is between the screw thread on the whole that it goes into, And that's because we actually set attack toll. So this is the hole that you drill before you cut the thread into it, so the whole is actually a little bit smaller than the screw at this stage, so it's showing an interference. If we scroll down in the property manager, there's loads of different options on some of the most useful are treats subassemblies as components. And this is your salt. For example. Maybe you've got something like a circuit board sub assembly, and it's got loads of small components on a board. But they all interfere with the board because there's no holes in the board. For example, you don't want hundreds of these interferences showing up so you can treat and tire subassemblies just one single part. Another useful one is ignore hidden bodies or components, and this basically does exactly what it says on the tin. It just ignores any component which is being hidden. Click OK to close the interference detection, and you can also just select specific parts within assembly. So if you hold down control, click and select just the blade in the body and then press interference detection. You see, we've only got selected components at the top, and now if we calculate we only have two interferences because we haven't selected the screw so un suppress. The parallel mate on the blade should now move back into the correct position. And now, if we do interference detection on the whole assembly, you see the only interferences between the screw. On the whole, the final thing that we can do is bring in the pencil model that we made in the second section of the tutorials. Go to insert components and click, browse and and find where you save the pencil model on your hard drive and click OK and other pencils brought into the model. And then we can just add a concentric mate between a circular part of the pencil on the circular hole in the pencil sharpener. And maybe we can seem out. Drug the pencil in slightly and you'll see that the pencil sharpener and the pencil look exactly in proportion to each other. And that's because when we model both, we use real world dimensions. So the final thing you could maybe do is just do a quick Brenda and you can see they both look pretty realistic to very quickly. Recap relooked at exploded views, which are in the assembly tab. You can drag the parts out to the correct spacing, and then you'll be able to find your exploded view under the configurations Manager tap, and you can double click the exploded view to collapse it on double. Click it again to expend. We also looked at mass properties, which are under the evaluate tap. And you can see we've now increased to 14 grams because we've added the pencil into the model. And finally relooked at interference detection, which can also be found on the evaluate tap, and you can calculate interferences within your entire assembly or just between specific parts of it. Congratulations on making your first assembly in the next video as usual, which is gonna rebuild everything that we've learned as part of the pencil sharpener assembly in quick time so we could recap everything. Then, after that, will be modeling a pair of headphones and learning about the sweet feature
25. 4.8 Pencil Sharpener Recap: In this set of videos, we learned about assemblies on. We built the Pencil Sharpener assembly to recap everything we've learned. We're now going to rebuild the parts and the assembly from scratch. And as before, you don't actually have to follow this through yourself. You can just watch it because there are times when things will be speeded up. So an assembly is a collection of parts or a collection of subassemblies and parts. So the first thing we needed to do was start making our parts, and we started with a pencil sharpener, body parts. We started a new part, and then we drew a sketch on the right In plain of the pencil sharpener profile. We found that if you draw some elements of your sketch first and then dimension, your entire sketch will be resized with the first dimension. Then we added in some line lengths and relations, making sure that the two upright lines were parallel on, making sure that the dimensions with the length of the line and not the vertical length. Then we'll use the mid plane boss extrude with a width of 16 millimeters on we renamed the feature. We also talked about what you can do to customize your solid works interface by adding keyboard shortcuts and using mouse gestures. So you remember we added keyboard shortcuts for the measure to with the M key on the normal to view with the N Key, and we enabled mouse gestures, and this just speeds up your workflow a little bit. We then cut the finger grips into the top of the pencil sharpener body, so we started a sketch on the top face. We added a center line because it's a symmetrical sketch, and then we used the three point arc along the left hand edge. We added some time mentions, remembering that if you hold down shift, you can dimension to the outside of a curve on. We learned that if you dimension to a center line, you can stay on one side of the center line to get your distant to the center line. Or you can move over to the other side and then you get a double distance, a symmetrical distance. We then added one extra line to close the profile on. We selected everything in the sketch and pressed mirror, and that automatically mirrors because there's only one center line in the sketch. We then did a cook street through the entire body, and we renamed the featured grips. Next we added a new plane, and you can do this in the command manager if you select reference geometry, or you can select an existing plane, hold on control and just drag it. So we selected the right plane, held on control and dragged out in new plane, and we set it to millimeters away from the right plane. Then we make sure that we have the plane selected and press cross section view on this sections, the model at the points of the plane. Then we started. You sketch on that plane, and we drove centerline for our revolved cuts. This centre line was between the mid points of the two upright lines. And make sure you get the midpoint of the right hand line, not the perpendicular snap, which is slightly above it. Next, we needed to draw the profile for the revolt cut, but when we do exactly on the edge, we found that we got a narrow with zero thickness. That's because the sense line wasn't exactly perpendicular with the edge of the model. So we had to extend the revolved slightly beyond the edge of the model, and we did that using officer entities. So to offset, select the offset tool, set the distance, which was one millimeter, and then click the X. You want to upset? So first will do the left hand edge, and then we'll do the right hand edge as well. Then we added in the two extra lines for the revolved profile, which was something like this. We need to make sure that the lower line is exactly Caroline era with the existing center line. So at a relation there, then we can use the trim tool to cut away the excess lines. Then we had to add in two extra points to dimension to. So select the 0.2 and then add in two point somewhere along the top line, and you can see that these aren't exactly coincident with the edges of the existing body yet, so grab one of them and just drag it over. The existing edge of the model on the ed should be highlighted, and then you'll get an automatic coincident relation added and can see on the left. We now have two coincident relations for the points. Then we added in the correct distances, using smart dimension, 1.7 on the left and four millimeters on the rights now revolved. Profile is complete, so select the center line. Go to the features tab on the command manager and press revolved cuts and then press OK, and we have a revolved cut and we can rename that as pencil hole. Next, we drew the blade cuts or blade cavity on top, so start to sketch on the top face. I'm using the line tool. We drew something like this, and we learned about auto transitioning. This is if you drawing a line, you finished the line segment, move the cursor away and then back to the point. And then when you move away again, it will automatically be a narc. So we closed the profile added in some dimensions and relations. Don't forget to add the tangent relation between the Ark and straight lines. And then we did an extruded cuts of 1.2 millimeters and renamed the feature. Next we added to screw hold using the whole wizard. So we selected straight tap The sides was M 2.5 and then condition was five millimeters deep. With five minute meets is a threat. Click on the position tap and then place the point wherever you want the whole and then we can use smart dimensions to specify the exact position. And finally we did the great cut. So start another sketch on the top play on. We drew six circles with their centers on these curves on the left inside. Then we selected all of them added unequal relation, so they're all the same size. And then we added in the size, which was one millimeter on the spacing which was 1.65 millimeters between them, starting from the top we could then on the central, I select everything and mirror everything. And then we can do a cut extreme through all and rename the feature to finish off the geometry. We added a one millimetre, fill it to the four outside corners, and then we added 1/2 millimeter, fill it to the rest of the vertical sharp corners. I'm used the edge selection toolbar to speed up the selection of all of these villages and to finish off the model we just set the material to a 10 60 aluminium alloy by right clicking on the material in the design tree, and then it's choosing it from the list, and then we can save the parts. Next we drew the blade part, so we started a new part, and it's a very simple sketch. We used the line tool starting from the origin. We draw a horizontal line and a vertical line, and we use the order transition feature to change to the ark again. They're made your final vertical line self and added our dimensions So seven millimeters wide and 23.5 millimeters high. And make sure you've got your tangent relations between the Ark and straight lines. Next we added another vertical life, which was 6.7 millimeters from the left hand edge. And then we tried to extreme that on. Remember, we got an error because they're open and closed contours within the profile. So we have to select a specific contour. So select the left and one on extrude nor 10.8 millimeters, and you can rename that feature as Blade. Next, we had to add the sham for for the cutting edge, and we used a distance distant champ for no 0.8 millimeters by 1.2 millimeters. Then we had to add in the hole for the screw. So we used the whole wizard select the standard whole. But we chose a custom size and we set 2.8 millimeters, went to the positions tab and positioned it. And then you can use a mouse gestures so right mouse button and swipe upwards for smart dimension. And we just I mentioned it in the correct place. Then finally reset the material to a plain carbon steel. And if you need to, you can go to mass properties on you can find out the weight of your part. So then we save that part and moved on to the assembly. Now that we've got both parts, we can start a new assembly. So you need to go to a new on the toolbar. Appear, can go to fail, knew where you can get to FileMaker simply from part. So here we have a blank assembly and we've got the open documents here on the left. If we choose one of these documents, we can then place it by clicking anywhere in the graphics area. Or we could just click in the top corner on that, lock the parts of the origin and make it fixed, and you can see that it's fixed because there should be a small F in brackets. Next directs. Then we can click. Insert new documents, and you can either. Brass for documents will click one of the open documents, so we'll click on the blade and we'll click anywhere in the graphics area to place it. Remember that you can rotate parts by right clicking and dragging around. Then we can fix our parts together using mates. So select a circular edge in the pencil sharpener body, hold on control and then select a circular edge in the blade. And then we can select a concentric mate from the menu that pops up. Remember that your mates appear down here underneath the parts in the assembly, and if you need to, you can edit them here and you can flip your mate or change any other parameters. And now we still have the make tool open so we can click on any edges or faces. Click underneath the blade on on the top of the blade committee, then we can add a coincident relation. Then we can select some straight edges on the blade on the body and we can add a parallel mates. And now our assembly is fully defined. Next, we added in the screw, using the tool box, which is in the design lightly tap. So select the feature. You want a drag it into the model. And if you harbor a screw overhaul, we can automatically make it using this pagan whole feature. So hover over the whole on, then hovers slightly over the face that you want to meet it, too, and it should snap into place like this, and you can edit the parameters of the screw in the property manager on the left. And if we need to recon, suppress mates by clicking on them, impressing, suppress, and then you can move your part around. And if you un suppress them, it should automatically snap back to the correct position. Now that we have the finish assembly, we talked about things you can do within the assembly so you can suppress parts which essentially removes them from the model and sorts them being computed. And you see that when you suppress them. The relevant mates are also automatically suppressed, and you cannot suppress them by clicking again, impressing on suppress. You can also hide components by clicking on them, impressing hide so they're still in the model, but they're just not visible on. You can show him again by clicking and pressing show. You can also hide by hovering over them and pressing tab. I can also make components semi transparent, which is useful for maybe looking behind a component or seeing how parts fit together and here at the top of the design tree. If you click these two arrows, you can expand this overview of all of your parts, and you can see at a glance whether they're hidden transparent. They display state and things like that, and you can also just click on the icons to quickly hide or show any components. We also talked about how an assembly is just a collection of part files, so it's very important to send both the assembly file on the part files. If you send your assembly to someone, otherwise they won't be able to open it properly. Then we looked at some more things you can do in the assembly. So we looked at exploding views, and you can find this on the assembly tap or you do select the parts you want to explode and then just drag them out or rotate them and press OK, and you can later find your exploded view under the configuration manager tap, and you can double click to collapse or explode. You can also right click to edit and to animate the collapse and explode and make other changes. We also look to the mass properties, which are on the evaluate tab that can give you the entire weight of your model. Then, finally, we looked at interference detection, which is up here on the evaluates up. When you click on it, your entire assembly will automatically be selected. Then you compress calculate, and you can see any clashes between the parts of your model. And this is a really good way to see if your model fits together properly. Then finally, we added in the pencil part by going to uncertainty parts on browsing to where it is on the hard drive and then inserting it, and we used a concentric mate tow line it up with shopping and to finish off. We just rendered the whole assembly so well done. You've completed your first assembly. In the next video, we're going to be learning about sweeps and spines. I'm against the modeling. A pair of headphones.
26. 5.1 Headphones - Introduction and the Headphone Jack: Hello. Welcome back to the mastering solid works three D cad course. Now, you may have noticed so far that all the features we've used are quite angular on blocky. So in this set of lectures were going to be learning how to use sweeps and spines on these allow you to produce much more free floor on flowing shapes when we get to be modeling some head foes, something kind of like this. Maybe not quite this tangled up. So going to start with the headphone jack itself, So started new part and start a sketch on the right hand plane. Now we could draw. The Jack is a Siris of circular buses that is probably much more efficient. Actually, draw is one single revolved part. So get a line tool and start to draw the profile of the Jack. Something like this. Start with the center line and then from the small end of the jack will go up and then we'll go towards the left with various angled on horizontal lines. Try not to pick up any of the automatic relations apart from the horizontal and the vertical and just draw a sketch roughly the same as this. It's quite complicated sketch, but we can adjust it and at the dimensions as we go along. Then we conjoined at the last line on Remember that were me at the first dimension. The rest of the schedule automatically resize, so this is 259 if we put in 35 millimeters. Everything is roughly the right size now, so we'll add in some proper time mentions. His first diameter is no 350.5 millimeters. Then we 135 degrees, 1.5 millimeters and just work your way right to left. This is 1.25 millimeters. The letter from the end four millimeters. The men to this small sham for his point for the diameter should be 1.6. If you get something else, it might be that you've got an automatic relation by mistake, and if you do, just delete the relation and then add in the correct dimension the small end dents or there's no 0.1 millimeters on their 0.7 millimeters wide, and then the gap before is 0.4 millimeters. Then this diameter is 1.7, and we've accidentally got an extra line in here so we can just delete that line and join up. The other line on the length of the Samper should be 0.2 millimeters. Then we should have another small and then Anish line should be vertical. This relentless is 20 millimeters on the radius is four millimeters then this small section is a radius of three millimeters, and it's one millimeter long, and then this longer section is a radius of 1.75 millimeters. It's got another small band in it should have vertical edges on its 0.7 wide, and it's no 0.1 deep, and from the larger band, it should be 5.5 millimeters. So there we have our revolved weaken, Select the center line and press revolved Boss Base. If we press OK, that looks about correct, and you can rename as Jack feature. And don't forget to add this small radius. Here. You can use the sketch Milito on. Set it to North 0.2 millimeters. Next, we want to add a small length of straight cable before we go into the curved cable. So starting new sketch on the end face and will draw a circle. It should be two millimeters diameter. It should be vertically aligned with the origin and one millimeter horizontally from the origin. So this is our first cable. We also want a second cable, which is the exact same size. But on the other side of the origin, we could just mirror this. We'll just out of end and we'll see what happens with the extreme. So if we try to extreme, this profile will get an error. That's because there's more than one self intersecting contour. If we train, select the individual controls, so select both of these circles will also get an error with zero thickness. That's because if we zoom in, these circles are exactly touching each other a zero thickness. So Saudi, what's can't extreme that what we can do is move them slightly closer together, and this is probably MAWR. What they're actually like in real life will be a very slight overlap. And then we could just trim away the Xs on Extreme 30 millimeters and we call that feature had phone cable. So we've got a small straight section of cable coming out of the back of the head phone. Jack, we're going to add the curving and free flowing section in the next video that first we want to add some strain relief to this cable. And if you look at very cheap headphones or maybe a phone charger or something like that, you'll notice that they often break at this point where the cable goes into the jack. That's because there's a lot of stress here, and often the parts aren't designed to reduce this stress very well. So we're going to add an extra feature and to try and reduce this start to sketch on the back face of the headphone jack and will draw a slot centred on the origin, which is tangent to the outside edge of the headphone jack on which is five millimeters high. Will do, boss extrude feature with a length of 18 millimeters on We're going to check this box here , Draft on this, actually, as an angle to the length of your extrude well, let four degrees of draft. You can also draft outwards if you need to. In this case, we'll just draft inwards and we'll also uncheck the merger results box and press OK and we'll rename that feature strain relief. So this looks roughly correct, but we want to cut away some parts to add a bit of flexibility toe. So start sketch on the top plane and, using the rectangle tool, draw something like this. It should be a rectangle two millimeters high and should be two millimeters from the start of the strain. Relief on one millimeter from the center line, then the outside Reg could just be coincidence on the outside of the strain relief we can then use a linear sketch pattern toe. Add three more instances of this and make sure change the angle to 90 degrees and then flip the direction so it's cutting through the strain relief. And then we can add some relations on dimensions to fool you. Find this sketch, then we can mirror everything about the center line. Now we're going to cut those rectangles out of the strain, relief only so use. It cuts extrude, and we're user through all both feature, which cuts like a mid plane but all the way through your model. So, in the feature scope of the bottom of the properties manager, well, UN select all bodies on, we'll just click on selected bodies De select the auto select box and then we'll just choose the body we want to cut through, which is a strain relief body. Then press OK, and if you zoom in, you can see we've only cut through the strain relief body. We haven't cut through the cables themselves, and this is a good example of how you can use multiple bodies in your parts for different modeling purposes. And we could rename that feature as strain relief cut. Now that we've made our cut, we want to combine these two bodies back into a single body. We can do that with a combined feature to go to the insert menu and get answer features and then click combine on the left, make sure on the ad operation type, and then we'll select the two bodies who want to combine. Press OK, and now we just have a single body again on our solid bodies. Folders disappeared now with tools or features which aren't on the camo manager, which aren't easy to find is a quick where you can find them to go to this search box on the right and press the drop down and make sure you're on commands. Then in the search box. Just start to type the first letters of the command that you're looking for. So for example, I'm looking forward combined, so type C, O and B, and all the different tools will appear. You see, combine is actually grade out because we've only got a single body now, so there's nothing to combine. If I pull the roll bar back before our combined feature that we just added and now a search for combined, I can now add the combined feature so I can click it directly up here. Or if you click on this small I symbol, solid works will automatically show you where this command is. So this isn't me moving the mouse. This is solid works itself moving the mouse to show you the position of that command in the menus. So to demonstrate again, start typing in the first few letters of the command you want. Then click on the I simple. Then solid works will show you where this commanders or you can just click directly on the command up here in the search bar. So to recap, we used a single sketch that we were evolved to make the majority of the jack feature. Then we had a two small circles to represent a straight length of headphone cable, and we have to make sure that they weren't exactly touching, so we didn't get any zero thickness errors. Then we had in our strain relief section, and we use the draft feature to angle the boss along its length. We kept the strain really features a separate body so we could cut out certain sections of it without cutting the cable underneath. And then when we were done, we combined the features using the combined tool into a single body. In the next video, we're going to start looking at the sweeps and spines themselves, and we're going to draw the freeform cable up to the headphone airboats themselves.
27. 5.2 Sweeps and Splines: up until now, we've model the headphone Jack, a small straight section of the cable on the strain relief On next, we're going to model the wavy, freeform section of the cable. So the cable leaves the jack and it's two cables. Join together, and then it goes up to a small cable joint, and then it splits apart into two cables, which gets each year. But so the first thing we're going to add is the cable joint itself, and we're going to draw this on a new plane. So, Harverson, wherever the right play, hold on control and drag the right play now and set the distance to about 200 millimeters and press OK. Then start a sketch on that new plate and used a slot tool to draw a small slot, which is horizontally in line with the origin on, which is about 300 millimeters away from the origin. The center line should be four millimeters. Low on the radius of the curve is 1.6 millimeters, and then we can extreme. That five millimeters doesn't really matter which direction. Now we have two solid bodies on weaken rename the latest feature as cable joints. What we want to do is draw a wavy cable all the way from the Jack end up to the cable joints. If you think about the features we've used so far, you're usually extruding some kind of profile. So with the Revolved bus base, you're revolving a profile around a set point with an extreme boss base. Your extruding a profile in a set direction on a swept boss. Space isn't that different. You're just sweeping a profile along a set path, so we need to sketches for each suite. You need the profile sketch and you need the path sketch. We'll start with a profile sketch on. We basically want the exact same sketch as we've already drawn for this twin cable here. So started you sketch on the end face of the cable, and we could draw a sketch again from scratch, using circles and curves and the trim tool. A much easier way to do it is to use the convert tool, so make sure you have a sketch on the face and then select the face and press comfort entities. This will automatically make the outer edge of the face into a new sketch and convert entities is a very useful tool. We can see if we select any lines and then press comfort entities those lines of them projected onto our current plane as a new sketch. So delete these excess ones and there we have the profile sketch. That's all we need so we can exit that sketch. Next. We need to draw the path for the sweet to go along, and we need to draw it from the jack end of the cable up to the cable joint so we can start it on the top plane on. We're going to use this plane tool. The spying tool is roughly similar to the line tool, except it allows you to draw free flowing curves, so zoom in and will start the spine from the very center of the two cables. Then, everywhere you click, you add another points and you'll see that the line curbs to the points that you at. So at a few more points, and then finish this blind at the very center of the cable joint on press escape to exit, explain till you can then select the whole line on. We can see now that we have these handles, and you can drag these around to change the curvature of the line. So this plane tool is a very powerful tool. You can make all sorts of curves with it. Let's delete the spine you dis true and will redraw a new one. So when using the spine tool is good practice to users few points as possible. So we'll just use one single point again. We'll start from the middle of the two cables that one single point about there and then we'll finish again at the middle of the cable joint, and you can exit the sketch. Now. We have both our path and our profile sketches, and we can use these to create a sweat boss, Select the sweat boss based feature and then on the left in the property manager, you can see we need to choose a profile and a path so first would choose the profile, which was the initial sketch with the two cables on it. Then make sure you're in the path selection box and then select the path sketch, which was the flowing spline curve, and you should automatically get a preview sharing you to sweep press Okay, and there we have. Our wires are first sweet feature. If you zoom in, though, you can see that the transition between the straight section of the wires on the curve section isn't quite right, so a few things were going to do. First, we're gonna rename the feature so you can just call it cable Sweep. Next, expand the cable sweet feature so you can see both of the sketches within it. And we want to edit this plane sketch. So you want to edit the path sketch, and you can see the point at which the spine joins. The straight section isn't quite straight on, so ideally, we want this to be perpendicular so we can add a center line, and then we can add a tangent relation. That would just mean that the sweep joins the straight line at the ever straighter angle, and you can do the same on the cable joints. So control click. Select the centerline on the line and then add the tangent relation. Then maybe you can drag around your cable a little bit just to make it look a bit more realistic. Press exit And there we have a bit of a better transition. Another thing that you may have noticed if we go back into the path sweep, we didn't actually define the sketch. That's because it's very difficult to define. Explain because it's based on a curve. But way that you can cheat is you can go to display delete relations, and you can just press on fully defined sketch press. Okay, and this should find a solution to fully define your sketch. You can use this in normal sketches. It doesn't always work great, but can save you a little bit of time. And then maybe if you want to display around with the spine of it, you can delete the dimensions and play around with your spine a bit. So it looks like a bit more of a realistic flowing curve. Something like this. Maybe now we'll just look at our sweep in a little bit more detail. You can see that as we added the sweet between the two bodies, they were merged into a single body. If we edit this week, you can see that the loads of different options. We just use the standard default settings, but you can do things like change the way that the profile follows the path. For instance, if you put it to normal constant, you see it doesn't quite look right on the preview here. If you put it to follow path, it does. You can also change the Intel agencies at guide curves, and there's a few other options. But we'll just stick with the standard ones for now. Now let's delete the cable sweet feature. So I've just got the two sketches on. A slightly quicker way to make sweeps in future is if you pretty select the two sketches and then press swept boss base, they should automatically fill the relevant boxes, and then all you have to do is press OK. Another feature that you may have noticed as we've been making these models is that if you expand the feature so you can see the sketches that make it up and then you can direct the role but bar no above the feature, but only above some of the sketches, and this can just turn off the feature and not the sketches. So then maybe you can go back in and edit the sketches or just them, as you need when you do this. The sketches will usually be hidden, but you can show them again by just clicking on them in the feature tree and pressing show . Now we'll just have a look at quite a common issue with sweeps, so leave the features suppressed as it is and will start a new sketch on the top plane. Then we'll draw another spine and then just get very close to the cable jack body. But no, actually touching it. Now, if we try to add our sweet feature as before, we can choose the profile sketch, okay, and we can choose the path sketch. Okay, so everything's selected correctly. If we press okay, we get an error. That's because the path has to intercept the plane that the profile sketches on. Otherwise, the profile can't get to start point on the path so it can't sweet properly. So we can now delayed that sketch, and we could just drag back down the rollback bar below the feature and then your feet. She should appear again, so it's a recap. A sweep uses a profile sketch on a path sketch, and it just sweeps the profile along the path and make sure that the path always intersects the profile plane. In the next video, we're going to start modeling the headphones themselves and connect them to the rest of the model, and we're gonna have a very brief look at three D sketches.
28. 5.3 Adding the Earbud and using 3D Sketches: So far, we've modeled the headphone jack, the strain relief on the length of double cable going down to the cable joint. And the next thing that we're going to model is one of the earbuds, or headphones itself. So start another sketch on the top plane and will draw a revolver, which is the a bad shape. We'll start with a center line, and you can position it roughly 300 millimeters to the left of the origin and about 400 millimeters above. The exact spacing isn't too important, as long as it's not too close to the cable joint. Next we'll draw the revolved profile of the headphones on. It's something like this. Then we'll add our dimensions, so the total length is 19. The inner bore is three millimeters. This outer section is six millimeters diameter. On this small next section is five millimeters diameter. The length of the top lip is two millimeters on the length of the stem. In total is seven millimeters, then the diameter of the wide revolve is 12 millimeters on the depth of the in a hole is 10 millimeters. Then we can select the center line and revolve that profile. At the moment, it's a very basic shape in these a few more features, but is going to be a rubber section on here that goes in your ear. And then on the other end, there's gonna be a cable which goes all the way down to the cable joints. Next we get out of few more features to the air. But the 1st 1 is a five millimeter fillets on the back edge, which just rounds off the year, but a little bit their next. There's an angled cut through the back edge of the year, but so again, a sketch on the top plane and we can use the line tool, and we need to draw a triangle, which starts from the center line of the air. But on goes forward to the bottom of the fill it, so it's five millimeters long. Close the profile and then we can use a cut extreme feature on we can do through will both to cut through the entire it. But on go ahead and rename those features so they revolve could just be called here, but and the cut could be called a but angle on the last feature we need to add is the cable stem, which is where the cable goes into the air. But so start a sketch on this flat face that you just cut with the angle and first will draw a center line, and we want to go from mid point to mid point so we can find the center of this face. Then, when you've done that, draw a circle at the midpoint of that center line with a diameter of five millimeters on well, extremely eight millimeters and also press draft. And then we'll put a five degree draft on it and press OK, and you can rename this something like a butts them. The next thing we need to do is actually connect the year, but to the cable joint, using a sweep first we need to draw a profile. So start a new sketch on the top of the cable joint. We want to draw a circle, which is two millimeters diameter, to represent the wires that go to each of the individual airports when you're placing your circle. If you just hover over the circular edge of the cable joint, you see you get a small circle with a cross in it that appears on this indicates the center point of this ark. So we're used as a starting point for our cable circle and then just at the diameter on your sketch should be fully defined. Now that we have the profile sketch, the next thing that we need to do is draw the path sketch, and we want to draw a sketch, which goes from the top of cable joint all the way up to the cable stem on the air. But this time against use a three D sketch. So go to the command manager. Make sure on the sketch tab and then click the drop down underneath sketch. You can then click three D sketch on. We're now in a three D sketch, and this is kind of similar to a normal sketch, except you're not limited to just one single plane. So again we'll select the spying tool, and we'll start a spine from the center of the circle that we just drink. Then you can add a few points on. Eventually, finish your spine at the center of the circle, which is the cable stamp, and to pick up the center of the circle again. If you just hover over the outside edge of the circle, then you should get the small circle with crossing it, which indicates the center point of that circular face. Then you can press escape to exit the spine tool, and we can exit the sketch. So there we have our path sketch, which is a three D sketch, and we've got our profile sketch, which is the normal sketch. And if you select both of those and press sweat boss base, then you should automatically pre fill the boxes, and we should get a sweat boss base if you press OK, and it looks kind of right. If we zoom in, you can see again whether cable joins the flat faces we don't have a very nice transition on. This isn't looking quite correct. So we need to edit the PATH sketch, and we need to add some tangent relations to make sure that the transition is correct. Delete the sweet feature in the feature tree, and then we can edit the three D sketch in the same way as a normal sketch. Now we need to add some center lines, select the center line tool, and then start your center line from the midpoint of the circle, which is the path sketch. Then we want to travel straight down towards the bottom of the cable joint so your cursor should read X y, which indicates you going in the correct direction. And when you're in roughly the right position, just double click to end, and then we can change the view around and check that were in the correct position. And you can drag the bottom of your centre line and just make it coincident with the bottom of the cable joint. Just to ensure that your sketches fully defined, we can then control click on the center line on display on Add a tangent relation and you see now if we move the model around, we can see that this blind now looks correct. Now we need to do the same at the ear, but end of the cable. So again, select the center line tool on hopper over the circular edge of the cable stem, and you should be able to pick up the center point of this circular face, then hover over the outs of circular edge at the other end of the cables them and then just move in towards the centre slightly, and you should be able to pick up a sense of point of that circle as well. Then double quick to end line segment, and you should have a fully defined centerline sketch there. Then you can control. Click on the center line on display and add a tangent relation again. And now it looks like the cable is going into the headphones at the correct angle. You can then exit the sketch, and we're almost ready to do the sweep at this stage. Just have a little look at your three D sketch. Make sure there aren't any areas which are really tightly kinked, because these may cause a problem with a sweep. And if the Rogers go and edit the sketch again on a straggler handles around. So it's a bit of a wider, sweeping curve. When you're happy, you can exit the three D sketch and then select both of sketches. So the path on the profile the three D sketch on the normal sketch and then click on Swept for Space and press OK, and we should now have a cable connecting the ear bud with a cable joint. Now you'll notice that we just have one single body because the sweep has merged the other bodies together. So I can just rename the feature as something like a but cable to recap what we've learned in this video. We drew the air, but using quite a simple revolve. Then we added some extra features, so we added a fill it on. We used a cut extreme using a through all both feature to cut the angle on the back. Next we added the cable stem, which was just a circle, which was extruded with a five degree draft on it. Then we used a three D sketch, a normal sketch on a swept boss base to produce the cable, which connects the Airbus to the cable joints. Three D sketches can be found on the sketch tap under the command manager, and you can use all the standard sketch commands in them. So we added some center lines and some tangent relations just to improve the transition where the cable joins the effort and the cable joints. In the next video, we're going to be adding the second here, but so we'll be looking at different ways. We can do that, whether it's by mirroring or copying a body and moving it around.
29. 5.4 Adding the Second Earbud and Move/Copy Bodies: we now have the cable, Jack, the double wire, the cable join one of the earbuds on a single while going to that here. But so the next thing we want to do is at the second and final air, but and at the cable Getting to that. So you might think an easy way to do this is to mirror it on will give that a try. First thing that we want to do is add a new plane to mirror about. So pick up the front plane, then hovers somewhere over the edge of the plane. Hold on control and drag the front plane to the left. So we get a new plane. Don't set the distance yet and we'll zoom in on click on the midpoint of the cable joint, and this should give us a second reference for the plane. So the first reference is the front plane, and we're parallel to that. On the second reference is this point in the middle of the cable joint. Now that we have the new plane, we want to mirror about it. So select all the features we once a mirror hold down control summit, the ear bud fill it a bit. Angle it, but cable stem on the cable and then select the new plane as well. And click mirror. You see, we get this partial preview, but when we click, OK would get an error. It's not possible to mirror these features together, so let's have a look at just mirroring some of the features. So let the A bird cable and the new plane and then press mirror. We'll see that we can mirror the cable on it so but the problem is, if you zoom in because it's an exact mirror, it doesn't really look natural. Is very unlikely. The headphones would be exactly symmetrical like that. So we'll delete that mirror feature and we'll have a look at another approach. Let's try just mirroring the air but body instead. So if we suppress the airport cable and now we have two solid bodies again, so we've got the air but itself, and then we've got the cable section with the jack on it. We can now try to mirror the ear bud body so press mirror, and then you might need to expand this section that says bodies to mirror and then click on the air but body. Then we need the mirror, face or play. So select the new plane that we just made and press OK, and then we have our second here. But if we now un suppress the first year but cable, you'll see that the mirror feature now fails. That's because the A bird cable feature needs to be after the mirror feature so we can just grab it all down left, click and drag it to the bottom of the feature tree. And you see now both features work correctly. And then we could draw a new profile sketch on a new three D Path sketch, and we could connect the new air, but to the cable joint in the same way that we did with the 1st 1 So that's one way you could look at making the second year, but but again this year, but is exactly symmetrical, and it looks a bit unnatural. So another way we can do it is by copying the body. For now, just suppress the mirror feature and drag the rollback bar up. So we're above the airport cable feature, so you should have two bodies again. The Jack in the cable and then the air, but as well. Now he wants a copy of the entire here but body, which includes all of the features that make it up. And to do this, you can go to insert features. Move slash copy body in the property manager on the left. Select the body we want to copy, which is the ear but body on. Now, as the name suggests, we can use this tool to either move or copy the body or both. So make sure you've checked the copy box, and this will make an extra copy of the body that it will leave the existing one in place. We can then either rotates or translate or move the body, but unfortunately, can't do both at the same time. You can either click on the arrows or you can put in an exact figure and move in the X, Wilde said. Directions. So either drug it around or putting some figures into the boxes on the left, and then we'll set it somewhere to the right of the cable joint about their looks. Correct. Now that we've positioned it, we don't want it to be exactly in the same orientation is the first year, but so we can rotate it. So again you can either go to insert features. Move, slash Copy, or you could just get to the search bar at the top. Make sure you're on this search commands from the drop down. Then you start to type in the first few letters, so start to type in, move or copy, and you can actually click the feature up here and it will open is normal. Select the new airport body and make sure this time that you de select the copy box because we've already copied it. So we don't need to copy again. And then just drag these circles around and that would allow you to rotate the body. So rotate in a couple of different planes and set it somewhere that looks about correct. Maybe something like this. Now you'll notice that we have three solid bodies in the solid bodies folder. We've got the original cable and the Jack. Then we got the first day, but on the second a but which we just copied. Now we contract the rollback bar all the way down to the bottom, and this will un suppress the first Airborne cable feature, and you'll see that this doesn't have any effect on any features that are before us. Now all that we need to do is draw our second year, but cable? We can do this in the same ways the 1st 1 So start a sketch on the top of the cable joint, and we'll add in our two millimeter circle to represent the second cable. Remember, hover over the edge of the cable joint, and we should be able to pick up the center point of that existing arc. So next we need to draw the three D sketch of the path. So go to the sketch tab. Select three D sketch and then select displaying tool. Start this plane from the center point of the path circle. There may be at a few points on Finish it at the center point of the cable stem on the second air, but and press escaped. Exit the tool. Then, as before, we can use the center line to start a center line from the center of the Path circle sketch and dragged down. Make sure you're going along the X axis and when you finished the line, you could double click to exit the line segment. Then you can just change the view and drag the end of the center line up so it's coincident with the bottom of a cable joint. You can then add a tangent relation between the center line on the spine, and we'll do the same at the other end. So start the center line from the center point of the cable stem circle and go to the circle on the other end, hover over the edge of the circle and pick up the center point there on. You should be able to get a fully defined centerline, then control Click. Select the sensor line on display and at a tangent relation. Now, if we zoom out and look at this plane, you can see that it's way longer than the 1st 1 And maybe it's a pair of headphones where one's longer than the other so I can get behind your neck. But in this case, I think we'll just make them the same length. So just grab some of the points and drag them around, make the spine a little bit shorter. They're when you're happy with the path. You can exit that sketch and then select the Path Sketch, which is a three D sketch on the profile sketch, which is the normal sketch and click on Sweat Boss base. And if you press OK, we should get our second Airborne cable. You'll notice again that the solid bodies folders disappeared because everything's merged into a single body on my headphones are looking almost complete. We've just got to add a few finishing touches, and we're also gonna make the small rubber parts which fit on the end of the airports and actually go into your ear. And we're gonna put that into an assembly to finish off the jack end of the headphones against at a couple of fellas. So first at a one millimetre Philip around this inside edge, and then we can have a two millimeter Philip around the outer edge, and then we can just rename. The features on this part is complete to recap what we've learned if we drag back through the model first we added a new plane into the model, and we tried to mirror both the air but on the cable. But we found that it didn't work, so we suppressed the cable, and then we married just the air. But and at this point, we could have just un suppressed the first year, but cable And then we could have drawn the second every cable with a sweep like the 1st 1 Instead, we suppress that mirror feature on. We had a look at the body move copy tool, and you can use this to even move or rotate a body, but not both within the same feature. You can also use it to copy bodies, and this is what we did to make the second air. But so first we moved it, and then we rotated it on. This talk can be found in the insert features menu Oregon to search for it, using the search bar at the top where we're happy with the position of the second day. But we unsurprised the first year but cable feature. And then we made a new cable feature for the second airport, and again we just drew a profile using a normal sketch. And then we did a second sketch for the path, using a three D sketch on display. Then finally, we just added to small Phillips to finish off the end of the headphone jack in the next video, we're going to be modeling the small rubber ear sections which actually fit in your ear, and then we're gonna be adding these to an assembly with a part of just made, and we're also going to be looking, adding pre existing models, which you can find on the Internet.
30. 5.5 Finishing the Assembly and Adding New Parts: Welcome back. Our headphones part is complete geometrically, but we're just going to add some appearances to make it look a little bit more realistic. So, without selecting any features, will open the appearance scenes and decals tab, and we'll just choose something like a medium or high gloss black plastic and double click on that, and that should be added to the entire model. There we can select some extra features, maybe the cables, just to pick out a bit more detail about a slightly different material on those, maybe like a low gloss or soft touch gray plastic. Next, select all the metal parts of the jack, and then we'll add a gold material to those. Then, finally, you could just select these two insulation bands on the jack and out of plastic, maybe a medium glossed green plastic, and that's now looking pretty realistic. And now we want to use this part. Is the bass part for an assembly? So just go to new, make assembly from parts and press OK, and when the assembly opens, just click OK in the top left corner on your part should be placed fixed at the origin. Next, we want to add the small rubber sections, which fit onto the end of the year but itself and go in Syria. Usually these are removable, and they come in different sizes to fit different sizes of here. So started new parts, and it's a very simple revolved to start sketch on either the right hand or the front plane and draw a profile. Something like this. We can also add in the center line for the revolved. On ad are smart dimensions and relations. So is 10 millimeters long the inner boards 4.8 the next time it was 7.8. The next time it is 11 and the outside diamond is 12 and then this intersection is just six millimeters long. I make sure you've got your relations on there, so everything is vertical. The front section is curved on. We could at this as a Philip feature after we've done the revolved, but it's a very simple sketch on. It's not gonna change, so we'll just add it as a sketch. Fill it, and that's a radius of 3.5 millimeters. Then we can select the center line and select Revolved Boss Base, and that should create our revolve. Next thing we can do is add an appearance, maybe something like a low glass, plastic or rubber. Save the part and then we can use control tap to get back to the assembly, press, insert components, and then we can insert the A big part on. We can add a concentric mates on. Maybe just set the distance is half a millimeter away from the airport. Remember that you could drag apart around by holding down the right mouse button when the cursor is over it and dragging it around, and you can rotate to roughly the correct position before adding the mates. And that looks correct. So now we need to add the second rubber here but part. So instead of going to insert component and then finding it impressing okay again, What you can do is just simply hover over the existing part, hold down control and then just left, click and drag it, and that should add a new part to your assembly. You can also do this from the parts tree on the left so you can hold down control left, click and drag the new parts into your model. So obviously we only need one more. So delete the 2nd 1 Then we'll add some mates. Concentric mates on a distance makes off half a millimeter. Now this assembly is looking kinda cool, But one thing that you can do to really improve the realism of your models in your renders is if you add real life parts, maybe something like a cell phone or an iPod, something that people are already familiar with. It can really help you renderings look that little bit better. So go to the course files and find the iPod part, and we can insert this part. Then add a concentric mates and a distance made to fix it in place. And you see that already looks a bit better and we can do a quick rendering. I'm just going to get into the display manager tap and click on the view. Seen lights and cameras option, then just right. Click on the scene and turn off the floor shadows and the floor reflection. And then we can do render. Now, the great thing about adding these extra parts into your scenes is that it really doesn't have to be much more work because there's such a vast library of models that already exist online. If we open the if I part, we can look at it more closely and you can see that rather than all the usual features, the only feature that we have is imported. What? That's because this part comes from a file format which wasn't originally solid works. So now you can add new features and cut away material and things like that. You can't actually edit the features which made up this part in terms of online. Resource is there are loads of great websites, and I think that one of the best is a website called Grab Cat, so you can go into this and you can just search for anything you want. So you see, I search for iPod and this is where we actually found the iPod model, and you can see how many different options come up. And you can click on these for more detail and to download the models. And sometimes they won't be compatible with solid works, and sometimes they're just renderings. But often you can find really good quality models on there, and you can actually search just by solid works parts another good format cuz is step. That's what I use very original iPod you can see here. You just click on it for more details, and then you can download the part itself. And to use the step file, all you have to do is drag it into solid works, and it should automatically load up depending on the model. It might take a few minutes, and they can say that as a solid works part, but you won't have access to the original features, which made up the parts. So Grab Cat is a great resource. They're also loads of others. If you just search for cat models online, I'm sure you'll be able to find some. So in this video, we just added some finishing touches by adding some appearances. We modeled up the small rubber Edward caps just using a revolver on. We added those two an assembly. We also talked about adding extra three D models to your assembly, which you can download from the Internet. The headphone assembly is now complete, and you've learned about sweep since pliant so well done in the next video. As usual, we're going to be re capping everything we learned in this section, and then we're going to be going onto the plastic bottle. We'll be learning a few new things, such as how to use Helix is on will also be learning about how to use decals during renders .
31. 5.6 Headphones Recap - Part 1: welcome to the recap of the headphone assembly. As usual, we're going to go through the whole assembly and make it in quick time again just to go over everything we've learned in this section. So we started with headphone part itself and we started a new part, started a sketch on the front plane and we drew a profile for the revolver, which would be the headphone jack. We copy the drawing from the course files, and it was something like this. Just draw the rough outline, make sure of things in roughly the correct orientation in place, and then we can add the relations and dimensions later on. It's a fairly complicated sketch, but we just went through it bit by bit, from right to left, and we took our time to build up all of the sections until it was fully defined. And don't forget to add in the small radius using the sketch. Philip. That's not 0.2 millimeters. Then when will you fully defined? We selected the center line and press revolved Boss Base, and we made our Jack revolve. You can then rename that featured Jack next week added a small length of double cable coming out of the back of the jack. So we started a sketch on the rear face of the jack, and we drew too small circles. They were vertically in line with the origin. There were two millimeter diameter, and they were one millimeter away from the origin horizontally. But then, when we try to extrude those, we got a problem because the profiles, they're touching each other. And if we tried to select the profiles manually, then we still get a problem with zero thickness. That's because thes two circles touch exactly so solid Works doesn't know whether there should be gap. There are. They should touch, and it can't calculate this to solve this problem. What we did was move each circle into the center slightly, so put the distance the 0.95 you can double click on the dimension to quickly change it. Then we use the trim tour of just using the mouse gestures to quickly get to it to cut away the overlapping section of the two circles. Then you can extreme that profile 30 millimeters and you could read in the feature cable. Next we drew the strain relief feature, so we started another sketch on the back face of the jack, and we used to censor point slot, starting at the origin and moving outwards. It was five millimeters high. So are 2.5 radius on the outer curves were tangent with the outer curves of the jack with an extremely deaths 18 millimeters and we put a draft on it, which is an angle along the extreme. We put a draft angle of four degrees on on We unchecked the merge result box. So then, when we press OK, we've got to solid bodies and we can rename this feature as strain relief. Next, we wanted to cut away some sections of the strain relief to give it a bit more flexibility , we started a sketch on the top plane and drew a rectangle something like this. It was two millimeters long, two millimeters from the start of the strain, relief on one millimeter from a center line along the middle of the strain, relief for the outer edge. We distract the point to the outside edge of the strain relief, and that should give us a fully defined sketch. We then used a linear sketch pattern to add three more instances of this rectangle and we change the angle and the direction as required and we set the spacing to four millimeters press. OK, then we added in some extra relations and I mentions to fully to find the sketch. Then we selected everything including the sensor, vine and pressed mirror can then use this sketch to cut away some of the strain relief so we can do occur extrude using the through all both which cuts in both directions similar to mitt plane but it goes through your entire model. We also only want to cut through the strain relief body. So go down to the feature scope. Make sure you've got the selected bodies box checked and then uncheck the auto select box and then we can choose the body we want to cut, which is the strain relief body that when you press OK, should only cut through that body and you should leave the cable underneath as it iss, and we can rename that something like cut strain relief. Next, we want to combine the two solid bodies back into a single body so it can use the combined feature, and you can find that in inserts features combine. You can also search for it, using the search bar at the top again. Use the drop down and make sure your own commands and then start to type the first few letters off the feature you're looking for. You can click on it directly up there, and then we get the combined property manager, so make sure you have add selected as the operation type. Then just select the bodies we want to combine, which is both of the bodies in the model press. Okay, and they should be now combined into a single body. Now we have the Jack section, and the next thing we want to add is the cable joint, which is where this twin cable goes into before it splits away into both of the airports. The first thing we need to do is at a new plate click on the front plane in the feature tree and then hover somewhere over the edge of the plane in the graphics area and hold on control and is dragged the plane outwards and release. It should then have a new plane, and we can set the distance as 200 millimeters in the property manager on the left, then start sketch on this new plane and would draw a slot to represent the cable joints. Use a standard CENTREPOINT slot, and we want to put it vertically in line with the origin about 250 millimeters away. Although you can set this according to your own preference, it should be 3.2 millimeters high. So it's our 1.6 on the center line of it should be four millimeters long. And if you lose where you are, just press the F K to zoom out again. We can enter Bostick Street of five millimeters on the direction. Doesn't really matter, then rename that feature as something like cable joints. Next, we're going to introduce the sweat boss based feature. We're going to use this a drawer sweep from the jack all the way to the cable joints. So we're this week you need to sketch is you need to profile sketch and you need a path sketch. We'll start with a profile sketch on. We want a sketch, which is exactly the same as the outside edge of this twin cable start. A sketch on the end of that twin cable, and we could just draw this out manually. He's in the circles and trim tools and relations. But what we did instead was we used a convertible, so you can either select the edges that you want to convert, or you can click on a face and press convert and that will convert the outside edge of that face and then exit that sketch and we have our profile sketch. Complete it. Next. We need to draw a path sketch to sweep the profile along. So start sketch on the top play, which intersects both the cable joint on the Jack. I mean, he's displaying tool for the first time. Click to start display and start from the midpoint of the twin cable, then out a few more points and finish at the midpoint of the cable joints with your spines , it's best to try and use the fewest number of points as possible. If we now zoom into either the start or the end of this plane, you can see that it probably doesn't join the cable or the cable joint at the correct angle . So we added some center lines in then we added some tangent relations between the center line on display to ensure that they join a tangent angle. Then we can drag around the points of this plane, and we can use the handles that appear to adjust the curvature of this plane until it looks good to define the spines sketch. We can go to display, delete relations and then fully defined sketch press calculate, and this should fully to find your sketch. You can then exit the sketch and select both of the sketches, both the path on the profile and select the swept boss based feature in the options. Make sure you've got follow path selected and have a look at the preview and jacket looks correct. Then press OK and we should have our first sweet feature, and you can call it something like cable. Next, we want to model the airports using a revolt feature. So we started another sketch on the top play on. We started off with a center line. We put it 300 millimeters away from the origin vertically on 3 10 horizontally, but it's really up to you where you position it. Then we drew the profile, which was going to be the revolver, the air butts and can't find this in the PdF drawing. As usual, we added dimensions and relations to fully to find the sketch. And then when it's complete, select the sensor line. Impress Revolved Boss Base rename that something like air but revolved. And then we'll add a few finishing touches. First we added a Philip, which was our five to the back edge, and then we did an angled cut again on the top play. They started from the center line of the year, but on went down to the edge of the fill it. So in terms of distance, this was six millimeters high and five millimeters alone. Then close the profile and using extruded cuts. And again we can use through or both to cut through the entire model and name this year but angle to finish off the year. But we added the cable stem and we started a sketch on the flat angle face that we just cut draw centerline from mid points amid points and then, at the midpoint of that center line, draw a circle. There should be five millimeters diameter on extruded eight millimeters, and we also added a draft of five degrees to it, then press OK and call this A but stamp. Now we have two solid bodies. We brought the airport body and we've got the jack and cable body. So we need to draw a sweep, which will connect them both together. And as before, for a sweep. We need a path and a profile. We'll start with the profile by making a sketch on the top of the cable joints and then drawing a circle, which is two millimeters diameter. If you hover over the circular edge of the cable joint, you should be able to pick up the center point of that out Iraq, and we use this to place the circle. Then we set the diameter and exit the sketch. Next, we need to draw the path sketch, and this time we used a three D sketch. So go to the commandment, Joe. Make sure you're on the sketch tab, Then click the drop down underneath sketch and press three D sketch. We then use displaying tool, and we started this plane from the center point of the circle that we just drew for the profile sketch, then added a few points on finish it at the center point of the circle, which is the cable step again. If you hover over the circular edge, you should be out to pick up the center points Press escaped to exit displaying to. And then, as before, you can see the point where the spine joins the flat surfaces isn't exactly correct, so we want to add some more center lines and tangent relations. The first centerline should start from the center of the circle, which is the profile sketch, and then go down along the cable joint and with a three D sketch. It can be very easy to sketch in the wrong direction by mistake. So just move your sketch around slightly, and you can use a small triad on the left to check you going in the right direction and when you're drawing a long and access should get a small icon next to your cursor to indicate the direction that you're going in, fully define your center line and then control quick to select the sensor light on display and add a tangent. Relation at the other end of this plane will do almost the same thing, so at a center line from the end of the path and then go along to the circular edge where the cable stem joins the airport body hover over that circular edge, and you should be able to pick up a center point of that circle. Then you should have a fully defined center line. You can control quick centerline on display on again at a tangent relation. If you're happy with how the spine looks, we can exit the sketch, then select the normal sketch on the three D sketch for a swept our space and then press OK on the air but should now be joined to the rest of the headphones by cable. You can see here that the kink is quite tight, but it looks OK, so we'll rename this as a but cable.
32. 5.7 Headphones Recap - Part 2: next. We had a look at some ways of having the second Airborne, and the first thing we looked at was mirroring it. We had to add a new play, so hover over the front plane, pick up the edge of it, hold down control and drank it outwards. This time, though, don't set a distance. Just zoom into the cable joint and select the midpoint of the cable joint, and you should see. Now we have two references for the plane. The first reference is the front plane on with parallel to that on. The second reference is the midpoint of the cable joint, and we're coincident to that. We then tried to copy all of the event features by selecting all of the features, including the cable selecting the plane and pressing mirror. But we weren't able to do that. We got an error. Instead, we tried to mirror just some of the parts, so he suppressed the cable. And then we tried to mirror just the able body. We opened mirror selected bodies to mirror and then selected our new plane on the air. But body on that mirrored fine. But then, when we unsurprised the cable the Mirror feature failed to fix this. We drag the cable feature down below the mirror feature, and now it doesn't affect it because it's after it in the feature tree. But we decided that the mirrored earbuds were a bit too symmetrical. So instead of that, we decided to use the move slash copy bodies feature. We suppress the mirror feature and we drag back before the abbot cable feature. Then we have two separate bodies again. Then we went to the move slash copy bodies feature, which can be found in insert features. Move slash copy body. Then, using the property manager, select the body you want to copy, click the copy button and then we could just translate it or move it around using these arrows, drag it to the position you want and press. OK, you can see that we now have three bodies in the Solid Bodies folder. Unfortunately, you can't rotate and move the body using the same feature, so we'll add another feature to rotate it. This time, you can either find it in the menu or you can search for the top. So start Cyprien, move or copy and then click on it again. Select the body. You want to move or rotate this time de select the copy box because we already have copies so we don't want another one. Then we could. Just right as required, is in the circular justice and the yellow preview shows where you're going to be rotating to, depending on the shape of the body. It's not always that obvious, but you can always set the exact rotation using the property manager on the left once you're happy with the position of your two year. But we can add the cables back in so we can just drag down the role part of Riyadh in the 1st 1 then to attach the second here. But we'll do the same as the 1st 1 So again we want to draw a sweep. So we need a path, and a profile sketch will start with a profile again. Start a sketch on the top of the cable joint, hover over the circular rage to pick up the center point and draw a circle, which is two millimeters diameter. We can then draw the path sketch using a three D sketch on a splint and as before, we'll add our center lines, and we'll add our tangent relations just to ensure that the cables go into each end in the correct orientation you can. Then a justice ply inserts similar length to the 1st 1 And when you don't exit sketch, then select both of the sketches, the three D one on the normal one and press swept while space. And then we should get our second cable connecting the second airport and conceal this one's a little bit more tangled up like my actual real life headphones to finish off. We just added a few Phillips, so he added a one millimetre Philip around the inside here on a two millimeter Philip around the outside. And then, finally, we added some appearances just maybe a shiny black to the entire headphones and then pick out the cable details with something like a light gray. Then we added the gold material to the metal parts of the jack itself, either. Finally, we just added in these two plastic insulation sections. At this point, if you haven't already, you can save your model. It's good practice to save as you go along, just in case you have any problems with your computer or solid what's crashes, which has been known to happen more than once. The bass part was now complete. So used it to start an assembly by going to the file menu and start assembly from parts. Then, if you just click the green, take in the top left, your part should be placed fixed to the origin. Next, we need to add the small rubber air but sections, which go on the end of the actual airboats themselves. So start a new part on draw a sketch on any play. And it's a very simple revolve, which could be found in the pdf drawing other dimensions and relations to for you to find your sketch, then select the center line and revolve around the center line. Then all we did was add an appearance, something like a black rubber and save the pots. Then we use control tab to switch between open windows and get back to these simply, and we pressed. Insert component on added in this new part into the assembly, we moved them to roughly the correct position on we rotate them around by dragging around with the right mouse button and then we added some mates to fix in position to read it a concentric mate. Then we added a distance mates off half a millimeter. We learned that a quick weight Atmore competitiveness is to just hold down control, then left, click and drag an existing components. And you can do this in the graphics area, or you can do it from the parts tree on the left. But we only needed one more. So delete the excess ones and then add some mates again, concentric May and 1/2 millimeter distance mates to finish off. We just talked about finding CAD models online using websites such as Grab Cat. Then again, we went to insert components, and we added in the iPod parts, we made it into the correct position, and then we just did a final render. Then the final thing that we did was open the iPod part, so you can either click on it in the graphics area in press open, or you can do the same in the Part Street and you'll notice that there are no features apart from this imported one. And that's because this part wasn't made in solid works, so we don't have access to all the features that make it up so we can now have new features . But we can't edit any of the original features which made this up in whatever cap program it comes from. You've now completed the headphone section on. We've learned three of the four major features which you're using solid works which are extrude, sweeps and revolves in the next section. We're going to be modeling a coke bottle, and we're gonna be looking at things like modeling the threat using the helix feature on. We're also gonna be looking at adding decals to your models to make them look even more realistic.
33. 6.1 Coke Bottle Introduction and Basic Shape: Welcome back to the mastering solid works. Three D cad course. We're now about 1/3 of the way through the course, so hopefully by now you should be starting to feel fairly comfortable with the use of solid works. For the fifth model. We're going to be modeling a Coke bottle, and it looks like this. This is actually a rendering produce from the model. So will be modeling the bottle on the cap. We'll be learning a few new things. Such a shelling, which is hollowing out one object also adding details. Which of these labels, just to make your renders look that bit more realistic will also be learning how to use Helix is and will be modeling the thread on the inside of the cap on the top of the bottle . This is actually the drawing of a threat from the top of a disposable bottle, and it's kind of amazing, really. You see that something which is so disposable, probably a lot of people just throw it away in landfill without any second thought. It's just so highly engineered, and it's made to such precise standards, although you might be pleased to hear that we're not going to go into quite that level of detail. So let's get started. Starting new parts on would get a draw a revolver for the Coke bottle shape, so starting you sketch on either the right hand or the front plane and start to draw. The profile of the Coke bottle on the sketch of this can be found in the course downloads. As usual, start from the origin, and I recommend that you draw all of the straight lines. First, we can then add the points for the spines, and we can add in the sketch fillets on the dimensions, so drew out roughly the correct shape and size. Then, when we've drawn the whole thing, we can start to add the dimensions. So the main upright dimension is 2 30 and then this smaller lip underneath it is to 10. And as you have the dimensions, you might need to drag around your lines a bit to make sure they're in the correct position again. Next, the cap is 12 millimeters Tour the small lip below the cap is one millimeter tool on their small let above that is two millimeters. The diameter of the cap is 25 millimeters or 12.5 for the radius the small. It is 1.5 out from the cap on the larger. Let is three millimeters out, then This smaller vertical straight section is 32 millimeters radius. The top is 145. High on the bottom is 90 high and then the basis 27.5 radius. Then we can add in the points that this plane curve will go through, so the bottom one is 32.5 radius and 30 millimeters high on the top. One is 25 millimeters radius and 50 millimeters high. Now we have the basic makings of the bottle, and we want to add some more details in. Then we can start to add the supplying curbs so select this plane tool on the top. One goes from the bottom of this small lip, all the way down to the straight vertical section. You can say that as we had, it doesn't quite look correct, so we'll add a tangent relation between the vertical section on this blind. Then we'll drag around the handle of the top point of display to give it a nice flowing curve, which is similar to a real Coke bottle, then for the bottom spine is a similar sort of thing. We want to start from the bottom of the vertical line, cut through these two points and then finish on the bottom horizontal line. Again. We'll add a tangent relation between the vertical line on the top of this plane. My design lecturer back in university wants told me that the curve of a Coke bottle is actually designed to look like the curve of a woman's hips. So maybe just drag your spine around, grab the handles and move them around until you're happy with the curve. Next door we need to do is at our to sketch fillets. So are one for the top lip and are 2.9 for the bottom one. Then we have our finish revolved profile so you can select the center line and press revolt by space, and immediately you can see that this sort of does look like a real Coke bottle already, if the bottom curve doesn't look quite right, you can edit the sketch as normal, and it just displaying a bit until you're happy with it. Then we can add a 10 millimeter, fill it to the bottom edge here. Next, we're going to make a slight cut for the label in the center of the bottle, and we could have added, This is part of the revolver, but we're going to add it as a separate feature, just in case the label changes or anything like that. So start sketch on either the front or the right plane. It doesn't really matter because we're in a revolves, so it's the same on both planes at a center line down the middle of the bottle. Then draw a rectangle, which is coincident with both the top and the bottom of the vertical section. Well, then set the actual Kurt into the bottle is two millimeters and you see this right hand edge. We can drag it in and out. It could be any size, really, as long as it's more than two millimeters. So I guess that technically, we could leave it undefined. It's always the best idea to fully define your sketches because you never know something might change later on in your model. And if the sketch isn't fully defined than parts of it could end up moving around, and it could change the way your feature cuts through the model. And it's kind of hard to predict that at this stage. So always try to fully define your sketches next week and exit the sketch. Select the center line and we can do a revolved cut and this would cut out section for the label. Then all that we need to do is smooth off these edges so we can have two sets off two millimeter Phillips. We want to add these to the top on the bottom of the label cut. So you maybe you're thinking, Why don't we just adul four into one feature? And that's because the depth of the cup is only two millimeters. So if we have 22 millimeter Phillips, they'll actually interfere with each other, and you won't be able to do it. So Adam is to separate features. First do either the inner ones or the outer ones and then do the next set. Then we can rename the features so we'll call. The 1st 1 bottle revolved on the 2nd 1 label cut. If we zoom out, you can see that our bottle already looks pretty close to the shape of a Coke bottle, but you may have noticed at the top. And also, if we do a cross section view, you can see the bottle was actually fully solid. It's just one solid part, and that's one of the things will be dealing with in the next video. So it's a very quickly recap, or we did was did a simple revolved for the bottle shape using straight lines, sketch fillets and spines. Then we added to fill it. We did the label Kurt, using a cut revolve. And then we added a couple more Phillips In the next video, we're going to be adding some more details to the bottle. We'll be cutting out the ribs down the side on. Also around the bottom of the bottle will be using a circular pattern and will also be hollowing out the bottle using the shell feature
34. 6.2 Swept Cuts, Circular Patterns and Shelling: Here's our Coke bottle as we left it on. It looks pretty good, but if you actually look at a real Coke bottle, there's a lot more detail than this. There's quite a few ribs cut around the side, and there are also cuts around the bottom. So first we're going to cut these ribs down the side and we're going to use a sweat cut. The swept cut is very similar to a swept boss base in that it needs both the profile sketch and a path sketch. First, we'll draw the PATH sketch. Let's start a sketch on the same plane that we drew the bottle profile on. So this should be the front or the right plain, and for me it was the front plane. We need to draw a path sketch, which follows the edge of this bottle all the way down. If you think about what we've already got a sketch which does most of that. The original bottle profile sketch is actually the same path that we want to cut a long. So if you select that original sketch within the feature tree, you might have to expand the first feature, then click on convert on. All of these entities should then be added to our latest new sketch. The only part that we actually need is the outer line, so we can delete the rest of it. You can delete the center line, the bottom horizontal line on all of the detail around the cap that the top. We'd like our swept cut to follow the profile of the bottle, but we don't want it to get all the way to the Kappa. The top. We want it to stop around here. So select the line tool and draw a line starting from the current line something like that , and then do a similar thing for the bottom. So the starting point should actually be on this plane, and it should go in a roughly vertical direction, but not actually vertical. Next, select the trim tool and trim away the top on the bottom of the supplying the excess areas that we don't need anymore. Then at a tangent relation between the straight lines on display and you'll see that the top edge of the straight line is still under defined. So just add some dimension sent. It doesn't really matter exactly what they are, as long as the line is to find you gave and just accept the distance that's already there When you at the dimension, then for the bottom. It's the same sort of thing at a tangent relation between the straight line on display, Then the other end of the straight line should be horizontally in line with the origin, then just set the horizontal distance using smart dimension. Then we should have the path sketch complete so you can exit that sketch on will start drawing the profile sketch. They should be on the top plane, and it's simply a circle with a sense of point At the end of the path that we just drew. The diameter of it is 3.5 millimeters, and that should be fully defined. If it's not falling defined, you might have to drag the CenterPoint around until it picks up the coincident relation with the end of the path. Now we have both of profile on the path sketch so you can exit that sketch, select both of the sketches and then press swept cut. They should then automatically fill the two selection boxes and give you a yellow preview of the swept cut. And if that looks good, you can just press okay at this stage, If you preview doesn't quite look correct, then it may be that the sketches are in the wrong box is so what you can do is click in the selection boxes on the left here, right click, impress clear selection for both of them and then re select them. So the 1st 1 is the profile sketch, which should be. The small circle on the 2nd 1 is the path sketch, which is the long line when you select the path, it may be that you have to select each segment of the path separately, but solid works 2018 is really good at selecting the whole line together, so you probably just have to click on one part of it when you happy press. The green tick on your model should now have a swept cut, which looks something like this. We'll call this feature Ridge cuts next. We just need to add some fillets. So at a two millimeter Philip and it should go away around all the edges of both of the ridge cuts. The fill it all can be a little bit temperamental sometimes. So if you don't fully go all the way around the curve, just click on the sections at the top of the curve and you should get the entire loop and then do the same with the top cut as well. You can put all of them into the same feature, and then our first rib is complete. But we actually want to pattern this all the way around the outside of the bottle so we can use a circular pattern. For this. Select the Red Cup feature on also the Philip feature, and then we need to click Circular pattern. This can be found on the linear pattern. If you click the drop down, then quick circular pattern. First, we need an access to passing around, and we can choose a circular edge of this, so make sure you've selected access in the top box and then just choose a circular feature such as the top of the cap. Now you need to ensure that you've clicked in a pattern access box first. If you're still in the default box when you click on the circular edge, you'll actually select that edge to pattern as well, which won't work. So make sure you're in the Axis box and then click a circular Reg. Then we can set the number of instances, the pattern and above it. You have the total angle, which will be patterned around, and we want to set an equal spacing. So set the number of instances to 10. The preview looks correct, so press OK on already. That's looking more like a realistic Coke bottle, and you could rename that feature rib pattern. Now, if you look a Coke bottle, this is now looking pretty close. But unless it's a glass bottle, you'll see that there are also a load of ridges. Cow the bottom as well. We're going to cut these in the same sort of way, also using a swept cut on a circular pattern. And the first thing we need to do is draw the sweat cut profile, and we'll do this on the same plane that you made the first profile sketch on. So it's either the front or the right plain for me. It was the front plane on our sketch is going to cut in between these two ribs that we just cut start by drawing a center line down the middle of the bottle. That's like the line tool and start to draw 1/2 of this wedge shape. The top should be 2.5 millimeters wide, then the lines going down a 25 degrees from the vertical. On a total height, it is 20 millimeters. When you don't, you can select everything in the sketch and press mirror, and then you should end up with this would shape profile, exit this sketch and then we can draw the path sketch. And we want this to be perpendicular to the sketch that we just drew. So for me, this was the right plane. I would like to draw a sweeping curve that cuts up around the bottom edge of the bottle. It's an easy way we can do. This is just select the line tool. Draw a horizontal line 35 millimeters long and then a vertical 1 35 millimeters long as well. Then we can just select the sketch Philip Tool. It's like 30 millimeters, and it's quick on the point where the two lines joined and then we can see our sweeps going to cut up like this press OK to exit the sketch, and then we've got the path and the profile. So as before, select both sketches and impress Swept Cut, and you should automatically make the swept cut. If you don't, you might have to swap the selections round again, so make sure the wedge is the profile. On the curve is the path you might also need to check show preview, which is in the options when you're done, it should look something like this, and we can call that feature based cuts. We're also going to use a circular pattern to pattern this all the way around, but before we do, it's looking a little bit angular, so we'll add some Philips first up to five millimeter Phillips to these inside straight edges. Then we'll have a two millimeter fill it all the way around the outside edges. Now, as we mentioned before, the PhilipsEl can be a bit temperamental, so make sure you select the edge, not the face. Then you'll see. I selected the two outer edges, and then the preview failed. If we zoom in a bit, we can see that it's because they join it quite a sharp angle So if you select this third edge along the middle, then that will make the fill it be able to get all the way around the outside edge with a fill. It'll if you have any problems in your models. Just try playing around with which edges you select on the size of the Philip, and also even sometimes the order in which you select the edges. We're now ready to pattern this entire feature around the bottle as before we select the swept cut feature on the Philip and then press circular pattern. Then make sure you're in the Axis selection box and select a circular face. And as before, we also want 10 instances. Now if you get an error when patterning, which can occur particularly often with Philip features a little tip you can do is just select this box geometry pattern, and I will essentially just pattern the exact geometry of your feature rather than actually trying to calculate it. I can rename that feature as base pattern on now Coke, but was looking really good. But again, if you look at the top when we go to the cross section, you can see that it's still completely solid, so it's pretty much useless. It couldn't hold any Coke. We need to hollow it out somehow on we're going to introduce a new feature. The shell feature to do this shell can be found up here on the command manager, and if you click on it, you get the options on the left and you'll probably be defaulted to 10 millimeters thickness. So this means that the shell feature will hollow out our part. On the walls will be 10 millimeters thick. Obviously, that's a bit too thick for our coke bottle. So we put the value down toe, half a millimeter. And then, if you like, you can click on the show preview button and they should show you a yellow preview of the shell feature. This preview doesn't always work that well, and sometimes it can make solid works crash. So sometimes it's best just to leave this unchecked. And then if you press OK, the body will be shelled out. But now, if we look at it, it doesn't really look actually any different. The let's go to another cross section view, and now we can see that it has actually been shelled out is completely hollow. If you zoom in and look at the top, it seemed at the top is still sealed. So again, the bottle still pretty much useless. To fix this, let's edit the shell feature again, and then you can click in this box, which is faces to remove and click on the top face of the bottle. This will then shell through from this face and remove that face. If you don't select any faces than the part will just be completely shelled out but still be completely enclosed from the outside. So now we can rotate up. Until then, we can see all the way down on the inside, and if we did a cross section view, we can see that it's looking kind of correct. There's a few little errors around here, but we can fix those later on. And if you get down to the bottom, you can see even all the ribs and all the details have bean shelter thickness of half a millimeter. The shape of our bottle is pretty much finished now, so there's gonna drag back through the model to have a quick recap of what we learned in this video. First, we cut the first rib using a swept cup. This is very similar to a sweat boss base. It uses a path sketch and a profound sketch. We use the Convert entities tool to copy the first profile sketch into the New Path sketch , and we use the trim tool and some straight lines intention relations to just finish off that path. Sketch. Next we Addison fillets. And then we used two circular patterns. The pattern these two features all the way around the bottle and circular pattern could be found under the linear passing button using the drop down. Next, we use another swept cut on the bottom of the bottle, and we used a wedge shaped profile on a right angle arc path to cut away. Then we added Tim Phillips to round it off and remember that the Philip Tool can be a bit temperamental. So sometimes you might need to play around with the settings things like the size of the Philip and which edges you select. And sometimes it even helps to split the Philip features into separate features. Then we used a circular pattern again to pattern these features, and then finally we looked at the shell feature. It's a few shell and selective face and you'll cut away that face. If you don't select any faces, then you're part will be hollowed out, but it will still be completely enclosed. So our bottles now about ready to hold some liquid. But it actually also needs a cap or let so in the next video we're going to learn about Helix is, and we're gonna use those to model a threat, which will allow the cap to be screwed on.
35. 6.3 Helixes and Threads: our bottles now only missing one part, but it's a very important element, and that's the thread around the top that allows you to screw the cap on enough. A threat is actually based on the principle of an inclined plane, which is one of the oldest human inventions ever, nearly 5000 years old. And if you think about a threat, is just a profile which goes round a helix, which is essentially an inclined plane going around a circle. Threads are extremely common in everyday life, not just on things like bottles, but especially on things like fasteners, screws, bolts, nuts. And it's no exaggeration to say that there are trillions of threads throughout the world in different products. First World model the thread on the bottle, and then we'll talk very briefly about threads in general and how it can use them in your models. And especially in three D printing. The threat is going to be made using a sweat boss base, so the first thing we need to do is draw our profile sketch, start sketching the right plate and draw a profile like this. It should be coincident to the outside edge of the bottle cap section, and it should start one millimeter below the top of the cap. The small outer section is one millimeter high, and then the inner angle is 110 degrees, and it's actually symmetrical, so you can put a small center line across the middle and make it symmetrical, and the outer diameter is 27 millimeters. So at a center line down the middle of the bottle. And then at that dimension, when your sketches fully defined, it should look something like this. If you zoom in, it might look like as a small gap between the outside edge of the cat body on the profile, but as long as it's coincident, there shouldn't actually be a gap there. It might just look like the rest duty of solid bricks view settings, so exit out sketch, and the next thing we need to do is draw the path sketch, which will be the helix. Helix is always based on a circle on a plane, so the first thing we want to do is add a plane at the position where we want to start the helix. So, like the top plane in the future tree they control, click and drag it upwards to add a new plane and zoom in and select the vertical midpoint of the profile we just drew. This should then give you a new plane, which cuts through the middle of the profile. Now we can create the helix itself. We want the helix to be the size of the outside diameter of the top cap. So start sketch on the new plane that we just made. Then select the outer edge of the top cap and press convert entities, and this will make a circle, which is the exact diameter of the outer edge of the top cap. But on the new plane, we can now use that circle to create the helix. So Exodus sketch. But make sure you've still got it selected in the future tree. Then get to curves in the command manager. Click on the drop down and then click on Helix and Spiral, and you should get a yellow preview, which kind of looks something like this, using the property manager on the left. As usual, you can adjust all the different properties. For instance, you could make a spiral that will stay with pitch and revolution. The first thing we're going to just is the pitch, and this is the distance that the spiral travels. In one complete revolution, we'll set it to four millimeters. You can also set the number of revolutions. Make sure that set to to we'll keep the direction is counterclockwise and you can reverse the direction of the helix if you need to back clicking this box. We also want the helix to start at the exact point of our profile sketch so you can adjust the star angle here and move it around until the start of the helix is where the profile sketches and there should be 360 degrees and you can see the start of the helix is know exactly where the profile sketches press, okay, and you'll see that the original circle sketches now consumed by the helix feature. And now we have our profile sketch and our path sketch so we can do a sweat boss base as normal. Select both of profile sketch on the path which is the helix, and then press swept Boss base on the preview should look something like this press. Okay. And then we have our first thread feature, which you can rename as threat. You can see this looks about correct. If we zoom in on the start and end points, they're a bit too angular, and they'll probably be much smoother in real life. There are quite a few different ways we could smoothies off. According to the official thread drawing. There should be another smaller helix path, which cuts into the bottle, which the threat profile then follows, giving a nice, gentle transition into the bottle. We could also just started fill it to the end or a sham for, But what we're going to do instead is we're gonna cheat slightly, select the end face of a threat and start a new sketch, and then click on cover entities and you'll see this will create the four lines, which make up the outside of this face within, selected in a vertical line. And we'll use that as an excess of revolution to do revolve. So we're revolving this thread profile around the bottom edge of it, and they should give us a nice, gentle curve into the bottle. If you look at the preview and if you actually make the feature itself. You can see if we go up and look inside the bottle that this now actually makes this little note protrude inside the bottle, and we don't want that. So we only want to revolve the profile of certain about. We don't want to revolve the full 360 degrees. So edit the revolt feature and change the angle from the full 3 60 degrees down to 100 degrees. You can flip the direction by pressing this button here and when you're in the correct orientation, press OK and you can see that now The Revolved only just cuts into the bottle itself, and we have a nice circular transition into the threat. As I said in reality, this would probably be a much more gradual transition, but for this model, it's a good approximation. Then we can do exactly the same on the bottom. So again, select the end face of the threat started. New sketch used to convert enter sees tool to make the outer edges of that face into new lines, then select the in a vertical light and will revolve about that. The only 100 degrees, not the full 3 60 then press OK, and you could rename both of those speeches as threads start on threat end to finish awful , smooth off the thread a little bit by adding some Philips. So first and 1/2 millimeter fill it and add it to the two outer edges of the threat and then also select these circular outer edges at the start in the end point. So in total, you should have six edges selected on the preview should look something like this. Be careful when you zooming in and out with the mouse wheel that you know accidentally increasing the size of the Philip. Sometimes if you're in the selection box and you zoom the mouse wheel, this can change the dimension in there. Then, when you happy with that will add another half minute me to fill it around the bottom edge of the threat, and you may have to keep selecting the edges until you get the full preview. Sometimes you can just select one single edge on the tangent. Propagation will select all the other Reg is that you need, but sometimes you have to select them one by one, and it really depends on the specific geometry of your model now threads looking a bit more rounded on a bit friendlier and finally will add 1/4 mil me to fill it to the top two edges . You can actually just select the face, and this will fill it all the edges that come off it, and the coat ball threat is now complete. So when you're modeling threads in your models in general, there are actually quite lost standard sizes, and this is a really good website nd metric dot com. This list all the different sizes of threats. You can also just search things like thread drawing, thread, profile, drawing, and you should get something similar, and it's drawing at the top shows you the exact profile of both of bolts on the nut. So in this case, the bolt would be the bottle itself. On the note would be the cap that screws onto it. Then, if you look down the table, you've got all these different dimensions, and they relate to these different diameters in the drawing. You can also just use this drawing to create your own thread sizes. If you're doing something like three D printing and there are a lot of standard angles and size is usually based on 60 or 70 degrees, and you can use all these different formulas at the side to work out how your thread will fit exactly together When you're modeling for three D, printing is best to leave a bit of tolerance, and it depends exactly on your printer type. But this could be anything up to about one millimetre, and you can actually three D print working threats pretty well. They will just drag back through the model to recount what with let so thread is based on a swept boss base, and it uses a standard profile and also a path, which is a helix. The helix starts with a circle on a plate, and you can use the curves tool helixon spirals to create a helix. We then set the pitch, which is the length of one complete rotation on the number of irritations and the other options for the start. In the end points of the thread, we just made a new sketch on the start. In the end faces, we use the convertible to make that face into a sketch, and then we revolved around one of the sketch entities, but only by 100 degrees, not the full 3 60 with an added some Phillips just a round off the edges of the threat and we round it off the top of the bottle in the next video. We're just going to be finishing off the inside of the bottle because there's a slight error here. Then we're going to be adding some transparent materials, adding the decals on putting this into an assembly and then later on will be creating a cap with a thread on, also adding that it
36. 6.4 Intersection Curve and Decals: in this video, we're going to be finishing off the Coke bottle, and this is the point that we left attack. So if you look at it all the outside features are done. We've done the thread on the top, and we've done the ribs on the bottom on the site. If we go to a cross section view, then you can see that there are a few little errors near the top when we use the shell feature actually shelled out these small ribs on the outside as well, and we don't want that. We want those to be solid like they are in real life. So hopefully at this point you're thinking, Let's just revolve with profile around that feature and fill in those sections, and that's probably the easiest way to close these gaps. So start to sketch on the front or the right plate. Whichever one you got the cross section view out is fine. Then, as usual with your evolves lets out a center line. Next, we need to draw the revolt profile sketch itself, and maybe you're thinking at this point the easiest way to do issues. The convert entities tool. So let's give that a try. Select the edges that you want to come for, and then press convert entities. Unfortunately, you should see that nothing happens. And the reason for that is because there's not actually an edge here that we can convert. We're actually looking at cross section view of one single revolved face, so there isn't actually an edge there that we can pick up with the convert tool. But thankfully, there's another tool, which is very similar to the convert, which we can use, and that's called the intersection curve. This could be found under the Convert Entities button. If you click the drop down, you should see their intersection curves so quick this and we'll have a look at how it works. Let's select all of the faces that we try to convert earlier and then press OK, and you should see you actually get the converted entities on both sides on the left and the right. What intersection curve tool does is making new entity or set of entities at a point where the selected face cuts through the plane that you're sketching on. And that's the reason why we have the sketch entities on both sides. of the bottle because both sides cut through the plane that were drawing on. Because we're making a revolt feature, we only actually need the entities of one side of the bottle. So delete those on the right hand side and then let's zoom into the left. Select the line tool and close the profile. You can then select the center line and press revolved Boss Base. If you accidentally select another line as the excess of revolution, just remove it from the selection box on the left and then select the correct sensor line, and they should fill in that cavity on the top lip. Now, looking at the inside of our bottle, we actually want to fill in this cavity on the bottom lip as well. So let's edit the sketch that made it the revolt feature. You can do this in the feature tree. Then let's use the same process for this profile at the bottom. So let the inside faces on insulate the intersection Curve tool, which is underneath the convert entities, to then again, delete the excess entities on the right and that zoom in and close this profile on the left . You can either use a straight line or a spine if you want to continue the curve a bit more smoothly. And as he closed the profile off, the preview might pop up just to show the extra material that you'll be adding on the inside of the bottle should now be nice and smooth. Now, if you do have any problems with your evolve, just make sure that your profile is completely closed. Make sure you've deleted the extra entities on the right hand side and then zoom into a profile on the left and make sure there are no gaps, depending on exactly how your model shelled. There might be a small, extra vertical line here, and if there is, just select that face and then use the intersection. Curves tool again. Once you happy reading that feature filling neck, they have resume out and closed a cross section view. The geometry of our bottle is now complete. Now the shape of the bottle is looking really good, but it still doesn't quite look like a Coke Bowl, and that's because it's still this gray white color. Maybe it's some kind of dodgy milk bottle. Awesome, and so what we'll do is at a clear plastic appearance to it. Open the appearance scenes and decals tab, then under the plastic section, find a clear plastic. There's quite a few different types. It's really up to you. But I went for the low density polyethylene, and as soon as you double click disappearance to add it to the model, you can now see that the models semi transparent and we can see three to all of the features at the back. As usual, with the appearances, you can edit them by going to the display manager and then right clicking on the appearance and pressing at its appearance. If you go to the advanced tab and then the illumination tab, you can see here that we can adjust the transparency amount and you can do this with most transparent materials can also changing, like the index of refraction. And again, I'm gonna put the round edges up 2.2 millimeters just to give it a little bit more of a rounded, realistic look. And at this point, if you like, you can do a final render Now, one thing to note with transparent materials is that they can take quite a bit longer to render sometimes. And that's just because there's quite a lot more going on computational e in terms of all the lighting passing through the transparent material that has to be calculated. First, you'll get these lighting pre passes, and then, eventually your model was start to render itself on. When you're in areas of high details such as ram a thread, it might take a little bit longer as well. And when you're done, you can zoom in and hopefully can see. It looks quite realistic. We can see through the bottle and also all the detail around the thread at the top. So if you saw this model in real life, somehow, if you search on the street physically, you probably be able to guess that it's a Coke bottle, but it still doesn't really stand out. Was a coat bowl that's cause it's missing the very important label toe at this. We can use a D. Callin solid works on a detail is basically just an image that could be added into your model so I can use this of things like stickers and branding and even things like photographs or backgrounds or screens. If you're doing an electron ICS product. Details are added in the render tap to go to render tap and press edit decals. The first thing that you need to do is select the decal by clicking on browse. This will usually open up your default Decals folder, but you can adjust this in the solid work setting if you like. We're going to add the coat label bit map file, and you can find this in the downloads for this section. When adding decals, you can't quite a lot of different file types. Things like J, P, X, P and G's P and G's are really good, because decals support the transparency of those so you can have sections which don't have any background. A lot of the transparency options air down here, but for this particular detail, we don't need those, So let's just leave it at no mask. Then we can click a face to insert the decals, and you see that it automatically gets wrapped around the cylinder like this. And if we get to the mapping tab, then you can set the type of mapping their different options. Things like projection label cylindrical is the best one for this because it is a cylindrical object. And then there are many different options below, such as the Axis reference, the starting rotation and things like that. And consider as I just the angle here. The label actually spins round on the bottle in the graphics area. Now, looking at our label itself, we can see this way too short or too narrow, so you can grab these handles on the image in the graphics area and drag it upwards to increase the size. But you see, as we increase the size, were also increasing the whip, and that's because the aspect ratio is locked together. So if we get a nice straight side on view and then uncheck this fixed aspect ratio box and we can then adjust the wet but keep the height the same. So let's try the wit that something like 100 and then if we move around, you can see that's probably a little bit too long still, so let's maybe go down a bit, maybe doubted 50 or 60 and just play around until you can't quite see the gap where the label ends and starts. I want it looks about right press. OK, save the bottle part, and then we'll use that part to making you assembly. To go to file, make assembly from parts and then insert that bottle into your new assembly fixed to the origin. And now, if you like, just rotate your bottle slightly so you've got a nice view of the label and then do another render. If you see him into the render when you don't, hopefully that's now looking pretty realistic. Save the assembly and then go back to the part file of the bottle. Now, if you want to edit or change of details in any way, they can be found under the display manager tap and go to view decals, and then you can expand this and you should be able to see all the details in the model, and you can right click on them and press edit. Then you can change the mapping and the illumination on all of the other options. Now going back to the featured tree. Let's have a very quick recap of what we covered in this video. We filled in the cavities inside the bottle neck, and we used the intersection curve to do this. This is similar to the convert entities tool, but it creates a new entity at the point where the selected surface cuts through. The plane that you're sketching on were then used these profiles to make a revolved feature , which filled in the cavities. Next, we added a transparent material on we looked, adding decals, which can be found under the render tools tap. Then the details in your model could be edited under the display manager. Tap and details are a brilliant way to improve the realism of your model really quickly or to add in extra detail to model maybe things like text labels or buttons. In the next video, we'll be using some of the same techniques from the earlier videos to make the bottle cap and then, after that, will be put in the whole assembly together and finishing things off.
37. 6.5 Coke Bottle Cap: Here's the bottle assembly as we left it on. The bottle itself is complete now, so the next thing that we need to add is the cap so we can hold in the Coke. So starting new part on will draw a Revolve sketch on either the front or the right plane. As always, start with the center line and then draw the profile, which could be found in the course downloads for this section, Then add in the dimensions. Remember, if you have a center line in your model, you can click on the line. You want to dimension on the center line and then move over to the other side of the center line and you'll get the full diameter. Once you got the rest of the sketch profile done at the sketch, fill it to the top right corner, then select the center line and press revolved by space rename at first feature cap and then save your parts. We're going to start adding detail by drawing the great first, so spend your model around and select the underside of this face. The bottom section here is the small section that seals the cap on, and then breaks off when you first open it, draw a small circle, which is on the outside diameter of the cap and just set the diameter of That's 1/2 a millimetre, and it should be horizontally in line with the origin, so that should then be fully defined. Contender, blind, extreme. And if it's going in the wrong direction, just click the button to flip the direction on the length of it should be 11.25 millimeters , so it just takes up to this edge here, next to against at 1/4 millimeter. Fill it so 0.25 millimeters to the top and bottom circular edges of this great feature, then rename the extruded circle as grip. Next, we're going to use a circular pattern to repeat this great feature all the way around the top of the bottle. So select both the grip on the Philip feature and impress circular pattern, which can be found into the linear pattern dropped down. Make sure you're in the axis of revolution box at the top, and then usually we could just click a circular face or a circular wretch. We're going to show you another way to do it. This is a bit more long winded, but it might be useful in the future. If you don't have a circular red your face that confuse, exit a Circle Passen feature for now and then on the features tab of the command manager. Choose reference geometry and then click access. And this can add an access to your model, which is kind of similar to a center line but can be used for features on the left. Choose the two planes option, and then we'll select two planes on an access will be created at the point where the Intersect so select the front on the right plain, and they should give you an access straight down the middle of your bottle cap centerline. Now we can use this access for our circular pattern. So hold on control. Select the access the great feature on the Philip feature and impressed circular pattern. Then change the number of instances toe 100 press OK, and it should start looking more like a proper coat ball late. Now, rename that features something like grip, pattern and then save your model. The next feature to add is the threat on the inside of the bottle cap which will allow it to screw onto the bottle. And we're gonna use the same process that we used for the bottle itself. You might remember that we used a swept boss base and we used a helix for the pack. So the first thing to do is to create the helix. Rotate your bottle cap around so you can see underneath it and then start a sketch on this inner upper face. Then select the inner diameter and press covered entities and should now have a circle, which is the diameter of this intersection. On that face. Make sure you have the sketch selected or you're still in the sketch. Then go to the features tab on the command manager and press curves, helix and spiral. We're going to use the same settings as we use for the bottle helix, so the pitch should be formula meters and the number of revolutions is too press OK and now we're ready to draw the threat profile. If you rotate your model around a bit, you should be able to see the helix fairly clearly, and we want to start our thread profile at the start point of the helix, so start sketch on either the right plane or the front plane. Whichever one cuts through the start point of view helix, and then go to a cross section view just to make things a little bit clearer and start drawing the thread profile. Use the line tool and start from the very start of the helix path, and you should be able to pick up the automatic dimension so that your first point is fully defined. Get a new smart dimension. So the enter angle of 70 degrees the width of the threat profile is one millimeter. On the height of the small edge is one millimeter. We can also add a horizontal center line just to make sure that the profile is fully symmetrical. When your profile is fully defined, exit the sketch and then select both your helix and your new sketch. And for a sweat boss base press okay and you're swept of our space Feature will be created , then rename the feature as a threat. The next thing to do the same as with the bottle is to round off the start and end points of the threat will do this by selecting the end face. Then use the convert entities to to convert the outer edges of the face into new lines, then select the in a vertical line and use this as an axis of revolution to create a revolved by space. Remember, we only need to rotate 100 degrees, so you're only just cut into the bottle, then do exactly the same at the top. Select the end face of the threat. Usually convert enter sees, too. Select the large vertical line and then use that to create a revolved boss base with 100 degrees of rotation. Then, finally, the last thing to be added. Other small Phillips. So at 1/2 millimeter, fill it to the upper edges of the threat. Remember, you might need to select six faces, so it's the two curves. Start the two large curves and then the two small curves at the end. Next, at another fillip feature again half a millimetre and select the bottom edge of the threat . This one is a little bit trickier, so just select the bottom edges and you might have to keep selecting them until you get the full preview and then press OK to create the feature, then rename the features as threads starting thread end and the geometry of the model is complete. Next, let's add an appearance to the model, so let's use a medium glass plastic, and we'll choose a red for the iconic coat color. Then we can add a decals to the top of the cat, so choose the circular face on the top of the cap, and you can go normal to then go to the render tools tab press, edit Dicle and then find the cap label bit map file from the course downloads. Now, if you selected this circular face on top of the cap, when you insert the detail, you should automatically get the correct mapping, which is label. You can have a play around with the others if you like, and you can adjust the size and things like that. The site should be about 28 millimeters. If you go smaller, you might just see this white border around the edge of the decals. When you happy with the size and position, press okay and then save your parts. So it's a quickly recap. This simple part will just drag back through the model. We started with quite a simple Revolved sketch. Then we just use the boss extrude of a small circle and fill it with the ends toe. Add one single section of the grip next week added an access using the reference geometry, and we use this access for a circular pattern, using the grit and the fill it all the way around the top of the cap. Next, we added the threat inside the bottle cap, and this was done using a helix and a sweat thread profile in the same way as we made the threat on the bottle itself to round off the start and end points of the threat we used to convert entities to. And then we revolved the sketch around one of its own lines. Then, finally, we just added some Philips to smooth off the threat. Next, we made the cap itself red, and we added a decals on to the top of the cap. In the next video, we're going to be finishing off the Assembly, and we're actually going to be adding some coke to the bottle, and we're gonna be looking at ways you can edit parts within an assembly to do this
38. 6.6 Adding the Coke - In-Context Parts and the Cavity Feature: But if the Coke bottle on the cap part are now both complete, so let's put them into an assembly. Together. We've already got the assembly fire with just the bottle. So let's go to that file and then add the cap in clicking certainly components. And if you got the cap open, it should appear here. And if not, you'll have to find it on your hard drive by pressing brows. Position the cap somewhere appear and then we can add some mates. First, we'll add a concentric make by control clicking on two circular faces, one on each of the parts. Next, you might need to go to a section view just so we can fully ensure that the cap is in the correct place. Drag it down or up to a position that looks about right, and then we look at adding our mates. You can see with a section view that if you accidentally rotate one of the parts, it also rotates the section cut so you can end up with two sections that aren't aligned. And if this happens, just press control, be to rebuild, and that should realign the sections. What 1/2 millimeter distance made between the lips on the cap on the bottle, and you might find that when you're trying to select faces on a transparent part, you have a few difficulties. That's because you tend to select through the face, so let's try rotating the cat around a little bit, so there's nothing behind nuclear section of the bottle, and then you should be able to select the face. Then you can select the corresponding face on the cap and will add 1/2 millimeter distance mates on your notice with my model that we now have an interference because the distance has been applied in the wrong direction. So you can edit the mate and flip the distance and actually move the cap down a little bit , sits in the correct position. Whilst we have the section view open, let's zoom in a bit and take a closer look at how the threads interact. You can see on my model that there's a nice clearance between the bottle threads and the cap threats, but yours may not look exactly like this. You might have an interference between the threats, and this really depends on the exact angle of rotation that the cap is at. If I rotate my cap about 90 degrees and then rebuild the model, you can see that now. I do have an interference so you don't have to do this. But you might just need to rotate your cat around a little bit until the threads air clear of each other. And this is related to what we're talking about when we were mentioning the tolerances of three D printed threats, so press em to open the measure tool and will measure the distance between the inner threat on the outer threat So you can see on the top here. We've only got about 0.1 millimeter. We've got more on the bottom here, about 1.4 millimeters, and that's just because the cap isn't exactly correctly aligned at the moment. If we measure between the diameters themselves, we'll see. We've got about half a millimeter here, and you might remember that I recommended that the clearance for three D printing should probably be about half a millimeter toe one millimeter, and it really depends on your printer and how accurate it is so hard for millimeter might work if you've got a pretty good printer, but you might want to increase this out. So about maybe one millimeter and the beauty of three D printing is that it's pretty fast, so you could just test it. And if it doesn't work, if you see the too tight or too loose, then you can adjust the next print as well. Quiet. So when you're happy with the view of the bottle on the cap, we can close the section view and then zoom out. And you might notice that we're missing one very important part. The Coke bottle, the Coke itself. So let's have a quick think about the ways we could model the Coke. Maybe we could make something like the bottle profile, but just slightly smaller, half a millimeter smaller to account for the bottle wall thickness. And then we could add in all of the ribs and stuff, and then we could cut off the top. But that's quite a long drawn out process, and there's actually a much easier way we can do this to do. This will start a new part directly in the assembly, so go to insert component, click on the drop down and click new parts and you'll see that at first it looks like not much has really happened. If you look at the cursor, you can see it's changed to this small tech, and this indicates that we need to select a face or a plane to start the new part up. So looking our planes, let's start with the top plane because this is at the very base of our model. Now the sketch icon appears in the top right corner to indicate we're in this sketch and you'll see that under the mates, we now have this in place make, and that's related to the new parts. When you see in the part tree, we also have a new part, which appears in square brackets. Press end to set your view too normal to, and you should now be looking from either the top or the bottom of the bottle, and we're going to draw a circle, and this is going to represent a cylinder of Coke. So draw something a little bit bigger than the Coke bottle, maybe 80 millimeters diameter. Make sure that you start from the origin, and then we'll extruded upwards to fill up the Coke bottle. It's totally up to you. How full you want to make the bottle? I originally went for 200 but I looked a little bit full. So then dropped down to 1 80 Then when you've made that extrude exit the part by clicking on the exit part in the top, right, and now we're back in the assembly. So this is our cylinder of Coke on. We're going to make it look more coke, like in a minute. But first, we're gonna look at the new park, So if you go over to the part tree, you'll see the name of it is part too. Well, maybe you've got a different number, Potsie. And then you have this little arrow upwards are which is sometimes called the circum flex. And then after that, you've got the name of your assembly on all of that is in square brackets. That indicates that this part is a virtual part, which means that it only exists within this assembly is not saved as an external file. The first thing we'll do is right. Click on it and press renamed part and then rename it as something like Coke. And you'll notice that once it's renamed. Only the first part of it is being renamed on the part after the circum Flex is still the name of the assembly, and this is just to ensure that you've always got a unique file name for your parts. So if we saved the assembly now by pressing control less or clicking on the save icon at the top, you see get this option to save this new part, either within the assembly search stays as a virtual part, or you can save it externally, and it will then become its own part. Having a lot of virtual components can just speed up your workflow a little bit if you're doing top down design, which means you're designing parts directly in the assembly based on other parts in the Assembly. And it can also keep your folders a bit Uncluttered of parts if you're trying out a lot of different designs, But in most cases, I probably recommend saving your part out as an external file. So click on save externally and then click on the file name on. You can specify the path where it saves, and you can also just set it to the same path as the assembly, and now you can see that the square brackets have disappeared, and now this is just a normal file. And if you were to go to your assembly folder, you would now see a new extra part in there, and you can open and edit this part as normal within the Assembly. You can also open virtual components for editing when they're in the assembly, but they will still be saved within the assembly file. So going back to our cylinder of Coke, we now want to delete all of the material, which isn't inside the bottle parts. So the first thing we'll do is edit the coat part by clicking on it and pressing edit parts . And you can tell that we're editing the part because you can see this icon in the top right corner. The feature we need to use is called the cavity feature, so if you go to insert features cavity and you can also find this using the search bar at the top, then click on that and these options will appear on the left. So we're currently editing the coat part and any other parts, which we add into this design components box will then be cut away from the Coke part, and they will leave a cavity in the shape of those parts. So if we select the Coke bottle part in an area, the exact shape of that part will be cut out of the coat part. You can adjust the scale here for this. We just want to stay at 100% and then press OK on a box should papa asking which bodies you want to keep? And that's because we've actually cut the coat part into two separate bodies. You've got the coke inside the bottle on the coke outside of the bottle, so we want to choose to just keep the coat that's inside the bottle. So press selected bodies and we want to choose the body, which is inside the bottle. The numbers may be the other way around on your model, but this selection area should be blue. And if you make a mistake, you can always edit the feature afterwards. After you press OK, you can exit editing. The parts are back in the assembly, and now you should see that we've got some kind of gray liquid in a bottle. Now let's have a closer look at this new coat part by opening it by clicking on it in the Part Street and impressing open parts. So we have a shape, which is the exact same shape as the inside of the Coke bottle. The first feature is the boss extrude, which was just a cylinder that we drink and then the next feature is the cavity. And after the feature, you'll notice that there's a small arrow on. This indicates that the feature is using an external reference. That means that this feature is using data from another part, and in this case, that's the shape of the Coke bottle. So if you were to change the Coke bottle part, then this cavity feature would also change, and it's gonna be really useful. If you've got a complex model, you can have different parts linked together. So if one part changes, all those changes can automatically pull three to the rest of the assembly. And this is sometimes noticed top down designer in context design, and we'll talk about this a bit more in future sections. So the shape of our Coke ball is looking perfect or we need to do is change the exact appearance of it. So let's have a look under the organic section, then under the Liquids folder. And it's probably no surprise there isn't actually a default material for Coke, but we can find something pretty similar on the closest in here is probably Motorola. So let's select that. And then we can edit appearance and just change the color of it. Make it a bit darker brown. More like a real coat color. We can also go into the illumination tap under the advanced section on. We can adjust the transparency a bit. Cokie's can of opaque. So maybe put down to about 30% transparency. Then, if you get back to our model, we're now looking much closer. The cooking. The preview probably looks a bit to see through, but when you do the render, it should look about rights. So before we actually settle rendered going, let's just spin the bottle around a little bit to conceive a label and then position it as required, may be put in the perspective. You I'm just using the arrow keys here to move it around, maybe even look at the render options and set it to a higher quality. If you want. Spends how much their time you have. The higher settings of rendering tend to take quite a bit longer on the difference in quality. Isn't all that great? Usually Maybe, if you want to, you can even change the plastic type to something a bit. Shinya I found that for the clear bottle, the acrylic material works quite well. So to recap, we added the existing bottle and cap parts into an assembly in, mated them together. And then we added a new part directly into the assembly by going to insert component new parts. First, we selected a face or plain to start the new part on on. This should create an in place mate, and then you can start sketching and using features as normal. We created a large cylinder of Coke bigger than the Coke bottle, and then we used a cavity feature to cut the bottle out of the coat on. We discarded all the coat there was outside of the bottle. So then we just had coke inside the bottle in the exact shape of the bottle, and we set the closest liquid material we could find a Coke, which was oil, and then we just change the color of it. So in the next video, as usual, be doing a recap of everything we've learned in this section. Then in the next section will be learning about lofts, which are the last of the four main features that you'll be using for modeling, and we'll be using these lofts to create a computer mouse.
39. 6.7 Coke Bottle Recap - Part 1: in this section, we learned about building the Coke bottle, and we learn about features like Swept cuts, circular pattern and the shell feature. As usual, we're gonna rebuild the model from scratch in quick time just to give a recap of everything we've covered. We started with a new part, and initially we started with the Coke bottle itself. On the main shape of the bottle was based on a revolver, So draw the revolves sketch on either the front of the right in plain and first we drew all of the straight lines. Then, as usual, we started to define the sketch by adding smart dimensions and as you had the dimensions. If you haven't quite drawn out there drawing properly, then you might have to drag some of your lines around like I had to next week added in two points for the spline curve on when they were fully dimensions, we added in the spine care of itself, which cut through those points, and we used a tangent relation between the straight vertical line on this plank of then we just adjusted the curve by I to make it look more like a Coke bottle next we added displaying curve at the top. And again we added a tangent relation between the vertical line on the end of the spine. And then we use the handles to adjust the other end of the curve. So it looked like a nice flowing curve. After this, we added our sketch fillets, and at this point, the sketch should be fully defined, and it should be a fully closed profile. So he selected the center line, and we revolved this profile by pressing revolved by space. So there we have the main bottle shape and we call this bottle revolve. Then we added a 10 millimeter fill it to the boss image just to round it off. We could have also added, this is a sketch. Fill it. But let's Anna is a separate feature. Next week is the Revolved Cup to cut out section for the label, so we started sketch on the front or the right plain, and we used to corner rectangle, which was coincident to the top in the bottom of this vertical section in the middle. It cut into the model by two millimeters and it could extend by any amount, and we revolt that around a sensor line to give us our cut. Next refill. It'd the edges of this cut with a two millimeter fill it, and you had to add this in two features, so the inner fill it on the outer Philip. That's because the cut was only two millimeters deep. So if you added both together, then one would eliminate the other on the feature would fail. Then you can rename the cut feature as label cuts. Next, we used a sweat cup to cut the ribs down the side of the bottle, and the first thing that we need is a path sketch. So we started a sketch on the same plane as the first sketch was started on. Then we selected the first sketch and press convert entities on this exactly copies the sketch into the new sketch. We then deleted the entities that we didn't need such of this middle line, all the details around the capital top on the bottom, horizontal line. Then we added some straight lines coming off this planes and trimmed away the excess. We had a tangent relations between the straight lines and the spines, and then we defined the other end of the straight line just to fully define the sketch. And the end of the lower straight line should be horizontally in line with the origin. Exit that sketch and next, we need to add the profile sketch. So this was on the top play, and it was just a small circle 3.5 millimeters diameter, and the center point of it was the end point of the path sketch that we just drew on. Your sketch should be fully defined. So then exit that sketch and we're going to use this profile sketch on the path sketch to do a swept cut so you can control quick and select both of the sketches and impressed Swept Cut if you find that their pre selected the wrong way round than the feature won't work, and if this happens, you'll have to clear the selection boxes on the left here and then make sure the small circle is selected as the profile sketch and then select the other sketch as the path sketch. Now you may have to select segments of it separately, using the select group option from the small tool bar that pops up and then, when you're done, press the green tech and then press OK, and you should have your swept cut like this. Rename that feature on the next will at a two millimeter, fill it all the way around the perimeter of these two cuts. Once that's done, we want to use a circular pattern to pattern this Ripka and fill it all the way around the bottle. So select both of the features, the rib cage and the fill it and then select circular pattern. This could be found if you click the drop down under the linear pattern, we should already have the features pre selected. Then make sure you click in the pattern access box at the top and then we'll choose. A circular face was set 10 instances, and this should pattern all the way around your bottle. The man that's done, you can read in that feature as ribbed pattern. Next, we're going to use another swept cut to cut the ridges out of the bottom of the bottle. So first will draw the profile and did. It's on the front plane, so it's in between two of the ribs that we just cut out. Draw this wedge shaped profile on when it's fully to find, Exit that sketch and then we'll draw the path sketch. This should be on a plane perpendicular to the sketch that we just drew, so that would be the right plane. I would just draw two lines, one horizontal and one vertical, and then we use a sketch, fill it on the corners, give a nice, sweeping curve. You can then exit that sketch, and then we'll select the Sweat Cup feature and then would choose the profile, which is the wedge shape and will also choose the path, which is the Ark path and should then get a cut around the bottom of the bottle. Certainly like this. This cuts looking about the correct shape, but it's a bit too angular still, so we added two sets of Phillips to round it off a bit. The first set was five millimeters, and that was the two inside edges, and then the second set was two millimeters, and that's all the way around the outside now, Depending on the exact shape of a curve of the bottom of your bottle, you might need to also select this line that runs down the middle of the two larger Phillips, and then that will give you a bit more of a rounded edge on it will allow the fillets go all the way around the perimeter. Then, as worthy of the ribs, were going to use a circular pattern. So select the base cut on the two fillets that we just added and then select circular pattern. They make sure you're in the pattern access box again at the top and then select a circular face and we want to do 10 instances again. When you're done with this, you can rename the sweat cuts something like base cut on. The circular pattern is just something like based cut pattern. So the bottle was looking pretty good now in terms of shape, but you remember that it was still completely solid. So introduced the shell feature, and this could be found on the features tab of the command manager. We set the thickness to half a millimetre, and if we don't click any faces, this just gives us a completely hollow but fully enclosed part. If you select the faces to remove selection box here on the top left, you can then click on the face and this face will be removed on the part will be hollowed out with that face open. And there we have our hollow Coke bottle. Next, we wanted to add the thread itself so it could screw the bottle cap on. And this was done using a sweat boss based on the helix and the threat profile. First we drew the threat profile on the front plate, and when that was fully defined, we used that to create a new plane that we started the helix on. So he dragged up from the top plate and we clicked on the midpoint of the thread profile. On this set a new plane which cut through the middle of that threat profile that was parallel to the top plane. We started a new sketch on this new plane, and then we selected the outer diameter of the bottle cap and press convert entities, and this gave us a new circle, which was the exact outer diameter of the bottle cap. But all not new plane. This new circle could then be converted into a helix to use for sweet, So go to the features tap on the command manager and press curves, then select helix and spiral and it should convert that circle into healings. We set the pictures four millimeters and the number of revolutions as to and you might need to just a star angle so that the start of the helix lines up with the start of the threat profile. Once you press OK, you can see that the circle sketch has now being consumed by the helix feature. Now you can select the helix feature and the original profile sketch on press Swept Boss based and that should give us our thread feature. The next thing we did was to round off the start in the end faces of the thread sweep. And we did this by starting a sketch on either the start of the end face, then using the convert entities tool. And this makes all the outer edges of the face into new sketch entities. We could then select one of these the inner vertical line, and use this as an axis of revolution for a revolved boss base. We only revolved it 100 degrees not before 36 day and this just means that the feature only just goes into the bottle, and it doesn't go all the way through the wall to the inside neck of the bottle. Then repeat the exact same procedure on the other end of the threat. So select the thread face started new sketch press, convert entities, and then use the in a vertical line as an axis of revolution and use a revolved boss base with 100 degrees rotation and then press OK, and then you can rename all of these features. Next, we added some fillets just a smooth off of thread a little. So first we added them to the top ages of the threat. There should be six edges to select in total the too long helix edges, and then the two small edges of start on the too small edges at the end, and you may be able to use the edge selection toolbar. This pops up next. We also added 1/2 minute me to fill it to the bottom edge of the threat on again. You may need to select the features until the previews complete. Or maybe you can try the edge selection toolbar. If you can see a suitable selection on there, then finally we just added 1/4 millimeter fill it nor 0.25 millimeters to the top face, and in this should fill it both of the edges of that face. To finish off the model geometry, we went to a cross section view, and then we just needed to fill in these two small circular gaps. So start sketch on your cross section view, and we used the intersection curve, which can be found under the convert entities, to on the sketch tab of the command manager. Select the surf says you want to use, then press the intersection curve button, and everywhere that that surface cuts through the plane that you're currently sketchy on will be converted into a new sketch entity. So delete the entities on the right hand side because we're doing a revolved feature. We only need them on one side of the bottle. Then you can use the line tool to close off these profiles. Now, when they're fully closed, you can revolve about the center line, and they should make the inside of the bottle neck nice and smooth. And to just finish off the appearances. First, we added a clear plastic material, which can be found in the appearance of scenes and details. Top. And then we added a decal by going to the Render Tools tab and then edit decal. First, you need to click, browse and find the image file on your computer. Then select the face that you want the decals on. And then we can select the type of mapping that this bottle it was cylindrical, which should have automatically bean selected. You can not just the size by dragging the handles on the image itself or adjusting the size in the property manager on the left. You also need to uncheck the fixed aspect ratio box, and this will allow you to just a wit independently of the height. Once you're happy with the appearance, press okay and then save that part and then use that part to create a new assembly by going to file maker simply from parts, insert the bottle into the new assembly and then save that assembly as well
40. 6.8 Coke Bottle Recap - Part 2: next, we modeled the cap up by starting new part and enduring a simple revolve on either the front or the Wright plane. As usual, we started with the center line, and then we drew the profile and added our dimensions, relations and sketch. Fill it to the top corner. Then you can just press revolved Boss Base. It should work automatically because there's only one center line in the model, and you can read in that features cat, and you can also save this part. Next up. We started to add the great detail, so this was just a small circle sketched on the underside of this outer rim. It was half a millimeter diameter and it was horizontally in line with the origin, and we did a blind extrude 11.25 millimeters just to take it up to the top of the cap. We then added 1/4 minute me to fill it to the top on the bottom of this extrude. Next we added an access so we could revolve these features around. You can also use one of the circular edges, but we just added access to learn how to do it for future reference. So select the front plate on the right play and you can see that they intersect right down the middle of the model, then press reference geometry and then access on the access will be created down the center line of the model. You can then select the new access the Philip feature and the grip feature on Revolve these around the bottle with 100 instances. Next, we modeled the threat, and this was a similar way to the thread on the bottle part. This time we start with the Helix, so go underneath your bottle cap and start sketch on the upper face of this inner cavity. Select the inner diameter and then use convert entities to change this into a circle in the news Guek. We can then go to curves, helix and spiral and press OK, and this should add a new helixon with the diameter of the circle that we just drew again. It's the same settings before, so picture four millimeters on two revolutions, then press OK to create your helix. Next, we need to draw the thread profile itself, starting new sketch on the plane that cuts through the start of the helix. For me, this is the front plane for you. It might be the right plane. Select a section view and then draw your thread profile and make sure that the bottom corner of your thread profile is exactly coincident with the start of the helix. When your sketches fully defined, you can exit up, sketch and then select that sketch on the helix and for a sweat, boss based press. Okay, and we should have our thread feature, then exactly the same as the bottle threat. We need to finish off the start and end points and round them off a bit so selected of the start or the end face. Start a new sketch, unimpressed. Convert entities, then use the inner vertical line as an axis of revolution on revolve 100 degrees, and they should give you a nice curve at the start of the end of the threat, Then repeat the process again for the other end of the threat. Then all that remains is to add in the Philips. So again, it's 1/2 millimeter Philip around the upper edges of the threat, and that should be six edges. And when you've done that, another half minute me to fill it all the way around the bottom edge of the threat. And again, you might need to keep selecting edges until you pick up the entire preview. Or maybe can use the edge selection toolbar with and set the appearance to a medium gloss red plastic. And then we selected this top circular face and we added a de kalb against a render tools edit deco. Browse through your hard driving from the coat label bitten up, and then you should find that the mapping is automatically correct. If not, you may need to adjust the mapping type of the mapping tap and then maybe just the size that when you're happy with how everything looks, you can press okay and save that part. Don't go back to the latest Coke bottle assembly. Just added a new cap part to get to insert components, and a new cat part should be open. If not, browse for on your hard drive and then added into the assembly at a concentric mate between the cap in the bottle and then you can go to a cross section view, and it will just help position the cat vertically in the correct place. If you having trouble selecting a transparent face, just move your model around a bit, so there's nothing behind it, and then it should be easier to select. Then you can hold on control and select the corresponding face on the bottle cap and at a distance, mates of half a millimeter. Then, if required, you can maybe rotate the cap around a bit and press control beater rebuild, and that will reset the section cup through both of the parts and just move the cap around until you've got clearance between the cap on the bottle. Then you can save that assembly. Next. We added the Coke itself into the assembly, and we did this by inserting a new part directly into the assembly to go to insert on the assembly tub, click the drop down and impressed new parts, and you'll see that the cursor changes, so it's got a little green tick next to it. This means that we need to select the face or playing to start the new part on. So we selected the top play. Then you can get normal to, and you see we're already in a sketch so he drew a circle to represent a cylinder of coke. It doesn't really matter on the diameter as long as it's wider than the bottle. So we set ours to 80 millimeters them extremely it to fill the bottle up to the desired level. Then you can exit editing that part, and we're back in the assembly and can see we've now got this cylinder of coke. If you look over the parts tree on the left, you can see we now have a new part on the square. Brackets indicate there is a virtual part. First you got the part name, then you've got the circum flax, which is the upwards arrow. And then you've got the assembly name we can right click on the part and Renay, and this will only rename the first section of the name on the square. Brackets on the name indicate that this is a virtual part, which means that only exists within. This assembly is not saved. There's an external part. So if we now save the assembly God, person control s you see, we get the option to either save externally or keep it as a virtual part within the Assembly Let's savor externally and click to save it in the same location as the existing assembly, and you should see that the square brackets have now disappeared. Now what we want to do is use the cavity feature to cut out the coat ball shape from the cylinder of Coke that we just made. First, we need to edit the part, so click on the coat part in the parts tree. Then the cavity feature can be found in insert features cavity. Any part that you add to the selection box will be cut out of the part that we're currently editing, and it will leave a cavity in that shape in your parts so quick on the Coke bottle and then click OK, and now we have the option to choose which bodies we want to keep either the coke inside the bottle or outside the bottle or both of them. So let's just keep the coat, which is inside the bottle. So press OK, and now we should have the coat shape within the bottle. Now, if we open the Coke part, you can see that is the exact shape of the inside of the bottle. You can also see that we have this external reference indicator next to the cavity feature . That means that the cavity is using data from another part, which in this case, is the Coke bottle. So if that Coke bottle part changes in shape than the cavity feature will also update and change as well. And for the final finishing touches, we change. The appearance does something like an organic liquid, and we use the motor oil because that was probably the closest default material. Then we went into the display manager Tab and Eddie to be appearance by right clicking on it, and we adjusted the color by just clicking in these boxes here and gave it more of a brown coat color. We also adjusted the transparency amount and reduced it down to about 20 or 30%. Then you can say that part and go back to our assembly and we're now finished. If you like, you can explode distance to see how everything fits together. Or you can do Orender so well done on finishing the Coke bottle assembly. You've now learned a large amount of the techniques that you'd be using in everyday modeling in the next section. We're going to be modeling a computer mouse, and we're gonna be learning the last of the four major techniques, which isn't lofting.
41. 7.1 Computer Mouse - Introduction and Lofts: hello and welcome back to the course. We're now a model six out of 12 so in terms of models or halfway through the course. But in terms of learning, the techniques were probably way more than halfway through. We've now learned three of the four major techniques so that ex troops revolves and sweeps . The 1st 2 of these extremes and revolves are quite blocky and angular. Features and sweets give you a little bit more control and allow you to make more free flowing shapes. But what if we wanted to create something much more organic? Maybe like a computer mouse shaped something like this? Well, it could create it using surfacing, but that's really quite an advanced technique. So instead, we're gonna learn about loft now lost, used to arm or close profiles to create a solid body, and we'll learn in this section you can really use them to create quite an organic and free flowing shape, so it's create our computer mouse. First, we're going to create the body as a solid path using loft. Then we're going to shell the body out, hollow it out, and then we're gonna split this part into two separate parts, and then we're gonna do some more finishing touches on those and put them together into an assembly. So let's get started to start off, will open a new part, and then we'll draw a sketch on the front plate and we're going to draw a cross section of slice off the mouse. So start with two lines, one vertical and one horizontal based starting from the origin. The horizontal one should be 25 millimeters long on the top. One should be 15 millimeters high, then click on it and select four construction from the property manager on the left. Then we'll select displaying tool and draw a splint directly from the top. Point out to the left hand point, and it should sort look like a straight line. And then you can use the handles on this play to adjust it to sort of look like a cross section of a slice through the front of a computer mouse. Something like that. We also want the top part to join the top point perpendicular angle, so first will draw a small centerline, confer any dimension on it, maybe just five millimeters and select that center line in the spine and add a tangent relation, and this will just give us a nice, smooth transition when you mirror these entities. Next, select the splint on the bottom horizontal line and then select the upright center line and mirror the two entities. So we've got a complete profile and then, if you want, so you can just adjust your supplying care of a little bit more. When you're happy, we can exit the sketch and then we have our first profile. And then, as we mentioned, a loft uses two or more profiles. So the next thing we need to do is draw the next profile, select the front plane in the feature tree and then hold down control and drag that plane outwards to create a new play on will set this 80 millimeters away from the original plane . You might notice that if you press the tab key once you've set the distance, you conflict the direction of the plane, and it doesn't really matter which direction we're going for this model as long as we stay consistent. But for me, I've gone towards the right. Then let's start a sketch on this new plane on will draw a similar sort of sketch, but just with different dimensions. So again, we've got a vertical line down the middle on a horizontal line across the bottom from the origin. This time our dimensions will be 25 millimeters high and 27.5 millimeters wide and again make the center vertical line into a construction line or centerline. Then, as we the first sketch at a small horizontal center line from the top point. Then we'll use displaying tool to draw a line from the upper point to the left hand point again at a tangent relation between the horizontal centerline on display in line, and then just drag the handles on the spine around. Until you get a sketch, which looks something like this. You'll notice that we didn't add in any extra supplying points. We just added to start on the end, and you could have extra points. But at this stage, it's kind of overkill, really, because you can adjust everything you need just by moving. The start in the end, handles around. So when you're happy, select a splint and the horizontal line and mirror those about the vertical center line exit the sketch, and you should now see that we have to close profiles 80 millimeters apart. What the law feature does is join these two profiles with a solid body, and we'll take a look at that next. So to make our loft feature or we do is click a lofted boss base and you'll see as usual, a load of auctions appear on the left. The first thing that we need to do is select the profiles for the loft, So select your two sketches. Now, when you're selecting the sketches, make sure you select the top of the vertical center line on each sketch, so you select him a corresponding points in each sketch, and then you should get a yellow preview, which looks something like this. Then press OK, and now we have our first law feature and you can see we have this line running across the top center. If you look at it, it's actually a very smooth transition. We can actually go to the view options and turn off any lines. I just have a shaded view and you can see if we turn on this view that there isn't really any transition between the left hand side and the right hand side. Now, if we didn't add the tangent relation, then you might have a dip here. Or you might have a very pronounced ridge down the middle, where this planes from each side don't quite join each other at the correct angle. So let's turn the lines back on and have a look. A loft in more detail. Select the law feature in the feature tree and press delete. So we go back to just are to profile sketches and that will have a look at some things that might go wrong when you're creating your buffed. Select the lofted boss based option again. But this time, when you select your profiles, let's select different points. So let's say select the lower left corner off the first profile on the lower right corner of the second profile, and you should see in your loft preview that the loft now looks all twisted. And that's because solid works is trying to calculate the loft from this green point here to this green point here. So we end up with this twisted shape, and sometimes you might want this. Sometimes it's a desirable feature but in this case is not what we want. So it's very easy to fix this or we need to do is grab one of these green circles and just drag it to the corresponding point with the other sketch. And they should make your profile into a nice, smooth left and you'll see again if I grab one of the green circles and move it to another point again, we get twisted left if I take the other profile to the same position. Then again, we get a nice, smooth preview now, depending on exactly what you lofting. Your profiles might not actually have a very similar shaped like this, and in that case we can use guide curves, and we'll talk about that more in one of the future videos. So looking our first loft, it doesn't really look anything like a mouse or and it's not really that organic at the moment, so just very quickly recap basic loft on. Then in the next, videos will look at adding some more details to make it more realistic. So a loft is made from two or more closed profiles with a set distance between them. Laughs are created by pressing the lofted boss based button. Then try to ensure that these green points are roughly aligned between each profile. Otherwise, you make a twisted loft. In the next video, we'll be building on this model by adding some more profiles and some guide curves to make it a bit more mouse like.
42. 7.2 Using Multiple Profiles and Guide Curves: This is the point where we left our computer mouse model. And as we said, it doesn't really look much like a computer mouse at the moment. So let's add in 1/3 profile. Firstly, just delete the old law feature, so we've only got the to profile sketches. We could just edit the feature, but it's probably a bit easier just to delete it. We now want to add 1/3 profile in between these two first ones, and this will be a representation of a cross section of the mouse at that point. So first, let's add another plane into the model so quick on the front plane in the feature tree and then control, drag the front plane out towards the other plane that we made and set the position 40 millimeters away from the front plane so they should put it in between the front plane on the first plane that we made. Then we'll start a new sketch on that plane and, as before, will draw out another profile in the same way as the 1st 2 profiles will start with a vertical line on a horizontal line, both starting from the origin, the horizontal line should be 32.5 millimeters, so it's a little bit wider on the vertical line should be 35 millimeters, so it's a fair bit taller. And as before, let's make the vertical line into a construction line. We can then at the small horizontal centerline at the top point, and then use displaying tool to draw a split between the left hand point on the top point at a tangent relation between the spine and the small horizontal centerline, and then adjust your supplying to look something like this. When you're happy, select your spine your horizontal line on the vertical center line and impress mirror, and you should end up with a closed profile similar to the 1st 2 Exit the sketch and will now use these three profiles to make another love. So hold down the control key and in this order, select sketch one sketch to and then sketch three. Then press lofted bar space and you'll see that the preview doesn't appear. This is because if we look at the order of the profiles on the left, you can see we're trying to loft from sketch one to sketch to to sketch three. If we quickly sketches one by one in the selection box can see Sketch. One is the first sketch, but sketch to is actually the last sketch sketch. Three is the middle sketch. So our profiles are in the wrong order, and you can also see this in the graphics area with the connectors, the loftiest trying to loft from here to here and then back to here. So it's trying to intersect itself, and that's not going to work. So we need to change the order of the profiles. We need to actually put Sketch three into the position of sketch to. So let's click on it in the property manager and press the up arrow to change the order of the profiles. Sometimes this will work. Sometimes it won't. And if it doesn't, the easiest thing to do is just clear the selections in that box by right clicking, impressing clear selection. Then just re select the profiles by clicking on them in the graphics area. You'll see if I select 123 again, it doesn't work. But now if I try to move to down to the position of three, you see the preview does work, so the loft selection box can be a bit temperamental, depending on the exact order in which you select the profiles so often it's easiest just to completely clear it and then select in the graphics area from left to right to sketch, warn, sketch three and then sketch to. And the same is the simple loft that just had two profiles. You can move these connect handles around, try to ensure that they're always aligned to roughly the same points on each profile. Then, when the preview looks about right, press okay on our love feature will be created. You can see this is looking a bit more like a mouse that is still not quite there. So let's add 1/4 and final profile. This time. We're going to edit the law feature itself just to show you why. It's probably a little bit easier to start from scratch and just delete it. Firstly, expand the law feature in the feature tree so you can see all of the sketches that make it up, then dragged the rollback bar above one of these sketches. But below the law feature itself. This should expand the feature into or the sketches that make it up, then dragged the rollback bar a little bit further down. So all of the sketches air active, but the law feature itself is still suppressed. The sketches will automatically be hidden so you can select them all by pressing control, Click and then just press show. And they should unhygienic. Um, so it's not too time consuming, but it's probably just a bit quicker just to delete the love. Now we need to make a new plane for our fourth of vinyl sketch. So again, click on the front plane and then control drag out past all of the other planes and will set the new plane 100 millimeters away from the front plane, starting new sketch on this plane and will follow the same procedure. So you want a vertical line and a horizontal line on both of them are 15 millimeters in length this time. Then, as before, make the vertical line into a construction like at a small horizontal center, lying to the top point, and then draw us plying between the left hand point on the top points at a tangent relation between the horizontal centerline on display, then adjust the spying curve until it looks similar to the video, and then mirror the horizontal line on the spline curve about the vertical center line. Then exit that sketch and you'll see that we now have four profiles. We're gonna use all four of these to make the lofted mouse. So now let's drag the robot bar back below the loft again and add the new sketch into the loft. Incidentally, we had to drag above the law feature before we added the fourth sketch. Otherwise, we wouldn't be able to use that in the feature because it would be after the loft feature in the feature trip. But if you look at it now, the fourth sketches actually before the loft in the feature tree, so edit the law feature. Then let's add in this extra step, so make sure you're in the profile sketch selection books, then just click on the four sketch on the preview should appear. If it doesn't, then you might need to move. The green connector handles around a bit. Well, you might need to adjust the order of your profiles. It doesn't work at all. Tried is clearing the selections and then selecting the sketches one by one from left to right. Then finally, you might notice that your sketches are still visible, and if they are, you could just hide them by expanding the law feature and then hiding the sketches one by one by clicking on them. If you feel like your view is getting a bit cluttered up, you can also hide the individual planes by clicking on them on pressing hide. Or you can get to the view menu, press hide slash show and then click on planes. So let's have a closer look at our shape. He's looking roughly like a mouse, but it's really not there yet. So going to add some guide curves to help with shape. So delete the law feature, then select all of the sketches and make sure they're visible by clicking on them impressing show and would like to create a guy could, which cuts through the top center of all of the profiles. So start sketch on the right plane on will use the spying tool drawer slime that starts from the left, most upper CenterPoint and then place appointing each of the upper center points on each of the profiles. And when you get to the last one, press escaped to exit this plane tool and go to a side of you and you should see curve something like this. We can then grab some of the handles on just the curve. It just likely to give a bit more of a smooth transition between different profiles and make sure you pick up the coincident relation of each top point. So the spine definitely cuts through all of the profiles, and you can really adjust it to whatever shape you think looks good. Then exit that sketch and will create a new loft and use this guide coat. So make sure you haven't got any sketches selected and then press lofted Boss base. Then select your profile sketches from left to right. As before, try to select corresponding points on each profile, so we should get a nice preview like this. Then go to a side view on. We can see the preview of what the lawful look like. Then click in the guy curve selection box and then click the guide curve that we just drew the sketch that goes along the top of all the profiles and you'll see that the top of the loft now exactly follows this guide coat, but the bottoms kind of got a bit crazy, and this is because we also need a guide curve along the bottom edge. So cancel the law feature and then we'll add in a second guide curve. This guide curve will be on the top plane because we want to create a curve that goes through all of these outer points of the profiles. Start a sketch on the top lane and used the spying tool. Start from the bottom left corner of the first profile, then at a point at the bottom left corner of each other. Profile is very important that these Splain points are coincident to the corner points of the profile sketches. Otherwise, the left is highly likely to fail because the guide curves don't intersect the profiles. If you do accidentally miss a relation, you consume it. Select the point on the spine on hold down control and select the corresponding point on the profile. We can then add a coincident relation to move both points to the same position on because they're on the same plane. They should both be in the same place. If you weren't on the same plane, we could perhaps use a pierce relation, which is one that we haven't used yet. Now, if we go to a top view, we can see that this outer guide curve kind of looks like the shape of the mouse. So now let's try making our loft again. Make sure you haven't got any sketches selected on Impressed Lofted Boss Base. First, let your four profile sketches, then click in the Guide Curves box and select your top guide curve. And as before we see, the bottom edge of the loft has gone away. V. So now select the lower guide curve and it should look much better, at least from this side anyway. However, if we okay that feature and then look from the top, you can see that the right hand side really doesn't look correct. And if we rotate the model around, you can see the lower right hand edge is also still very wavy and not straight, and this really shows the influence of the guide curve on the overall shape. So we need to add another guide curve opposite the one that we just added on the bottom. To do this, we can edit the guide curve sketch that we just create it, and we can mirror that guide, curve over to the other side and then use it as a separate guide curve so you can have multiple guide curves within the same sketch. So edit the sketch and then from a top view, let's draw a center line down the middle of the sketch, then just select everything in the sketch. So the original guide curve on the new center line and press mirror, and this will add another guide curve on the other side, which is exactly the same shape but mirrored now free exit the sketch you can see. We've got all the elements we need to create the left, and you can almost see a wire frame view of what we're actually going to create. So as before, make sure you haven't got any sketches selected. Then press lofted boss based on First choose the profiles, then choose the guide. Curves will touch on this more in just a moment, but sometimes the order in which you select the guide curves can actually affect the shape of the loft soon after we click of one of the lines in the second guide curve sketch. You should get this little selection toolbar pop up on. This allows you to select different lines within a sketch, but for now, we just need to select this one single line. So just press the green tech and you can see that that line is added as a guide curve. Then we just need to do the same thing on the other side, so select the line on the other side, then press the green tech to confirm the selection, and this should be added as a guide curve on the other side. So now we should have all three guide curves and you compress okay to create the law. If we move the model around, we can see from the shading that there appears to be a small dip or irregularity in the surface. So if you're not happy with that, we can expand the law feature and then just edit the appropriate sketch. So in this case, I'll try editing the top guide curve. We can try adjusting. This plane handles a bit to improve the shape. If you're still not quite happy. You can also re edit the sketch, and you can click on a spying point or a handle, and you compress reset this handle because we're explains, it can be quite easy to get them kinked up so they don't quite look like a natural flowing curve. Another thing you can also try is editing the law feature and then just changing the order in which the guide Coz have been selected so quick in the guide, Curves Box and right Click impressed Clear selections, and this time, rather than clicking the top guide coat first, let's try choosing the bottom ones first the left and then the right. And then we can choose the top guide Copas Well, and in my model this gate and much smoother overall shape. It really depends exactly on the profiles that you've drawn on the guide curves that you've drawn. So obviously there still isn't quite looking like a mouse, but we're going to add some finishing touches in the next video. But to recap this video, I'll just delete the loft and then show all of my sketches. So we learned that you can add multiple profiles that you have to select them in the correct order. If not, then the luff will try to self intersect and it won't work. If you're profiles are in the wrong water, you can move them around using the property manager. But this doesn't always work, but sometimes it's easier just to clear the selection, then actually click on the profiles in order in the graphics area. As with the simpler loft in the last video, you should always try to ensure that the green connector handles our line between the different profiles. You can also use guide curves in your loves, and these are additional sketches, which helped guide the shape of the loft. The order in which you select the guide curves can make a difference to the overall shape. So now we've learned the basics of lofting. In the next video, we're going to be adding some more finishing touches to make this more mouse like, and we're going to be shelling out the shape, ready to split into multiple parts
43. 7.3 Splitting Parts: in the last video, we produced our mouths shape and it looked something like this. So it looks roughly like the mouse, but it's not quite there yet, so it's a finish off. We can add some Philips. Firstly, let's add one to the large front edge. Select the Philip Tool A. Let's trow 15 millimetre Philip. Now, depending on the exact curve of your lofted body, 15 millimeters might or might not work. If 15 millimeters doesn't work for you, it might be that the curve of your loft is too tight for it. So it is. Try going a little bit smaller or a little bit larger. Try a little bit of trial and error you can see here. I then went up to 20 millimeters on that fits fine. Then that's out another. Fill it to the back something a bit smaller, maybe about 10 millimeters. And already, just with the addition of those two Phillips, this is looking more realistic. Then let's just add a final small Philip around the bottom edge. Let's try two or three millimeters, then you can rename the loft feature and you can save your parts. Now we have the main mouth shape. But if we go to a cross section view, you can see that the body is still completely solid. So we want to shell it out and make it hollow so it can fit some components inside it. And to do this will use the shell feature. Set a thickness of two millimeters and don't select any faces because we're gonna have a completely enclosed shape and just press OK. They should completely shell out your body. If you have any issues or any error messages, it might be that one of the curves of your loft body is to take for the wall thickness that we selected to trade just in the wall thickness, maybe down slightly to 1.5 or one millimeters or even maybe up slightly. If that doesn't work. And now for a look, a cross section view, we can see we have a completely hollowed out mouse body. Next, we need to cut this body into two parts, so go to a side view and ideally, we want to cut in a straight line all the way across here. So we end up with a top part on the bottom part the first thing we need to do is draw a split line, so started sketch on the right and plain and destroy a straight line all the way across your mouse body. This should be coincident with the two outer edges, so it goes all the way through the body. It doesn't really matter that extends beyond the body, but making it coincidence is just an easy way to define the start. In the end point, make sure that it's horizontal and set a six millimeters above the origin exit a sketch, and then we'll use this line with a split feature. This feature could be found in insert features, split, click on the tool and then on the left. In this trimming surfaces box, we need to select the line that we just drew. So when you have this selected press, the cut part buttered on now are solid. Body will be split into two parts along that sketch line, and we can choose rich bodies who want to keep by taking these boxes, ticked both boxes and press OK and now you should see in the solid Bodies folder that we have two separate bodies and if we hide one of them. You can see, for example, this is just the top body. And then if we show that and hide the next one, you can see this is just the bottom section on. The cut sketch will still be visible, so you can just click on that and press hide if you want to. So this is quite useful if you want to make a multi body single part. But what we really want to do is split this part into two separate new parts. To do this, let's edit the feature by cooking on it in the feature treat and pressing edit feature. Now, over here in the property manager, where it says it on, we can actually double click in this box, and then we can assign a new fail then and make this section into a new part. We'll start with the first section, and it can be quite difficult to see which is which sometimes. So if you uncheck number two, then you should be able to see that the 1st 1 is actually a bottom section of the mouse, so double click where it says non and then a new box should pop up, select new file, and then we'll be able to choose the location to save this violin. So just save it in the same folder that you currently working in. And you can name this something like bottom mouse in progress and then click Save Next. We can do the same for the top part, so check the box next to the second section, then double quick where it's isn't on again. Click new parts and then we'll call there something like Top mouse in progress. Press save. And you should now see that the labels are both of the sections in the graphics area has changed to the file names that you just putting. If everything looks correct, then press the green, tick up in the top left, and you'll now see that Soldier Works is working, and it's saving out these bodies a separate parts and when it's finished working, should be back in your model, and it will probably look like nothing has really happened. If you use control tap to go through your open documents, you should now see that you've got to extra open documents, and that's the two new part files. So if we control tap to the top part. You can see this is just the top section, but it's in its own part. And if you look at the feature tree, you can see the first feature is just this stock feature, and that indicates that this party is split off from another part. Then also, if we go to the bottom part, you can see it's exactly the same sort of thing. So if you're in a part which is split off from another part, you'll know because the first feature will be the stock feature. You can actually right click on it and press edit in context. And this will take you back to the parent part, even if it's not open, and that will see that everything before the split feature in the feature tree will be automatically carried three to the new part. So grab the robot bar and just drag it above the split feature, then go to a section view and start a sketch on this inner face, and we're just going to draw a couple of screw bosses that will eventually be used to screw . The two mouse parts together go to top view and draw two circles in the center of the model . The 1st 1 should be 35 millimeters from the top of the mouse on the 2nd 1 should be 85 and they should both be 10 millimeters diameter on vertically, in line with the origin when they're fully defined. We want to extreme them upwards, but only up to that inner upper face. We don't want him to extend beyond the outside of the body. If we try to do a blind extreme, this wouldn't really work firstly, because the two circles cut the outer body at different heights and also because the point at which they cut it is actually curva swell. So instead of blind, we can use a different end condition. There's quite a few that will actually work in this situation. First day we could use up to next, which just takes your extreme up to the next feature. We can also use up to body and then select the main mouse body, and this will extend up to the next body and then finally, you can use up to surface and then select the inner surface, and these end conditions just give you a lot more versatility in terms of your extremes and your cuts. So that's just used up to surface and select this in a top surface and then press OK and should have to screw buses in your model, and this could be renamed a screw standoffs. Now let's drag the robot back down to the end of the model below the split feature. And if we control tap and go to one of our other parts, you can see that these standoffs have actually pulled through onto that part as well. And it's exactly the same with the top part. The new features have been brought through into the model and have been cut that split line points. The new split parts on the main original part have a parent and child relationship. Before you were to make changes to this new split part, the child part, they wouldn't then be carried back through onto the original parent main parts. As an example, let's out some screw holes to our screw standoffs, so I select the whole wizard and we'll choose a tapped hole. Enforce eyes and you may need to ensure that you are on ansi metric. Then set the in condition as just 10 millimeters deep blind. Then click on the positions. Tap on weaken. Position these screw holes in the center of our screw bosses. So everywhere you click, a point will be added on, a whole will be placed in that position. If you hover over the outside circular edge of the standoff, you should be able to pick up the center point of each one, then press OK and you can see that we now have two screw holes in our parts. Now, if you press control tap and go back to the original base part and go to a section view, you can see that these screw holes aren't in this part. And that's because this is essentially the parent part. Where is the new part is the child part? And if you think of it like a global feature tree, this part is actually before the child part. So anything you do to the child part won't affect this part control tab to the bottom part on. We'll add some holes into this section as well, also using the whole wizard. This time we're going to use accountable, which is the first selection here on this is essentially a small screw hole with a larger whole for the screw head. And again, we'll go for a nem for size to make sure you an ansi metric. And also make sure you're on pan cross head, then choose size M for, and you could just leave the end condition as blind 10 millimeters again. Click on the positions tab and then select the bottom face of the mouse and put your first point roughly in the correct position. You can then press the end key again, and this will flip your model around 180 degrees so you can see the screw standoffs, and you can use these to put accountable in the right position. So they were looking from the top. We're still actually placing the points on the bottom surface. Press the escape key to stop placing new holes, and then we can just drag the original point around, hover over the edge of the standoff to pick up the center point and then position it in the center point and then press OK and you should be able to see your new counter pores. And this is the section where the screw had fits into. Now, however, if we look a section view, you can see we've actually got a very thin section here because the countable is quite white. So we've just added to 10 millimeter Phillips to add a bit more material in there and give it a little bit more strength. Then, to finish off this video, we can just put these two new parts into an assembly. So let's start with the bottom mouse part they can file and then make assembly from parts. Make sure you got the correct part selected on the left and then just click on the tick in the top left, and they should place your part, fix to the origin. Next, we can insert the top part, so click on insert components, then choose the top part. And as usual, we could just place this anywhere in the graphics area by clicking anywhere. If we actually just click on the tick in the top left, you can see it's actually placed in the correct position. That's because these two parts share the same urgent because they actually come from one single original parts, so both parts should now be fixed in place and align correctly. And if you go to a cross section view, you can see that everything looks correct on our screw holes of world lined up correctly. So now you can save this assembly to wreak outlets, control tab back to the original mouse point and then just drag the robot bar up to just after the law feature on will quickly go through what we've covered. So he started with just our loft feature, and then we added some Philips to the front and back, and you may have to play around with the sizing a bit until he gets in. That works correctly. Then we added a small fill it all the way around the bottom. And then after that, we shelled the feature. And if you have any problems with the shell feature, try adjusting the thickness of the wall slightly. Next we drew a sketch, was just had a line in it, and we use this line to split our body into two parts. Using the split feature. This can be found in concert features split. This allowed us to split our model into a multi body part. We can also edit the split feature on Weaken Double Quick Care and save these bodies as their own individual part files. In those new part files, for example, this is the bottom of the mouse. You can see that the first feature is this stock feature, and that indicates that this part comes from another parent part. You can right click on the stock feature and press editing context, and this will take you back to the parent part. You can then add further features to this new child part, such as out in these counter pores, and these would be carried back through to the parent parts. So if I go back to the original model and suppress the screw standoff feature that we added and then go back to one of the child parts, you can see that there are now no screw standoffs in the model, and you can see that the council born fill it features have got errors because they were based on those standoffs. Now I can go back to the parent feature and un suppress these bosses. And there were just too simple circles which were extremely up to surface, which takes him up to the selected surface. Now, if we get back to the child part once more, you can see that the standoff has now carried three on account suborn Philip Features have now being created correctly. Then we have a similar situation with the mouse top part on. We just added to tap holes using the whole wizard they have. Finally, we created a new assembly using these two new parts on Because both parts come from a single part, they both share the same origin. So both could just be placed very quickly. Fix of the origin, and they should be aligned correctly. In the next video, we're going to be adding an in context part to this assembly toe. Add the circuit board inside. We're also going to be adding some finishing touches to the mouse parts, such as cutting the slots for the buttons on the wheel and a few of the small details
44. 7.4 Adding the PCB using In-Context Parts: We finished our previous video with an assembly made up to mouse parts, the top on the bottom and in this video again to add some more components and we're gonna add some finishing touches to the existing parts. Go to a cross section view of your assembly, and the first thing we want to do is add a circuit board into the assembly and it's going to be sandwiched in between these two standoffs. In order for the board to fit, we need to reduce the height of the standups on the top part so quick on the top part and press open parts and you should switch to that part. Then we want to cut down these stand up, sit there. So start a sketch on the top face of one of the standoffs. Either one will do, then hold down control and select the face of each of the standups. Then press come for entities and they should give you a sketch with two circles in it, which is the same size as the standups. Then you can use the cut extrude feature to cut 1.6 millimeters, which is the thickness of the circuit board down from the top of the standoffs, and you can rename that feature as PCB cuts, then save your part and use control tab. To get back to the mouse assembly, I may have to press control, be to rebuild the simply. But when you do, you should see that there's now a gap in between the standoffs. And this is where the PCB will fit, closed a section view and then hide the bottom mouse part by clicking on a impressing hide . And now we want to start a new part on top of these two standups. You can do this by going to insert components and clicking on the drop down arrow on impressing new part. The curse will change, sir has a small green tick next to it, and this means that we need to choose the face or plain to start the part. So so let the top of one of the standoffs and then pressed normal to, and we're now drawing the first sketch of the new part on top of the standoff face. The first thing we want to do is add a center line, so just add one all the way down the middle of the mouse part. Then we'll use the rectangle to click on it, and rather than the corner rectangle this time will use a center rectangle with the center rectangle. Your first click sets the center point of the rectangle and in your second click sets the size of the rectangle. Click anywhere on the center line apart from the midpoint anywhere else on the center line and then drag out the size of the rectangle on. Make a second click to set the size will then add some dimensions to specify the size, so it should be 32 millimeters wide and 85 millimeters high. The left right position is fixed by the centerline already, but will fix the up down position by clicking on the lower standoff and then clicking on the bottom edge of the rectangle. Then set that dimension to seven millimeters, and we're not going to extrude this rectangle shape, and this will be our PCB. But before we do that, we need to add some holes for the screws to go through press escape. To exit the smart I mention tool and then hold down control and select the two inner circles of the standoffs and then press covered entities, and you should now have a sketch that has a large rectangle and in two smaller circles within it. Then select extruded boss based on extrude 1.6 millimeters upwards and press OK exit from editing the part. And now in the Assembly, you should see that we have a new part in square brackets because it's a virtual part right click in it and rename it is something like mouse PCB. Now when we saved the assembly by pressing control, S will have the option to save the new part either internally or externally saver externally, and just save it in the same folder as the Assembly and should then see that the square brackets have now disappeared from the part in the parts tree on the left. Now let's edit the PCB and add some more features to it. You can do this within the assembly by clicking on the part and pressing edit part. The first thing we want to do is have two switches for the left and right mouse button start sketch on the top face of the PC pay and then draw a corner rectangle something like this. War millimeter from the left hand edge, 1.5 from the top and five millimeters wide and eight millimeters high. Then do a blind extrude upwards 10 millimeters, and this just represents the first switch for the left mouse button. If you then expand the PCB part in the parts treat, you can then rename these features by doing a slow double click on them. That's called the 1st 1 PCB, based on the 2nd 1 left mouse Button. Next would like to add the housing for the mouse wheel in the middle. So again start sketch on the top face of the PCB, and this time we'll start with the center line. Draw it from the midpoint of the top edge of the board vertically down to the center point of the top standoff. Then we'll draw another center rectangle on this center. You can also choose the sensor rectangle by clicking on the drop down on the regular rectangle to on Solid works will remember the selection for the next time you use the rectangle toe, start in the center line again, anywhere apart from the midpoint and drag out your rectangle set the size is 12 millimeters wide, 16 high and 14 millimeters from the center of the rectangle down to the middle of that first standoff, then to a blind extrude without rectangle upwards. 16 millimeters and you can call that part wheel switch, then extra editing the part so you're back in the assembly. Next, open the mouse PCB part directly by either clicking right in the graphics area or in the design tree, impressing open part on, we'll add a few more finishing touches. First would like to draw the actual wheel itself, and this should be in the very center of the model. So start sketch on the right play and go normal, too, and draw a 16 millimeter diameter circle in about this position and then add some dimensions so that the center point is two millimeters from the right and two millimeters from the top edge. Then do a mid plane extreme eight millimeters wide and rename. This is Mouse Wheel and this represents our wheel. Then let's have a three millimeter fillets of both circular edges of the wheel, and finally, we can mirror the first switch by selecting the feature, selecting the right plain and then pressing mirror that our PCB part is complete. Obviously, this is just a simplified representation. If you like, you can have some appearances. I made the PCB green and then made the actual mouse real itself a little bit of a dark of black. Then you can save your part and either close your part or just use control taps again back to the assembly, and you should see that the mouse wheel is now sticking out the top of the mouse top parts . Now in the assembly, you can click on the mouse top part and press change transparency, and this will make it semi transparent. And if you zoom in, you might see if you've got a crash between the switches on the mouse body, and it's really just depends exactly on your guide curves for your loft. If you do have a clash with any of the parts, you should just be upto double click on one of the switch features in the assembly, and they should bring up all of the dimensions. You can't double click on the dimension such as the height and adjust it as required, so you no longer have this clash. So first double click on the feature itself and then double click on the dimension you want to change, and you may have to press control. Be to rebuild the assembly after your changes, and at this stage you can click on the mouse bottom part in the Part Street and re show it by pressing show. Now let's finish off the mouse top part. So click on infographics area and press open parts. Looking at our mouse top part. It's a bit of a simplified representation of how a mouse would actually work. We've actually just got a shell, and this would press down on the buttons that we're just during the PC Bay. So the first thing we need to do is make a slot in between the two buttons, so they both work independently and we can do this by starting a sketch, either on the top plane or on this bottom face on drawing a center point straight slot centered on the middle of this left hand edge. The inessential and should be 55 millimeters long on the radius of the curve, then should be our one, so this lot should come up to just below the first standoff, then use this slot to do occur extrude through all, and this cuts that upper shell into two buttons. So let's call this button slot next, Use control tab to get back to the assembly and make sure all of the parts of solid so if they currently transparent, click on them and pressed Change transparency. I didn't go to a side view. Now we can see that there's actually no way that the button could be pressed down because it's completely flat against the bottom part. So we need to cut a small wedge out to allow the button to be pressed. Click on the top part in the graphics area and press edit part on will draw a sketch on the right plane. So, firstly, make sure you expand the top part in the parts tree on the left hand side. Then click on the right plain and press sketch, and we'd like to draw a triangle shape similar to this start from the bottom corner, going left along the base and then up to the right hand edge and then down back to the corner. The dimensions of this triangle should be 35 millimeters along the base and two millimeters high. Then use a cutting street with a through or feature to cut this away from both sides of the bottom of the buttons on really in the feature as button clearance. Then exit the editing of the part, and you should be able to see that now. I've got a bit of clearance for the buttons to be pressed down. We'll finish off this part on the next part in the next video.
45. 7.5 Finishing off the Mouse Assembly: next, we want to carry out some clearance for the mouse wheel itself. You can probably already seeinyou assembly that there's gonna be a clash between the mouse wheel and the upper body. And if we were to run interference detection by against the evaluate tab, interference, detection and then clicking, calculate, it can see that there is actually the interference with the wheel on both butters. To do this, let's edit the top mouse part again by clicking on it and pressing Edit part. Then start a new sketch on the top play, So expand the top mouse part in the parts tree on the left, click on the top play and press sketch. First, let's add a center line so we know where to position the cut, and we'll do this down the middle of the mouse wheel to pick up the midpoint of the top edge of the mouse wheel and then go vertically down and pick up the bottom edge of the mouse room. Then draw a center rectangle starting from the mid point of this center line, and we'll make it half a millimeter larger than the mouse wheel and can say that the bottom edge is now also fully defined because we've already set the center point, then make the rectangle 90 millimeters wide, so it's just a little bit wider than the wheel. Then use this sketch to make an extruded cut upwards through all, and this should cut out the rectangle for the mouse will now free exit editing the part and have a look at the cut out In three day. We can see that the front looks OK, but the back is way too far away from the wheel. That's because this wheel is actually below the curve, which makes it the mouse body. So we need to move the back edge of this rectangle. Cut further forwards, and this will depend exactly on the curvature of your specific loft. But we'll have a look at some trial and error, and we'll get this a bit closer. Click on one of the cut faces that the rectangle just cut on impress edit sketch, then go normal to weaken. Re edit the rectangle sketch, so we need to move the bottom edge upwards, but keep the top edge of the same. But you can see that the sketch is already fully defined, and that's because we've already set the length of this center line. So select the bottom point of the center line, and we need to remove this midpoint relation. You need to click on the little icon directly and press delete. Or you can select the midpoint relation on the left and delete it there on your sketch and no longer be fully defined. And then you can set the height of the rectangle just using a smart dimension. As we mentioned, this exact size will depend exactly on the curve of your model. But let's try 14 millimeters and then you can exit the sketch. And if you look at the view from the top, you can see that it actually looks like the cut out was way too short. If you exit back to the assembly and then move your model around, you can see that this actually looks about correct when viewed in three days, and it could actually even maybe be a bit smallest. And now you can just double click on one of the feature faces, and then you can double click on the dimension and change it directly that press control be to rebuild, and we can see that this is probably about right, maybe a little bit too close. But we're going to add some Philips, which will increase the clearance a bit more. So open the top part and then we'll use the fill. It'll tow absent two millimeter Phillips. First, add them to the four corners of this rectangle cup. We also want to fill it some of the other corners. But if we had all of the fillets into one feature, they'll actually eliminate each other. So press locator at that feature, and then we'll Absalom or two millimeter Phillips with this next set. Phillips. You can use the edge selection toolbar, and you should be adding seven new edges. So eight in total, there's four around the mouse wheel to at the bottom of the buttons, and then to where the button clearance cut ends. After that, you can add some or two millimeter Phillips around the base of the standoff just to give a bit more strength. Then finally, will add 1/2 minute me to fill it all the way around this outer edge, and you can see if I click on one of the edges it automatically selects the entire loop of the edges. That's because these are all joined into one continuous loop, and we have the tangent propagation option selected. If we were to de select the tangent propagation and you'd have to select each of these edges individually, then to finish off, you can just add an appearance. I went for a medium gloss black plastic. Then save your part and you can close up part and go back to the Assembly. And we can now see that with the addition of the Phillips, the clearance around the mouse wheel looks fine. The bottom section of the mouse also needs a few finishing touches. So click on that and press open parts. Firstly, we need to make a cut out for the mouse sensor. This is obviously a very simplified model, but we are going to add this feature start sketch on this upper face and then draw a center line all the way down the middle of the mouse. Then draw a center rectangle on this center like this should be 57 millimeters from the top of the mouse in the middle of the rectangle 12 millimeters wide and 20 millimeters high at some sketch village around the corners off five millimeters on the two top edges and two millimeters on the two bottle measures. Then do a cut extremes using through or both, and that will just ensure that you cut through the bottom edge of that standoff. Fillets, then renamed the features sense a hole and then out of two millimeter Philip around the outside edge of the sensor hole. Then finally, at 1/2 minute me to fill it around the outside perimeter, where the two halfs join together and then just set the appearance to whatever you like, then save the part and close it to get back to the Assembly. So, looking at the assembly, as we mentioned before, this is obviously a bit of a simplified model. In a real one would probably have a section with the cable coming out. Or maybe if it was wireless would have on on off switch on a battery. But to finish off for now, we'll just add two screws and using the tool box. So go to the design library tab on the right press toolbox and then go to ANSI metric. Then we're looking for bolts and screws machine screws. Then you can just use something like a pan cross head screws and drag it into the model. And you remember that if we hover over the whole on the face, you should be able to automatically makes it the size should be in for and the length could be 10 millimeters. After you place. The first group is press okay, and then you should be able to place the 2nd 1 So, firstly, pick up a circular reg and then hover over the flat edge that you want the underside of the screw to make to conceive. I choose the bottom of the mouse. Here it looks a bit too high. If I choose the bottom of the counter bore, then it looks to be in the correct position when you don't press the Red Cross. And then if you go to the section view, you can see that the screws air in the correct place, holding the two halfs together with the board sandwiched in between. Now the mast assembly is completely finished, so let's just have a quick recap of everything we've learned in this video. Firstly, we had to provide some space for the new circuit board part. So in the mouse upper part we started a sketch on the top of the standoffs, and then we use the convert entity, submit to small circles, and we cut the standoffs down by the thickness of the PC Bay. Then we went back to our assembly. We hid the bottom part on. We started a new part within the assembly. It's just started on the top of the standoffs from the top part, and the first thing we did was draw the rectangle and then the two small holes for the screw holes. That makes treated this 1.6 millimeters. And you can see on the feature in the parts tree that we have the external reference indicator. And that's because the length of the PCB is based on the standoff distances. Then we added the left mouse bone and the wheels, which, which was a simple rectangles, and you might have had to adjust the exact size, depending on the curb in front of your mouse. And again, we have the external reference indicator because we base the middle switch on the distance from the standoff. Then we added the wheel itself just using a circle with a mid plane extreme. We fill it in the corners, and then we added the right mouse button just by mirroring the left. Then we added some appearances, and our PCB part was complete. Next, we finish off the mouse top part firstly, by cutting a slot between two buttons, then adding some clearance for the buttons to move by, cutting away this word shape from the side. Then, finally, we also added a cut out for the mouse wheel, and if you go to the bottom view, you can see that it doesn't look like it fully covers the mouse will. But that was just a bit of an optical illusion because of the curve on the front of the mouse. Then we finish off the part with some fillets and added an appearance to it. Then, finally, we finished off the mouse bottom part firstly, by adding a sense a hole and then just adding some fillets in and changing the appearance back in the assembly. We then added the two screws from the toolbox, and then our mouse part was completely finished, and we've learned about lofts and if you like you can do a render at this point at this stage. If you like, you could also add some more details. Maybe things like bridges on the mouse wheel or some more detailed electron ICS inside in the next video. As usual, we're going to be doing a recap of this entire section in the next section. We're going to be modeling up a key fall from a car alarm. I'm going to be learning about modeling directly from photos and also a bit more about in context parts.
46. 7.6 Computer Mouse Recap: congratulations on finishing the computer mouse project as usual, going to recap the entire section by quickly running through the park on the assembly. From the beginning, the main body of the computer mouse is made from a single lofted part. So he started any pie and started drawing our loft profiles lost on May from two or more profiles, and we just started with two, initially starting on either the right or the front play on. We drew the profile like this one vertical line, one horizontal line and then explain joining the two. The vertical line was made into a center line and at the top of it had a small horizontal centerline. And we use this to add a tangent relation to the spine. This was just to ensure a nice transition between each side of the spine. Dragged this plane handles to adjust the curve on when you're happy with the shape. We married this plane and the horizontal line about the vertical centerline, and it's created our first close profile. Then we added a new plate by dragging the first plane out 80 millimeters, and then we sketched a similar profile on this new plane but with different dimensions. We could then use thes two profiles to create our first love. And if the preview doesn't show correctly, make sure that the green connectors are roughly aligned in the same place. On each profile, we noted that with two profiles are lost didn't look very mouse like. We could have some guide kids at this point, but we decided to add some more profiles first. So first we added another new plane in between the two existing planes and then re sketch another similar profile on that plane. As before, this profile was made up of a horizontal line on display, which went up to a vertical center like this was just a little bit larger than the 1st 2 Then exit that sketch and add 1/4 and final sketch. Do this by first adding a new play 100 millimeters from the original plate and then start a new sketch and draw a similar profile to the 1st 3 There went. All of your profiles are complete. We can use these to create a loft. To do this, press the lofted boss based button and then choose your profiles. Remember, you need to choose them in the correct order. Otherwise, aloft will fail like this, and if you do accidentally choose them in the incorrect order, then you should be able to move them around, using the arrows in the property manager on the left. If you have any problems, it's probably best just to completely clear the selection and select them again from scratch, as were the simple loft tried to ensure that the green connectors are always aligned roughly the same. Then press OK and the law feature is created. And if you want to, you can now turn off the planes in the view menu. At this point, we could have just kept the loft as it is, but we added some guide curse to improve the shape of it. To do this, delete the loft first, and then we'll add a guide. Kids down the center of all of the profiles we just sketched. She's the plane that cuts through the center of all of them. Then start a new sketch and use the spying tool to draw your guide curve, starting from the top point of the first profile on pressing a point at the top of every subsequent profile. Remember that you guide curve has to cut through each of your profiles. Otherwise the loft will fail. Press escapes have finished drawing the spine, and then from a side view, you can adjust the kid as required. Next, we added some guide curves along the outer edges of the mouse, so these are on the top plane. Start a new sketch again, used this plane till start from the bottom corner and pick up appointment every bottom corner of all of the profiles. If you do happen to miss one of the points, you can always click on it afterwards. Hold down control and then click on the corner point of the profile. Then you can add either coincident relation or a pierce relation as required, then saying within the same sketch at a center line down the middle of the mouse and then mirror that first guy curve over to the other side. You can actually have multiple guide curves within one single sketch. Now that we have are three guide curves on R four profiles, we can use these to create the loft by again selecting lofted boss base, then first let your profiles in the correct order, make sure that the green connector is are roughly aligned. Then click in the Guide Kids box and select your guide curves, and remember that the order in which you select them can affect the shape. So it recommends selecting the two baht images first, and then select in the upper guide curve that goes through the middle. Then press OK and rename your feature. Next we add it and Phillips to refine the shape we started with a 15 millimetre Philip on the front edge. But if this doesn't work, then try adjusting the size down slightly. Then we added a 10 millimeter fill it to the back, and then finally, a two millimeter Philip around the bottom edge. This gave us a pretty good mount shape, and then we use the shell feature to hollow out to a wall thickness of two millimeters. Make sure that you don't select any faces, so we have a completely enclosed part. Next we split apart into two by going to a side view and in starting a sketch on the appropriate plain and drawn a straight line, which goes all the way through the model, it can extend beyond it. But it has to go at least all the way through it. Cetus six millimeters above the origin and then select the split feature by going to insert features split. You should already have the line selected in this box. Suppress cut part on your part will be cut into two sections. Then take the box next to both parts and press. OK, and now we have a multi body parts. But what? We really want it waas two separate new parts. So make sure you saved your part of this stage and then edit the split feature again. I could double quick where it says known, and this will give you the option to save the park. Save both parts as new files, calling them something like mouse top and mouse bottom and then press OK and these new parts will be created. One solid works has finished working. You should now have two extra new parts open. You can control tap three days to check that they look correct. We can then making assembly with these new parts. So start with the mouse bottom part, click on file, make assembly from parts, then make sure you've got the mouse bottom part selected. Then click the green tick in the top left on your part will be placed at the origin. Then you could do the same with the top part. Click the green tick in the top left, and this should be placed a line correctly to the bottom part. That's because these two parts actually share the same origin because they come from the same original file. Now, say this assembly and we'll add some more details. First, we need to add some screw stand up. So control tab back to the original part. Go to a cross section view and then start sketch on this inside face. Sketch two circles to represent the standoffs on, well, extreme thes upwards to the top of the mouse body. And you can do this using an end condition, like up to surface up to body or up to next. Now we've created discreet standoffs. If you use control, tap to switch to one of the new parts, you'll see that they haven't appeared. That even if you re build the model, get back to the original part and we can see the problem is that the standoffs are actually below the split feature in the feature tree, so anything below the split feature won't carry through into the new parts, and you should be able to see that our two bodies have now been merged back into a single body by the standoff feature. And this means that we can't actually drag the standard feature above the split feature. So I have to delete the feature and then just dragged the sketch above and then remake the feature before the split feature by dragging the rollback bar above the splits. And now, if you control top to your new parts, should see the standard has being pulled. Three to those. And whilst we're in the mouse top part two screw holes using the whole wizard, they should be m for by 10 millimeters. Then we also need to add the council holes to the bottom part, so control top to the bottom part. Use the whole wizard and at the M four countable, you can place the points on the correct face underneath the part initially, and then you can flip the view around, and they should help you position the points correctly. Then let's have to 10 millimeter. Phillips tried a bit more strength around these holes. Next we returned back to the assembly. We hid the bottom part, and then we wanted to cut down the standoffs of the top part by 1.6 millimeters to allow us to fit a circuit board in. So you can edit the part directly in the assembly, starts sketch on the bottom face of the standoffs, then use convert entities to convert both of the outer diameters and then cut 1.6 millimeters down using a critic street. Next, we wanted to add the new PCB part to go to insert components, go to the drop down and press new part, and you see we have the tick next to the cursor. This means we need to select the face or playing to start the new part and select the bottom of the standoff and then go to a normal to view. We then added a center line, and we used a center rectangle. This time, the first click places the rectangle on the second click sets the size. We added some dimensions, and then we use convert entities to convert the inner screw holes so that we had a rectangle two small holes in it, and it may extremely this 1.6 millimeters to make the PCB base on, make sure your street away from the standoffs. If you do extremely in the wrong direction, just edit the feature and flip the direction. Then right, click on the new part and rename it to something like PCB and Progress. Then when you next say the assembly, let's save this new part as an external part. Next, we need to add some more features to the PCB part so quick on it and press edit part and you'll see that the other parts in the assembly turned transparent start sketch on the upper face of the PCB and will draw a rectangle to represent the left mouse button at the dimensions. And then we'll extreme 10 millimeters upwards and rename these features as you go along. Next, we drew the center butter, so start another sketch on the upper face and then draw center line from the top of the PC , bay down to the middle of the first standoff, then use another sensor rectangle and add dimensions to fully define your sketch and then extrude upwards. 16 millimeters. Next retreat A circle for the mouse wheel itself, and that should be on the plane that cuts through the middle of your model and that lead to be the front playing all the right plane, depending on how you've set your model up to a mid plane extreme eight millimeters and when you've drawn the wheel at a three millimeter, fill it to both of the curved edges. Then to finish off, we mirrored the left mouse button onto the right hand side. Now, if we see if we have a look at the model, you can see everything looks a little bit too high. And if you click on the mouse top part and press change transparency, it should be able to see that the buttons and the wheel are both too high. You can adjust these features by double clicking on the feature and then double clicking on the dimensions that come up and just changing the dimension. And you may have to press control, be to rebuild in between these changes, Then to finish off. We just open the PCB part on we added some appearances. Then you can say that part and close it. So you get back to the assembly. Then we open the mouse top part and added some more details. Firstly, we cut the slot in between the two buttons by drawing a sketch either on the top play or in this face that goes around the boss, a match we used to cut extreme with a slot to split the front into two halfs Their next. We cut away some clearance to allow the mouse buttons to be pressed down, and this was just a simple triangular sketch from the side view, and we did occur extreme through a wall. Next, we needed to make the cut out for the mouse button itself, and we did this back in the Assembly so we could see the mouse wheel itself press control tab to get back to the assembly, then edit the top mouse part and then start sketch on the top play. On first, we drew center line from the top of the mouse, rolled to the bottom. Then we added a center rectangle, which was just slightly bigger than the mouse. Will we have to remove the relation on the bottom end of the center line and then make the rectangle a bit shorter, so they cooked correctly. When you think it's correct, exit the sketch and exit, adjusting the part and have a look how it looks in the assembly. If everything looks good, then you could open a top mouse button part again on Add some Phillips first of two millimeter Phillips around the inside edge of the mouse button cut and then some or two millimeter Phillips around the rest of the edges, and then two Final Phillips to the bottom edge of the standoffs on one small. Fill it all the way around the outside edge of the perimeter, then at an appearance, and save the part and close it. So we go back to the assembly. There may need to make some finishing touches to the bottom part as well, clicking her in the park tree and press show and then open that part. First. They will cut a sense of whole by making a sketch on this upper face. Use the center line and a sensor rectangle and some sketch fillets to make the correct shape, and then you could extrude through all, both just to ensure you get the edge of this Philip here, then out of two millimeter, fill it to the bottom edge of that cut. Then at 1/2 minute me to fill it to the upper outer perimeter. And then finally, just add the appearance and save the part. Unclos it, then all that remains to finish. The assembly is to add the two screws using the tool box and these Regis Ansi metric pan cross head screws. And for by 10 millimeters, you can drag them into the model and automatically make them. And if you don't have solid works, toolbox. You can also just down the Depart file from the course downloads, and it's exactly the same size. Then the mouse is totally finished. And if you go to a section view, I could see all the screws airline correctly, and everything looks correct. So well, don't once again for learning the mouse and lofts in the next section. We're going to be making a key fob for a car alarm, and we're gonna be making cover that goes around it to do. This will be modeling from photographs, and we'll also be talking a bit more about three D printing
47. 8.1 Key Fob - Basic Shape and Sketch Picture: Welcome to the Seventh section, mastering solid works you've now learned or four of the major features Extremes revolves, sweeps and loves as well as a lot more smaller features in this section, we're going to be modeling on alarm key Fob. Something like this. You may have used one of these with a car or something similar. Maybe a carriage door. The key fob looks like quite simple object. But if you look at it is actually curved in all three dimensions, the only flat edge is the bottom one. So how would we actually model s? Well, if you wanted a really accurate model, you could send it off to be three d scanned. And then it will be fired at by a laser from loads of different directions and you'll get a very accurate model. But chances are you probably don't have access to a laser scanner. So how else could we do that? Well, you could take a load of different dimensions from different points and then draw a very accurate sketch. But I would take quite a long time. So I actually think the best way to do it will be to take photos from the side and from the top straight on and then use those photos in solid works to create your sketches. You can find these photos in the course down those holder will start putting them into a model, and then we'll create the key for first. Then, after we've done that, will create a three D printed cover, which is something like this, and this is designed to fit around the key fall, and it stops you accidentally pressing the button when you're when the key fob is in your pocket, let's start off by opening a new part and then adding are two photographs to the top on the right plane, respectively. Start sketch on the top plane and then draw a center rectangle that's 56.5 millimeters high on 31.5 millimeters wide. Before you click. OK, select four construction on the left. This is the size of the key. Fob is widest points that I've already measured, then also draw a center line down the middle, and this will just help us with lining up the picture. Next, you want to add the photo itself, and you can do this by pressing sketch picture on the sketch tap on the command manager. You can also search for a sketch picture in the search bar. Or you can go to tools, sketch tools, sketch picture, then find the two pictures from the course downloads. There should be two of them, and we'll add the top. You first double click on it, and it will be added to your sketch, and it would probably quite a bit bigger than your sketch. Zoom out and then drag it to the correct place and drag the handles around to bring it down to about the correct size. You may also need to flip the image by clicking on the flip image box here, and the aim here is to line this photo up almost exactly with the rectangle that we just drink so you can drag it around and move the re sizing handles. And you can also use the property manager on the left really, accurately adjust the size. With models like this, there's really a trade off between how long you want to spend modeling and how accurate you want to get it. If you want to get it exactly right, you could spend a lot of time on it, but don't worry about it too much for this tutorial. Just get it as close as you can. Can also use the center line to help line up on the small led should ideally be cut by the center line. When you're happy with that press, okay, and we'll add in the next photo. So start sketch on the right plane. Draw another Centrepoint rectangle, starting from the origin and make it for construction again. This is also 56.5 wide, and it's 11.5 high. Then click the sketch picture button again and out in the second picture, and as before, drag it around on a justice size until it's in the correct place. You'll now see that the angle is slightly off on this picture, so adjust the angle of rotation slightly so that the bottom edge in the picture is lined up with a straight edge of the rectangle. It should only be minus one degree. So as before, the aim is to have the picture of the key fob only just inside the rectangle that we just drew Exit a sketch, and now we should have our two sketches one of the top plane on one on the right plain, and you might find that your view rotation controls act a little bit differently from normal. Just because the pictures themselves are a bit offset, save the part, and then we'll start creating the first feature edit the first sketch. So we're looking down at the top plane go normal to, and then you might need to zoom in a little bit. Now we're going to use some splints to sketch the outline of the key fob. But because it's exactly symmetrical, we only have to sketch one side, and then we can mirror over to the other side. So let the spine tool and will draw three separates planes start from the top center on at a point in the top left corner of the key fob, and then just extend your Splain slightly, and you can then move your spline around to actually just the curvature of the first part. This blind and this can be a bit of an easier way to a justice blank of rather than just using the handles when it looks about correct, click to add another point and impress escaped to exit this plane tool, then select displaying tool again and do the same for the second segment. Start from the top corner at another point in the bottom corner and then continue the spine and move it around until the curvature follows the curvature in the photo. And don't worry about the excess spines. We're going to trim those off in a moment. Then I'd in the third and final splay, starting from the center bottom, going out to the bottom left corner and then just continue a little bit more. And it doesn't matter too much if you know exactly lined up, as long as you're happy with how it looks overall, then you can select the trim to and trim away these excess parts of this plane next that some tangent relations between the top and bottom spline on the horizontal parts of the rectangle just against give you a nice transition between both sides. When you happy, click on the supplies and out of fixed relation, and this will just stop them moving around. But this may over define your sketch, and if it does click on their over to find warning of the bottom of the screen. Then this sketch expert should open. Then you can press day knows it might take a few minutes to come up with a solution, but when it does find one of the solutions where everything's fully defined and then press , except then to close the profile weaken, select all three spines and then mirror them about the center line. Then we'll do a mid plain X tree to make our first shape. The key former itself is 11.5 millimeters high, but we want to go a little bit past that, so don't made plain extreme of 20 millimeters and press OK, now you'll see our first feature and solid body, and you'll see that the first sketch is being consumed by this. So the sketch picture has been hidden for now. But you can access that by expanding the feature and then expanding the sketch itself, then ring in that first feature as base. So now we have the correct profile from the top view, and the next thing we need to do is cut the correct profile from the side view, and we could do all of this with surfacing. But as we mentioned in a previous video that's a little bit beyond the scope of the course of this stage. So edit sketch to again, and then we can use this photograph to draw the correct profile from the site. Start with a straight line along the bottom. It doesn't go right into the corners because of these curved edges. Then use planes again to add in the top on front and back curves. So as before, and recommend that you start your spine and then you add another point where you want the end to be. But then you extend this blind a little bit around, and you can move this to adjust the curvature. You can also just quick two points, and then use the handles to adjust. If you prefer that way and move your spines around until you're happy that you're following the lines of the photograph. Then when you've added or three, use the trim tool to cut away the excess. Don't worry too much at this stage if you don't get the corners exactly right because we'll be adding fillets later on anyway. The man you happy? Let's make these three spines fixed, and as before this, my over. Define your sketch. If it does, click on the warning and then you sketch expert, click on diagnose, and then when you get some solutions, find one where everything is fully defined on except that solution, then exit the sketch. What we need to do now is cut away everything outside of this profile that we just drew so we could have just drawn a large rectangle outside the profile We just drew and then cut away that border section. But there's actually an easier way to do it. Press extruded, cut and then select through or both because we want to cut through the entire model and you'll see that we're going to cut out a segment in the shape of this profile. If you click the box flip side to cut, it will actually cut away the outside view profile. If you press OK, then you should end up with a shape something like this. And this is the rough shape of the key fob, and you can rename this as top cut. If you look from the end on the sides and the top, you can see that we've got all the curves that we need we just need to add some more details and some finishing touches. Really. To recap this video, we start with two sketches, one of the top plane on one on the right plain, and we use sketch picture, which can be found on the sketch tab of the command manager. You can use this to add pictures or photographs into your model, and then you can essentially trace around them with your sketch entities you can position, and they're just the size of your picture on what sits in a feature. You can expand that feature, then expand the sketch and you could double quick on a picture if you need to edit the size of the position or anything like that. When we had set both sketches, we don't drew the shape of the outline using explains, and we use the mid plane extreme to extreme this past the size that it needed to be. Then we draw our second profile on the right plain, and we use the flip sites occur option to cut away the outside of the sketch rather than the enclosed profile. And there we have our basic shape. In the next video, we're going to be adding some Philips and some cut outs at the end on more details about the button and led.
48. 8.2 Adding to the Key Fob 1 - Shared Sketches and Offset From: welcome to the second video of the key FOB section in this video again to finish off the Keefe of itself. And we're going to start by adding a four millimeter Philip to these four edges and immediately. This makes the shape look more like the key fob. We need to add some more Phillips, but before we do, we get to draw one single sketch with all of the extra details we need to add the led the butter, the buttons around on the lanyard cut out. To do this, we're going to use the photo that we added to the first sketch again, but we're going to make a new sketch, so start sketch on the top play, then make the first sketch visible by expanding the first feature clicking on sketch one and pressing show, and you should now see the photo around the outside edges of the body. But all of the details that we need are actually hidden by the body itself, so we need to hide the body. You can do this by clicking on the base feature in the feature tree and then just pressing hide, and now you should be able to see the full photo, and now we can use our sketch entities. Toe outlined all of the features we need to add the led the butter the buttons surround on the lanyard section. Start with the led, which is just a circle on the center line, then add some dimensions that it also will be helpful to add a center line all the way down the middle of your new sketch. After this, we can draw the bus in itself, and you can use a sensor rectangle to do this. Then add sketch fillets to the outer corners and add dimensions as you go along. As we mentioned in the last video, it doesn't have to be exactly right. Just close enough that you're happy with the model. Next, we'll draw in the recessed area on because it's symmetrical. We only have to draw 1/2 of it. Start with a straight line down the left hand edge. You can actually start the line from further right because we can add a sketch, fill it later on to get this around the corner, then had to split lanes, one at the top and one at the bottom, and you can drag your entities around as you sketch them to move them into exactly the right place and, as before, extended the spine outwards with the second point. And I use that section to set the curvature of the first point for the bottom spine. It might be easier just to use the handles to adjust a curvature, because the straight lines very close to the point where the seconds blind point would have to be next at a small horizontal centerline. And you can then use this to add a tangent relation to your split and also make the bottoms by in tangent to that diagonal straight line that we drew first. Then you can adjust the curve it just lightly with the handles if you need to. And when you've added a few dimensions and you can trim the excess supply in at the top, then out a sketch fillets to get that rounded corner and two millimeters looked about right on my model. When you happy with how about half of the sketch looks, click on the spines and then add another fixed relation. And as before, this might over define your sketch. And if it does, just click on the over defined warning in the bottom, and then you sketch experts to find a solution. So click diagnose and then click three options until you find one where everything's fully defined and then press except then select all four of those entities. So it's the top spine. The sketch. Fill it straight line on the bottom splaine and mirror those about the center line next to again to Absalom or sketch features for the lanyard section of the bottom. And this might seem like quite a complicated sketch. But by adding everything toe one single sketch, it saves us having to come back and refer to the photo all the time. So start from the center line. Draw a horizontal line to the left, a diagonal line down and then another horizontal line back to the center line. And you can either add the dimensions as shown in the video. Or you could just use the photograph to find your own dimensions. To finish off this small section, select sketch village and at a small sketch, fill it to the top left corner. Then we're going to add another sketch on top of this one, and this represents the small hole that the lanyard, or key ring will actually go through. So again, start from the center line, draw a horizontal line out to the left than a diagonal line down on in a horizontal line back into the center line and then add the dimensions again. So the upper horizontal line should be on top of the one that we just drew. And usually this wouldn't be the best practice to add lines, overlap each other and are on top of each other. But we're going to be using these profile separately in different features. So it's OK in this case. Finish off this section by adding half millimeter Phillips to the bottom left corner on the top left corner, then select all of these entities in the bottom area that we just drew. Sometimes if you have a picture in the sketch, it's not possible to draw a selection box as normal. And if this happens, just zoom out slightly and then start the selection box from outside of weather photo. It's You can also use control. Click to select, ordered them manually, and when you've got all of them, use the center line to mirror them over to the other side. Then this sketch is complete seeking Exit the sketch, and now we can re show that first body by clicking on the base feature in the feature tree and Pressing show. Now again, to use that third sketch to produce a number of different features on a sketch can actually be shared between multiple features. Before we start, let's hide the first sketch again so quick on it impress hide just to make things a bit clearer. And now we can see we've just got the third sketch with the multiple profiles on it. Firstly, we're going to cut out the area surrounding the button. And to do this, we need to cut down from the top of the model. If you look at the sketch is actually on the top play, which is in the center of the model, so somehow we need to offset before we use it to cut. But this isn't a problem, and it's actually quite easy to do in solid works. So select the third sketch and then press extruded cut. The first thing that we need to do is select which area of the sketch we want to use the cut. So clicking the selected Contours box right click and press clear selections. Then select the area around the button just by clicking on her. And you should get a preview, which is roughly rectangular with these rounded edges. Also select the area of the button itself, so we want to cut out this entire yellow section, but we actually want to cut from the top. So the way to do this is go over to the property manager on the left and right at the top, where it says from Click on the drop down menu and we want to choose Offset. And this allows us to effectively offset the point, which we start the feature from. Put the offset distance up from 0 to 10 millimeters and you should see your preview move upwards by 10 millimeters. To now we're cutting down was from a 100.10 millimeters above the top plane where the sketch was originally started. Now we want to cut a one millimetre deep profile into this talker Dutch, but because it's curved, we can't really use blind, extreme or something like that, so you have to use a new end condition Quick, the drop down and then select offset from surface. This will allow us to offset. Are cut from any surface. So the first thing you need to do is actually select that surface. Make sure you're in this face plain box and then select the upper surface of the key fob model and set the distance to one millimeter. Now, if you rotate your model around, you should be able to see on the preview that the cut will end one millimeter above the surface we selected. But it will follow the curve, that surface if we pressed. Okay. Now this wouldn't work because the cut doesn't actually insect the model. So we need to reverse the offset. So rather than being one millimeter above the surface, in needs to be one millimeter below the surface. Do this by clicking the reverse offset. But and now we're cutting this profile one millimeter deep into this curved surface, so press okay and you should see the button surround cut. And you can rename that feature as buttons surround. Next, we want to extreme the button upwards, and this is a very similar process to the extruded cut, except will be adding material. This time, we're going to be reusing the same sketch that we just used, so to get to this, expand the buttons surround feature on, then click on the sketch and then press extruded boss base. As before, the first thing we need to do is go into the selected Contours box, right click and press clear selection. Then this time we need to select just the button area. We don't need to offset the plane this time, so we can just extrude upwards. But we still want to copy the curve at the top of the key fob so again will use offset from surface. So let your surface, which is the inside face of the buttons around, and you should see a preview. But you probably see that the profile is actually beneath the surface rather than above it . So again you might have to click reverse offset. Just to ensure that your extrude is poking out the top of the model, set the distance as 0.75 millimeters impress. Okay, call that feature button and save your parts. Next, we need to cut the led hole on will use a similar procedure to cussing the bus and surround . But you should see now that this sketch that we use has got this little hand underneath it , and that indicates that this is a sketch that shared between multiple features. So to cut the led whole again, choose the sketch press extruded cut, and then first we need to clear the selections, then select the led hole again. We'll do an offset sketch to choose from offset and then certainly offset to 10 millimeters on. We'll also set the end condition as offset from surface again, so chooses from the drop down and then choose your surface, which is the upper edge of the main key fob, then extrude downwards, hard for millimetre. And as before, you may need to check the reverse offset box to make sure you're cutting in the right direction. Then, okay, the feature and rename it led hold in Part two will add some more features to completely finish off the key for
49. 8.3 Adding to the Key Fob 2 - Dome Feature and Finishing Touches: continuing from Part one. We're now going to use the dome feature to add a curved face to the led cuts, and this is a very simple feature. You can find it in insert features, dome, click on the feature and then, firstly, choose the surface to dough. And this is the inside of the L E D Cup. That no you need to do is set the distance, and we'll put this is half a millimeter. Next, we're going to cow this lanyard or key ring section at the back on. As before, we're going to use the shared sketch. So select that third sketch you may need to expand one of the features to find it on impress extremely cut as before. Firstly, you need to clear the selection and then zoom in on this bottom section and choose both profiles. Then we want to cut upwards. Using through All is the end condition, and we're going to offset the start point half a millimeter upwards. So in the from section, click on the drop down press officer and then put in half a millimetre and ensure that the officer is upwards. If you need to flip it just click on these arrows in the box and that will flip the direction, press okay, and then we'll call that feature lanyard cut top. Then we need to do a very similar process with the bottom half. So again, choose a shared sketch press extremely cut, clear the selections, and then choose those two profiles at the bottom of the key fob. This time we want to cut downwards through all on. We want to offset 2.5 millimeters down, and this will leave behind a three millimeter thick section in the middle. Then when you've created that feature, call it lanyard cut bottom, then the final feature we need to cut using the shared sketch is the actual lanyard hole itself. So again, choose a shared sketch on do an extruded cut through all Both you need to clear the selections again. And this time, just choose that inner profile at the bottom. And you can see putting all of these entities into one single sketch saved us having to go back to that photograph every time I'm making you sketch for every single feature. Now rename that feature lanyard hole on all we need to do is handsome fillets. They're finished things off. First, let's out a 10 millimeter. Fill it to these edges that are on the front vertical face. You may also have some similar edges on the back face, depending exactly on how you've modeled your curve. If you do at the same, fill it to those two back edges as well. Next, let's out a two millimeter Philip around this front edge, and if any of these sizes don't quite work out for you, feel free to experiment with slightly smaller or larger ones that might work better next at another, too many me to fill it to the back corners, then at a one millimetre Philip to this inside edge of the lanyard at the top and bottom. And once again, you might have to adjust the size very slightly because this isn't an exactly defined model , so yours might be very slightly different to mine. Next Absalom or one millimeter Phillips around these loops. Then finally, at 1/2 minute me to fill it around the lanyard hole itself, and you should just be able to click on one of the faces inside the hole, and this should fill it both of the edges for you, then the last one is just another half millimeter to round off the edges of the button and the button surround. Now the key fob geometries complete, and we can just add some appearances to really finish off the model, maybe a dark grey or black plastic overall, and then it, like greater pick out the detail of the buttons around. You can also add another appearance to the led, and there's actually a separate lighting folder within the appearances so you can add an led appearance. And now the key for pot itself is finished. So let's drag three. The models have a quick recap of this video. This was the shape that we started the model with, and first we added large Phillips to the outer corners. Usually, it's good to add your Philips at the end of the model, but these were so integral to the shape that it was good to add them at this stage. Then we drew a single sketch, which had all of the extra features from the photograph on and to do this. First we showed the original sketch. Then we hit the first feature itself, and it's allowed us to see the photograph and to draw a new sketch on the top play with all of the details on next. We use the profile from that sketch to do an extruded cut, and we had a name condition off offset from surface, and we also offset the start of the sketch itself to use the offset from surface and conditions. First, you have to choose the surface you want to offset from, then set the distance, and then you might need to check the reverse offset box, depending on exactly what you want to do. Next. We use the same sketch, but a different profile within it to make an extruded boss for the butter and again we use an offset from surface and condition. So again, you need to choose the surface you want to offset from set the distance and then press reverse officer if required, and to use a shared sketch or you have to do is expand the feature that currently uses it and then click on the sketch and then click on the feature you want to use. Then, once again, we use the same sketch again to do an offset cup for the led hole. And then we use the dome feature toe had a small dome to the owner of the cut, and this can be found in insert features dome and can also be found in the search bar, the same as all the other. Commence next week, added the lanyard cuts. And for these we just selected a certain area of the same sketch. And then we extruded through all on. We just offset the starting plane. The bottom one was exactly the same, just with a different cup condition and a different offset. Then finally, the lanyard hole itself was just on extruded, cut through off. Then we finish off the model using Phillips. First we added a 10 millimeter fill it to the front vertical edge, and also you might need to add it to the back vertical edge, depending exactly on your own model. Then we added smaller Phillips around the front edge on the back corners. Then we rounded off the area around the lanyard, and then we rounded off the lanyard hole itself. And finally we just added Phillips to the buttons on the button. Surround on the model was finished off by adding some appearances. So the key for itself is now completely finished. And in the next video, we're going to be using this in an assembly and starting to create the three D printed cover that will go around it and stop you pressing the button accidentally.
50. 8.4 Adding the Key Fob Cover: Welcome back to the key fob section. Here's the key for file. As we left it on in this video, we're going to use this part file to make a three D printed cover. So firstly, we're going to add this part into an assembly. So select file, make assembly from parts take okay on your part should be added fixed to the origin. Then we're going to insert a new part. To do this, go to insert components, which is on the assembly tap. Then, as before, you'll see that the Kherson has a tick next to it. Select the top plane of the assembly and will start drawing a sketch on this plane. Go normal to on. Basically now we want to model a shape which is similar to the key fob, but a little bit larger. That how much larger do we want to go, what with three d printing a good minimum wall thickness is one millimeter, so if we make the walls two millimeter steak, this gives us plenty of space to add any extra detail later on. We also need to add a bit of tolerance in between the key fob cover on the keep of itself because otherwise the parts will be so tight that they might not fit together properly. So with that in mind, let's make our cover part three millimeters larger than the key fob itself. To do this, we can actually use the sketch that we use for the key for itself to expand the key for part in the parts tree, then expand the base feature and then select the first sketch, then press officer entities. And this will offset that original sketch but into the new part set. The distance is three millimeters and press OK, now we can use this sketch for a mid plane extrude of 20 millimeters thick. Then you can rename that feature as base, and you might need to expand the new part to be able to see where the feature is now. If we exit editing the part on, we click on the new part we just made on make it transparent. It should be able to see that it completely encloses the key fob. And from the top, it's three millimeters larger in all directions, and now you can right click on the part itself and rename it just does something like key fob cover. Then save your assembly and you may get a warning message regarding the new virtual part that we have. And if you do, just press OK, then you should be prompted to save this new virtual part internally or externally, and will save it externally in the same folder is the Assembly. And you should see in the part tree that the square brackets around the virtual part disappeared. Because this is now safe has its own part file. Now, you might notice that we have a question mark next to the base feature on also next to a sketch underneath it, and that indicates that we have a problem with the references to avoid this. Ideally, we should have saved the assembly before we added the new parts. If you right click on the feature and press list external references, you should now see that we have some out of context references. And this is because of the order in which we save the files. And this means that if you change the bass part than this new part might know update properly, so to solve this will react. The references do this by editing the original sketch. Then you'll see that if we click on any of our lines, you see, they've also got this question mark next to them. So select all of them and delete them. Then select the original sketch from the Key Fob part again and then press officer entities three millimeters again. And now you'll see when we exit the sketch that we have the correct external reference indicator. Now we want to cut away the material from the site in the same way that we did with the key for itself. So make sure you're editing the key fob cover. Start a sketch on the plane that cuts through the middle. That should be the right play. And again, we want to use the sketch from the original Key Fob. So expand the key FOB part, then expand the top cup feature. Select the sketch on impressed officer Entities and again will offset three millimeters and you'll see this takes us right up to the edge of the body that we just made press okay and then exactly the same as the key Fob part will do an extruded cut, select three or both and then flip the site to cut press. Okay. And we should have the rough chief of shape but three millimeters larger than the Keefe up rename the feature and then X editing the feature on again. If you make this new part transparent, you should be up to see that it now follows the shape of the key foot. Now all we need to do is continue adding the features so edit apart and first will add the Philips along the long edge is you remember in the key fob that these were three millimeters, but because we've actually offset three millimeters, we need to add an extra three to the Philips size. So these should actually be six millimeters at those to the fore. Long edges there next will add the 10 millimeter, fill it to the front and back again. We need to add three to this, so they should actually be 13 millimeter Phillips. You should be able to select some edges on the front and possibly on the back as well, depending on the shape of your model. When we were making the key fob, we added the extra details at this stage. But we don't actually need a lot of them on the cover at this stage. Next, we can add the Phillips to the front and back edges. And these were two on the original key Fob. So again at three. And make them five millimeter Phillips. And you can add the's both a single feature. And then if you exit editing the part on make it transparent again, you can see we've got a cover that fits pretty well. Next we go to cut out the section around the lanyard, so make sure you're editing your part and then start sketch. So you're looking down from the top. Then select the shared sketch from the original key for par, which was this one and press convert. And then all of those details that button the led and so on should be added into this sketch in the new parts go to a normal to view, and the first thing we need to do is cut away this lanyard section at the bottom and we actually need to offset the sketch slightly downwards to account for the wall thickness. So hold out control and select the edges around the top. There should be five in total then press offset and you're all set to will probably train select the whole chain. So de select this box that says Select chain, then reverse the offset downwards if you need Teoh and the distance should be two millimeters press OK, and now we need to add a line along the bottom on. We need to extend those diagnosed lines a bit. We'll start with a horizontal line to go to the line tool and from the drop down, choose a midpoint line, and this is a line that will expand in opposite directions from your start point. Zoom in and choose the very sensor bottom point and then draw a line outwards, which is horizontal. Then select the trim till and we need to extend these diagnosed lines down so they meet this horizontal line. And as we have covered briefly before, the trim took and actually extend lines as well. So to do this, hover over the line, then hold down the left mouse button and just drag the line outwards, and you can get past the horizontal line. If you want it, do the same on the other side and then continue using the trim till Ondas, trim away the Xs on both sides and now we're going to use this new quadrilateral shape to cut away the area for the lanyards. Select the sketch and then press extruded cut as before. First, we need to clear the existing selection. So right, click and press clear selection and then just choose that new region that we just drew. And you can do this by hovering over one of the lines that should select the whole area. Or you can select the areas by clicking in them. But make sure you don't accidentally select one of the wrong areas. Then we want to do a Coke street three war upwards. We also need to offset the start point. So in the key fob were offset by half a millimeter. And in this cover, we're gonna offset by 2.5 millimeters Just there. Take into account the wall thickness, make sure you offset direction is going upwards. And then do you cut through all upwards and press OK and this should cut out the area for the lanyard and then we need to do exactly the same thing for the bottom area. So again, select the shared sketch, then clear the selections. Then just choose that region again. And this time do occur extreme through all that, make sure that direction is downwards. And this time the offset needs to be 4.5 millimeters downwards. Then you can rename both of those features as lanyard Cut top on lanyard Cut bottom. Next, we'll absent Philipson. So start off with a three millimeter Philip for these inside edges here next, a two millimeter. Fill it around. These in Reg is on the top and bottom. And then finally a 1.5 millimeter Philip around both of these loops on as before. If these numbers don't exactly work for you, try experimenting with a slightly smaller or larger fill it. Then if we exit editing the part and make the part transparent again, you can see we've got a nice cover shape that follows the keep up shape itself. And all we need to do now is somehow hollow out this part so it can actually fit the key for been 10 The transparency off and go to a cross section View on. Now let's have a look at how we could hollow out this cover part. Maybe you're thinking we could use the cavity feature, so let's give that a try. Edit the cover part and then find the cavity feature using the search bar at the top, then select the key for part to be cut away from the cover part. Now free press. Okay, there'll be a whole within the key for cover. That's the exact same size is the key foot. We actually need a hole that's a little bit bigger to allow for tolerance in the three D printing. The parts were all exactly the same size than it's very unlikely that actually fit together in real life. So let's try editing the cavity feature on increasing the scaling. Let's try 5% and impress, okay, but the problem you'll now see, is that everything is being increased by 5%. So on the outer edges there's a clearance, but on the inner edges, there's now 5% interference. So this isn't gonna work, and we're gonna have to find another way. A much simpler way is just to use the shell feature, so delete the cavity feature on, then select the shell feature and will shell out to a thickness of two millimeters. If you do have any issues with a shell, it might be that some of your curves orbit too tight. So if so, try increasing the size of some of your Phillips or decreasing the wall thickness of the shell. And now, if we go to a cross section view, you can see we've got a nice hollow part with clearance all the way around. It's quite tight at the back around the lanyard, so maybe we could look at increasing that slightly in a future version. But for now, it looks fine. Now we need to add a few finishing touches, so open the part directly and firstly will add the cup for the lanyard hole itself. We already have the sketch that we need. So find the shared sketch in one of the features and clear the selections on this time will select the exact whole cup of the lanyard on. We don't need to offset this because we want the holes tow line up so you can put a key ring or lanyard through. The preview should look something like this to do a cut through all. Both. Then rename that lanyard and next, we need to add a cut out for the button itself on the led. Firstly, let's edit the shared sketch, so find the sketch within one of the previous features and then this press edit sketch. And we want to use the small hole on the rounded rectangle, but we'd like to make the cut out slightly bigger, so let's offset them. First select the led hole and then do an officer of one millimeter. But before you press OK, have a look here where it says construction geometry and check the box that says based geometry. And this will actually make the base sketch into construction lines. You could also clicked offset geometry, and this would make the offset sketch into construction lines. Press okay and you'll see that the original inner circle is now. Construction line on the outer circle is solid on. This just saves you selecting two different regions. Then we'll do a similar thing for the button area. For the rounded rectangle, select all the entities and then officer again, and this time will offset two millimeters rather than one press okay and exit the sketch. And this shouldn't affect any of the other features that the sketch users then select the sketch again on will use it to create a new extruded cut. So as usual, clear the existing selection and then choose those to new regions. The led and the butter and we can do occur extreme through will upwards. Next, let's add a one millimetre. Fill it around these new edges just around them off. So select the led the buttons around, then also the lanyard top on the lanyard bottom, and you probably see with the lanyard cut because it's quite thin area that we're filleting . It takes away quite a bit of material, then press OK and save your part. And now if we control tab back to the assembly, you should see that we've got quite a nice e fitting cover. We've got whole for the led a whole for the button, and then we've got this whole for the key ring or lanyard that goes all the way through. And if we do a cross section view, you can see that everything fits quite nicely. As we said before, the end section is probably a little bit too tight, but we could increase that clearance pretty easily, So it's a recap what we've learned. We're going to edit a key fob, cover part and drag back through. We started with an assembly with just the key for part in it, and then we inserted a new part on we started a sketch on the top plane. Then we made a new sketch using the original sketch from the key FOB on, we offset this three millimeters to give us some war, fitness and some clearance Inside. We use this sketch to create an extremely boss based mid playing 20 millimeters. And then we created another sketch from the side view. And again, we use the side profile sketch from the original key fob on. We offset this three millimeters. We've ended a cut extreme through or both, and we flipped the direction of cut so that we're cutting this curve on the top. Next we added the Phillips and you remember that we had to add three millimeters to take into account the extra officer. So these long Phillips became six millimeters. The front and the back became 13 on the front and the back edges became five. Next, we made the lanyard cut out sections And to do this, we made a new sketch on the top play on. We converted that sketch with all of the details from the original key for parts. Then we officer a sketch entities for the lanyard cut out with the bottom to move them downwards, close the profile, and then we use this region to do an extremely cut upwards on. We offset it. Then we did the same for the bottom section, but with an extremely cut down on an offset down. And then we added some more Phillips to round off the area around the lanyard. Next we talked about hollowing out the body, and we decided to shell out to a war fitness off two millimeters. Then they used a Catic street to cut them lanyard hole cut. And this wasn't offset so that the holes in the key fob on the cover both line up correctly . Then we used to cut extreme to make the cut outs for the button on the led, and these were offset from the original sketch on. We use the construction geometry option, which allowed us to make the original based sketch into construction lines. Finally, we just added some fillets to around these edges off. So there we have our basic key fob. In the next video, we're going to split this into two separate parts and we're gonna add some finishing touches on. We're gonna look at adding a logo.
51. 8.5 Finishing Touches and Blocks: Welcome back to modeling the key fob Uncover. This is where we left our previous assembly and in this video again to split the cover into two parts and then just add some finishing touches, including a logo. Let's start by opening the cover parts and then start a sketch on the plane that goes on the side. And for me, this was the right plane. Then we'll draw a straight line down the middle of the cover, so make sure you start from the very edge of the cover. Draw vertical line all the way down, and this time would leave it just short of the bottom of the part, and we'll see what happens if you try to use this to split your parts. Add a dimension, say the line is one millimeter to the right of the origin, then from within the sketch. Select the split feature, and you can either do this by searching for in the search bar. Or you can go to insert features, splits. Make sure you got the sketch selected and then press cut parts, and you should see that we only have one resulting body, which means that the part isn't actually cut, and this is because the line doesn't go all the way through. So exit the split feature and then drag your line down. So it's just coincident with the very bottom edge of your body. Then select the split feature again. Breast cut parts again, and this time you should split into two different bodies. Then we can save these bodies out as external files. So first check the box of the top one, then double click where it says it on. Then we'll save this part of something like key fob, cover upper. Then do the same with the bottom part. Check the box. DoubleClick works is known and save it is key. FOB cover lower. Now that we have both of the names assigned press okay, you may have to press it twice, and then solid works will save these out as external part files. And now, if you control tap through your open documents, you should see we've got two new parts. The bottom part on the top parts. Now use control tap to get back to the original assembly, and we'll add those new parts into this assembly. So first, we're going to hide the original cover part because we don't really need this anymore, so you can either hover over and press tab to hide it, or you can select in apart street and press hide. And now let's add our new components to go to insert components, and we'll choose the key fob cover top first, and you might see that when you import it is actually 90 degrees out of where you want it. And this is because some of the planes are out of alignment. So if this happens, you can use these buttons on this small menu that should have popped up to flip it around by 90 degrees in any direction, and you can get it into the correct orientation and then just click and place it roughly in the correct place. Then do the same with a key fob cover. Bottom part again, you might have to flip the direction using these buttons. I just place it in roughly the correct place, and then we'll add some mates. The easiest way to do this is to use the planes, so firstly, select the front plane from the key for cover top and then pulled down control and select one of the planes from the assembly, and you should see that two of them a line. So you see the top plane from the assembly and the front plane from the key fob cover part , align correctly. So select both of those and just add a coincident mates, then do the same for the other two planes. So the front plane aligns with the top plate, and then the right plane aligns with also the right plane, and then you should see that the top part is in the correct position. Then you can do the same for the bottom part as well. Select the planes in the part and then made east to the Plains in the Assembly until you have both of your parts, mate it in the correct position. Now we're going to talk about how these two parts of the cover will fit together once of actually being printed. So let's go to a cross section view. There's quite a few ways we could do this. You could use clips. You could add some space and use screws, but probably the easiest way is just a glue. The to house together. If you want a semi permanent solution. So to help with this, we want out a small lip around the edges where they join just to help the two parts make together really nicely. We'll start with the bottom part, so click on it and press open parts. We need to cut away a small lit inside this perimeter. So start a sketch on this upper face, select one of the edges of the inner perimeter and then right, click and press select Tangent C. And this will select the entire loop for you. Then press convert entities and we'll have this whole loop meeting to sketch entities. Next, select all of these entities by pressing control A and then Goto officer Entities on will offset 1.2 millimeters outwards. You might need to click to reverse the officer and then make sure you haven't got any of the construction geometry options selected on impress. Okay, when we get to cut downwards with this profile of just drawn, the walls are two millimeters thick, so we're going to cut slightly more than half of the wall and this will just give us a bit of clearance when we fit the top part now go to extremely cut and cut downwards one millimeter and press OK and you'll see. We've now cut this lip away inside of the part. If you get in a row like the one shown in my video, just go down to the selected controls box and zoom in and select the area between the two sets of lines. Then press OK and this should create your feature. The only problem is the lip looks great all the way around. But if you zoom in is actually too small sections here that weren't cut. And this is because the curve of the inner fill it means this area is actually inside the inner perimeter. Luckily, this is easy to fix to go back into the feature headed. The sketch on will offset that inner line in words as well. You could also just delete this in a line, but then you probably lose the relations for the offset line. So select one point of the inner line, right click and press select chain. Then we can use the officer entities tool to officer in words. Say this one millimeter and this time, make sure that you select the construction geometry based geometry option. And now when you press OK, you'll see that the original line is now a construction line, so this will be ignored by the feature. So exit that sketch and then edit the feature. And in the selected Contours box, just choose both of these areas. Now, let me press, OK? You can see that those two little problem areas disappeared. So rename this features lip, save your file and closer, and they should take you back to the assembly. You might see that the bottom part has now disappeared. So if you press control be to rebuild, it should reappear. And now you'll see that we've got this cavity all the way around the inside of the bottom part. Next, we want to make a corresponding section in the top part that fits into this cavity. So first quick on the top part and open it, then rotate it. Select the flat face. Starting you sketch, select one of the encourages right click and press select Tangent C and then use the convert entities tool to make this whole loop into sketch entities. Then select this whole loop by pressing control a select officer entities and this time will offset no 0.8 millimeters, and this will just give us a bit of a gap between the two halfs. Make sure you have the selected the construction geometry options and then press OK, and now we can use this sketch to extrude upwards nor 0.8 millimeters. Once this feature is created, rename it is lip and you can save that part. Use controlled tap to get back to the assembly. And again you might need to rebuild by pressing control be. And now you should see that you have this section that fits into the cavity of the bottom part, and there's a small clearance all the way around. And if we change the section view to another plane, you should see that this continues all the way around the perimeter of the model, so the two parts should fit together quite nicely. So the key fob uncover and nearly finished. But what we're going to do next is on a logo to the top cover part. So open the part itself and start a sketch looking down from the top. This will probably be different plane I'm against insert block now a block is a collection of sketch entities, which can be moved around as a single unit and to insert one will go to tools block insert , and you can also use the search bar as normal. You then get this insert blocks dialog box on the left, and the first thing we need to do is find the block itself, suppress brows, then go to the course downloads for this section, and we'll insert numbness on logo SLD be okay. And that file extension indicates that this is a solid works block press. OK, and now you'll see that we have this in this and logo, but don't click anywhere yet because every click will insert one of these blocks before we actually insert the logo. We need to adjust the scale slightly, and you can do that over here on the left to change this one toe point for so be 40% of the original size, and you can also just the angle of the block if you need to actually created this logo using Adobe Illustrator. So I imported just a normal image file. Then I automatically traced around in Illustrator and then I exported it as a GXF file, which you can then reimport into solid works and then use that to make a sketch and in this way can get quite complex logos much more complex than this, and you can quite easy make them into a nice freeform sketch. So let's go ahead and sit, is at the origin so quick wants to insert it on, then close the block tool. And now this could be used like a normal sketch, and you'll see if we expand the sketch that it said you'll see the block underneath it. And if you right click, you've got various options. You can save the block or explode the block, which will just turn into normal sketch entities. But for now, we'll just use it to create an ex treated cut. So make sure you got the sketch selected, go to extremely cut, and then we'll choose the selected contours that we want to start with these two parts of a circle at the top on the bottom. Then select the area around the text, and also don't forget to select the inside of the A. Next go to the from option of the top of the dialogue box on will set an offset 10 millimeters upwards so that we're cutting from above the cover part. Then let's choose a cup using offset from surface. So, as before, firstly, choose the surface to be offset from, and that's just the top surface of the cover. Then set the distance of no 0.8 millimeters will be fine. Then you may have to reverse the officer, and if you rotate the model, you should see whether you need to or not. When that features created, you can rename it as logo, and then you can just add some appearances, save the part and go back to the assembly. Then we can just open the bottom part and give it the same appearance. Then you can close that part and get back to the assembly again. And if you wanted to at this stage, you could develop the cover further. This is a version I actually created for actual use. It's got this small flip up cover to protect the button a bit more, and it's also held together with clips so you don't need any extra parts or any glue or anything like that, and it can also be taken apart to change the battery, so this is quite easily three D principle, and it's a sort of thing you could go on to develop. But for now, we'll just have a quick recap of what we learned in this video. First they let's look at the bottom part. To create this, we split the original bass part, and if you're right, click on the stock feature in the two new parts and press edit in context. You'll take you back to the original part and you'll see that we just you're a single line and then we use the split feature to cut this part into two. Then in the bottom part, all we did was at this small lip by creating a sketch, then using the convert entities on officer Entities Tool. I'm just using a basic cutting street. Next, we did a similar thing on the top part. Except this time we added material rather than cutting it away. And we added a small tolerance between the two lips just to ensure that they fit together properly. Then we imported a block. Used us to cut a logo out on the block is just a collection of sketch entities and you can actually make blocks and use these in your own models. And if we want to do at this stage, we could just select the logo feature and at an appearance there just to make it stand out a little bit more. So the key fob uncover are now complete in the next video. As usual, we're going to have a recap of everything we've learned in this section. Then in the next section, we're gonna look a more advanced assemblies and we're going to model up a Lego man.
52. 8.6 Key Fob and Cover - Recap: Welcome to the recap video for the key fob and cover section in this video as usual again to make the whole assembly from scratching quick time. So we started a new part and started a sketch on the top plate. Then we drew a sense appoint rectangle and made it for construction, and it was fixed to the origin and we also drew a center line down the middle, and this was going to be the bounding box for a photograph. We added this using the sketch picture feature, and we use the photograph from the top of the key fob, then resumed out, dragged it to the correct position and the correct size and flipped it, and we adjusted it. So I only just filled the construction rex angle that we just drew at this stage. You can then draw the outline of the key folk using spines, and we extended the spines a bit longer than they needed to be to help with the adjustment of the curve that we use the trim tool to cut them down to the correct size. We also added tangent relations to the top spine on the horizontal line of the rectangle on the same on the bottom. Then we added a fixed relation to this planes, and if your sketch becomes over defined, then just click on the over defined warning at the bottom. Then you sketch expert, press, diagnose and then find a suitable solution where everything is fully to find there were selected those three spines, mirrored them about the center line and then did a mid plane extreme 20 millimeters. Then they used a similar procedure from the side. So we started a new sketch on the right play. We drew a rectangle and made it for construction. And then we use the sketch picture feature to add in the picture from the site. And if you can't quite see the body because of the first feature, you can quick off the picture and then hide the first feature and then double click on the picture again, and you should be re editing it. Then we use lines and spines to draw the outline of this, and we trimmed away the excess. We added fixed relations of the spines, and we made sure that the sketch was fully defined, but not over to find when you're happy with the sketch. Use it for an extruded cuts on do through all both. But this time, make sure you select flipside to cut, and this will cut outside of your profile. Next we added some three millimeter Philips along the long edge is this might be a good point to save your parts. Next up. We drew the shared sketch with all of the details. So, firstly, we hit the existing body, then start sketch on the top play, and then we re showed the first sketch with a photo in it. Let me drew the outline of all of the details, adding smart dimensions as we went along. So we started with the led ended the button, then the surround and finally, the lanyard hole at the bottom because a lot of features air symmetrical. We also drew a center line down the middle and then just do half of the features and mirrored them. And that's before we fix the spines. And then, if you have any issues with oh definition, then use the sketch experts affects those for the lanyard section at the bottom. We actually drew one sketch over the top of another, and this was because we were going to use to separate profiles in different features. Then we exited the sketch and started to use it to create the features. First we showed the original body, and then we hit the first sketch so we don't see the photo any more than we selected the latest sketch and used it to make an extremely cut, clear the selections and then just choose the area around the button and the button itself . There we offset where the feet should start from by selecting offset from the from drop down box at the top. So we offset by 10 millimeters. And then we did a Kirk Street, which was offset from surface. We selected the top surface. We said The officer is one millimeter, and then we reverse the officer, so that actually cut into the model. Next, we use the same sketch in another feature so expanded that latest feature selected the sketch, and this time we did an extruded boss base again, clear the selections and then just choose the button area, and this time again, we did offset from surface. We chose that inner Kurt area that we just made on. We offset upwards by 0.75 millimeters. Next, we cut the led whole again, using the same sketch. So again choose to shared sketch. Clear the selections. Just choose the led region, offset the feature again by choosing offset from the from box, then select offset from surface and choose the upper surface on will offset half a millimeter down, so they're cutting half a millimeter into that top surface. Then we added a dome feature to that led cut, so start typing dough in the search bar at the top. Make sure you're on commands, then click on dome and select that inner led face and set. The size is half a millimeter. Next will cut the area around the lanyard on the bottom. So again, use the shared sketch to co extrude clear the selections and then just select the outer area of this section at the bottom, then cut through all upwards on offset the start point half a millimeter upwards. Do the same for the bottom again. Select the sketch. Extremely Kurt. Clearly selections choose the area once a cut, and they do a couple through all downwards, and this time will offset 2.5 millimeters downwards. That should leave this three millimeter section in the middle and next we'll cut the lanyard hole itself through this. So as before, select a sketch, clear the selections, choose that in our whole area and then do a co extruded through all both. Then all that remains is to add a load of Phillips. So firstly will add some 10 millimeter ones to the front and back. And if you only have small edges on the back, you might not be able to add this. And if you can't just don't select those just at the front ones with any of these fillets. If you don't quite work, try adjusting the size and see if a smaller size works better. Then it was in our to fill it around this front edge and then also are two of the RIA. Next, it was our one for the intersections of the lanyard top and bottom left and right. Then another one millimeter around the loops, top and bottom, and then finally, half a millimeter round the lanyard hole itself, and you could just click on the face and it should select all of the edges for you. then finally, just to finish off, there was 1/2 millimeter. Fill it around the button, Kurt out on the button itself, and then you can add some appearances and save the part. Next, we used this tea for part to make the key fob cover. So make it assembly from the part and fix it to the origin. Then save your assembly, and this will just prevent any problems. After you insert the next part. For the cover itself, start a new part on the top, play within the assembly, then expand the key for part, expand the first feature and select the sketch on will offset this three millimeters, so this will give us two millimeter wall thickness plus one millimeters clearance. Then you can use this sketch to do mid plane Boss extrude 20 millimeters. Next, we'll do a similar thing with sketch from the site, so make sure you're editing the part. Starts sketch from the side view, then expand the second feature in the original key. For part, select that sketch and also offset that sketch three millimeters You contender occur extrude Using this new sketch, make sure you do through or both, and you flip side to cut. Then you can exit the editing of the parts, right, click on it and rename it and then save the assembly and save this new part externally in the same folder is the assembly. Then edit. Recover part again, and we can now add our Phillips. We had to add three millimeters extra toe all of these fillets to account for the offset that we made, first at the long edges and then the front and back Phillips. And again, if you have any issues with fillets trying either using a smaller fill it or maybe splitting them out into a couple of different features. Sometimes with Phillips, it's not possible to add everything into a single feature. But if you have the same thing into two different features that work fine. Next we re use that detail sketch to cut the lanyard section out. So edit the parts, start sketch viewing from the top, expand the original key for part, expand the buttons around feature and then convert that sketch into a new sketch, Then zoom in and select these five baht images around the top of the lanyard cut out on offset these two millimeters down, and you probably have to uncheck select chain, then use a midpoint line and then extend those diagonal lines down. Using the trend tool. Trim away the Xs, and you should now have another closed profile at the bottom. We can use this to cut out the lanyards around, so as before, select extruded cup. Clear the existing selections, then choose that new selection at the back and cut upwards through all. And this time we're gonna offset 2.5 millimeters upwards, Then repeat the same process for the bottom, but this time cutting downwards and with an officer 4.5 millimeters downwards, their next at a number of Phillips to round off all these edges on when they overall after shape is complete, use the shell feature toe hollow, the part out to a wall thickness of two millimeters. Then, if we exit editing the part and go to a cross section we consume, got a nice clearance all the way around the key fob. Next, we'll have a few finishing touches, so open the cover part and firstly will cut the lanyard hole all the way through again. Choose a shared sketch clear the selections cues that inner hole on will do occur extremely through all both. Then we want to cut the button and the led holes. So Edita shared sketch, and we want to offset the led whole one millimeter on the buttons around two millimeters. And when you use the offset tool, you can put a check in the construction geometry based geometry box, and this will just make the original based geometry into construction lines. Then use that shared sketch to do a Kirk street for the led and the butter upwards through those outer faces of the cover. Then, at a one millimetre, fill it around the edges of the buttonhole, the led hole on the lanyard hole. Now we're almost complete, and we need to split into two parts to make a sketch on the side, play and draw a line all the way through the part. Then use this line with the split feature to split apart into two new separate parts. To do this, check the box and then double click where it says known, and then you can put in your brand new file name for both of them on these bodies will then be saved as new parts, which is still linked to this original parts. Now for use control tab to go through the open documents, you can see we've got two new parts. The cover bottom and the cover top. So let's add these to the new assembly. Go back to your simply and first hide the original cover part and then insert one of the new parts, even the top or the bottom, and you probably see that the orientation is 90 degrees out. Use these small boxes to adjust the orientation until it looks about correct, and then place the parts in roughly the correct position and do the same for the second part. Then make the parts in position, using the planes from the part on the planes from the assembly. Next, we wanted to add the lip in the cavity around the meeting faces to help the two parts fit together. So, firstly, open the bottom part and start sketch on this cup face. Then select one of the inner edges, right click and press Select tendency, and this will select the entire loop, then use convert to make the selection into new entities and then select all and use the officer entities on offset 1.2 millimeters and make sure you take the base geometry box under the construction geometry. Then select the construction line again, right click and press select chain and then officer in the opposite direction. And this would just ensure that we cut the inside of the model as well, then doing extremely cut one millimeter down. And if that looks OK, you can then add appearances on save and close the part to get back to the assembly. Next, we'll do a similar thing with the top part, so open the part starts sketch on that split face, select one of the injury GIs, right Click and press Select Urgency, then convert these into new entities, then select all and we're used. It offset to again this time de select the construction geometry options on offset nor 0.8 millimeters. And if you do accidentally make the base construction, you could just select one of the edges, right click press select chain. Then you can diesel ect, the four construction box in the property manager on the left, then next extreme. This profile one millimeter upwards. The final feature we need to add is the logo on the front, so start sketch looking down from the top and will insert a block. You can do this by starting to type block in the search box, and you can also find it under the tools, blocks many press brows and then find the correct block, which is misson logo toe SLD. Be okay Now, everywhere you click will insert one of these blocks. So first adjust the scale down to North 10.4 and then insert the block at the origin. The block can then be used like normal sketch entities, so use it to make an extruded cut on. Offset this 10 millimeters upwards. Then do occur nor 0.8 millimeters offset from the upper surface. And make sure you select both of the circular Hafs the area around the text on the area within the letter. A. Then all that remains is to add appearances, save the part and go back to the Assembly, and we're completely finished. So hopefully this section has taught you a bit about modeling from photos and some other techniques. In the next section, we're going to be looking at a few more advanced assembly features, and we're going to be modeling up a Lego man to do this
53. 9.1 Lego Figure - More Complex Assemblies - Head and Hands: Hello. Welcome to the eight section of the course. We know about 2/3 of the way through the course, so I really learned all of the basic techniques, and now we're moving on to more advanced sections. In this section. We're going to be looking advanced assemblies, including more advanced mates on creating opposite hand versions. And to do this, we're going to be modeling a Lego man. Something like this. Hopefully, you've seen one of these before, so the Lego Man actually consists of nine parts the head, two arms, two hands, the torso, two legs and hips. But there's actually any five unique parts because the hands of the same the arms of the same opposite on the legs of the same opposite. So we'll start off with the simplest part of the head and the hands, and from there will go on to look at creating the arms and the legs and creating opposite hand parts and subassemblies. We're going to model the simplest parts first, so we'll start with a head on. We'll start with a simple revolve, open a new part, starts sketch on the front, play and draw a center line, then draw the following profile. The bottom edge should be horizontal with the origin, and the left handed should actually be on the center line itself, then had the dimensions and fully defined the sketch. Once you're fully defined, then at Thies to sketch fillets to round off the top and bottom of the head, and you should end up with a profile that looks like this because we only have one center line in the drawing will automatically revolve around that. So just go to the features tab and choose Revolved Boss Base, and you should get a feature that looks something like this. This is where the next section fits in and on the top here is the standard Lego stud, which will fit all of the different Lego bricks. So rename this features head revolved and save your part. If we now add an appearance, say medium gloss yellow. We can immediately see that this looks like a Lego head, but it's just a couple more features we need to add. Firstly, there's three small air holes in the top of the head, just in case a small child swallows this part. So start a sketch on this inner top face, then draw a center line from the top center of the circle down to the origin, then diagonally down to the left, finishing at that inner circle, then at an angle of 120 degrees. Then we're going to cut out a section offset from these lines, So choose both lines. Presley officer Entities, Tool on Offset nor 1200.42 millimeters. Then select the innermost circle and press comfort entities. And now we want to cut out just this segment of the circle so we can select the trim tool and cut away all the excess entities that we don't need. Now the sketches fully defined and weaken, doing extruded cut downwards and select this cup feature, and we're going to use a circular pattern to pattern it three times. Press circular pattern. Make sure you have the co extremes selected in the features and faces, Then click in the axis of Revolution selection box and then choose a circular face from one of the existing bodies. Then we need to add three instances of this cut from the full 3 60 degrees, and you may have to de select the geometry pattern box and this feature should give you something that looks like this, and you can rename the first cut as a whole. All that we need to do to finish the head off is at the face itself and on the rial leg heads. These air usually printed or painted on, so we could just add a very thin, extremely layer to represent the paint. But in reality, this is so thin is really hard to measure. So said we're going to use a split line, and this is a feature that allows you to split a surface into two different services without removing any material. We'll start this by drawing the face features itself. So start a sketch on the front plane at a center line down the middle of the head, then add to horizontal construction lines and dimension them as shown. Then they can use the top horizontal construction line to add the eyes it. So they're 1.25 in diameter on their 4.94 apart, and you can just draw a single one and then mirror it, using the center line down the middle. Next we draw the smile itself on will use a slot for this. So click on the slot tool on will choose this last one the center point arc slot, and you can see from the small drawing on the icon that the first click places the center of the slot. The 2nd 1 place is the left one point. The 3rd 1 place is the right hand point, and then the 4th 1 sets the actual width of the slot. So make the first click on the vertical center line, then drag outwards to setting a major diameter and then rotate around the circle. So you get construction like that looks sort of like the smile you wanna draw, and you might have to go all the way around the circle, depending on which side you start on. When you're in about the correct place, make your third click and then drag outwards to set the whip on. Make another click. It doesn't matter if it's not exactly right, because we're going to add the dimensions now. Firstly, let's set the width of the slot, so click on one of the arcs at the end and set it as north 10.25 millimeters, then set the width between these two endpoints was 2.8. Then we want to smile to be symmetrical. So select the left point, hold down control, select the right point and then keeping control held down. Select the center line and then press symmetric relation. Next, select the bottom edge of the slot. Hold down control, select that lower horizontal construction light and add a tangent relation. Then finally select the lower large arc of the smile and set this as a radius of 3.5 millimeters on your sketch should now look like a Lego man's face. Now against. He used this sketch with a split line to split the front of the Lego Man head in some multiple surfaces. And as we mentioned before, this doesn't actually cut away any material. It just produces new surfaces. Split line can be found on the features tab. If you go to curbs, press the drop down and impress split line. Firstly, we need to select the sketch to project, so make sure you're in the top box and then cues the new sketch that we need to choose the face which we want to split and we want to split the front face of the head. So choose this large circular face. We only want to split in a single direction, so it's not a face on the front and the back. And if you look at the arrow in the preview, you'll see we're actually pointing to the back of the head. So press reverse direction. This doesn't actually matter too much because you just spend the head round. It's always good to try and keep your features aligned in the correct direction. Press okay, and I should see that this large face has been split to include these three new, smaller faces and you can use control quick to select these to add a new appearance and then your leg. A man should look like it has a proper face, so save this part and will go into the next parts which other hands. So start a new part, starts sketch on the top plane and draw two concentric circles. He also won should be five millimeters and the anyone should be three, and they should be fixed to the origin. Then we're going to draw the cut out for the actual grip itself, so use a sensor rectangle and start from the bottom center of the outer circle. Drag out your rectangle, so cut street both circles and say it is 2.6 millimeters high. And we only actually need the out of vertical lines so you can trim away all of the excess . So you should end up with two concentric circles with a section car, the bottom edge of both of them. Then you can re actual dimensions when your sketches fully defined. Do it boss extrude 4.45 millimeters tall, this feature hand and then save your part. Next, we're going to draw the curve of the bottom of the hand, so start sketch on the right hand play, so this should be from the side of your hand. Then draw two lines, one vertical down the left hand edge on one horizontal along the bottom edge, and they should stop before the top and right hand corners. So at the dimensions as shown next, we need an ark to join these two searches, the Ark Tool, and then choose a tangent arc and drop from the top of the vertical line all the way over to the right hand side of the horizontal line, and you should automatically get these tangent relations. And if you don't, you may have to control. Click on the ark on the straight lines and at them in manually, but your sketch should be fully defined. You can then do occur extruded through or both. To cut away this bottom section of the hand, rename your feature and save your parts. Next up, we're going to start drawing the wrist itself. So start another sketch on the right hand plane. Select a center line or construction line, then draw a line as shown, so should start from the right hand edge of the current body anywhere apart from the mid point on, go diagonally down out to the right set. The angle is 77.16 degrees from the vertical, and you might have heard that Lego is famously precise. So that's why some of these dimensions are so accurate. On the length of the line is 6.61 millimeters. And make sure you pick up the actual lip of the line, not the horizontal distance. So you may need to move your cursor around a bit once you've selected the line to get the correct I mentioned on the start of the line is 1.39 from the bottom edge of the body. So exit that sketch and now we want to add a new plane at the end of this line. And this is gonna be the point which we draw the wrist from. So go to reference geometry, new play. And for the first reference, select the end point of the line. We just drew then as the second reference, select the line itself and you should get a plane. Looks something like this. So we coincident to the end point of the line and we're perpendicular to the line itself. Press okay, and that should add a new plane, then starting you sketch on that plane and draw a circle for the rest, which is coincident to the end point of that line Set the diameter is 2.25 millimeters and they're doing extremely boss base. Make sure that the direction is going towards the current hand feature and then just press up to next. And this should produce the feature as showed and you can call this rest next up. There's a slightly wider section of the rest, where it joins a hand to stop the hand part, getting pushed too far into the rest to make. This will start a new sketch on the end face of the rest, then sketch a new circle, which is 2.75 diameter. So it's just a little bit larger than the current rest, and then we can extrude up to next, also to the hand. This time we want to offset the start. Point, said the officer, is 5.4 and make sure the direction is going towards the hand feature, and you should end up with something that looks like this. Next. There's a small raised ridge that runs all the way around the rest, and this is just to hold the hand part firmly within the armed parts. To draw this, let's start another sketch on the right hand plane, then draw a small circle coincident on the bottom edge of the rest. The diameter of this is nor 0.25 millimeters and its four millimeters horizontally from the endpoint. Next, we want to revolve this circle around the wrist feature, so exit the sketch press revolved, Boss Base and then expand the selected Contours box Doom in and select that circular profile. Then click in the axis of revolution box at the top and then select the center line of the rest. Make sure you got the full 3 60 degrees of revolution Press okay, and you should end up with this little ridge that runs all the way around and written in this feature something like restoring. Then the very last thing to do is at some small fillets, just to think of the sharp edges. So the sizes no 0.1 millimeters. There's one on the end here. There's two where this wider section of the rest joins the rest. There's one where the wrist joins the hand itself. Then there's one right at the end of the hand, and you may have to select all of the points of it manually for it to work correctly. Then, finally, there's just the outer circular top edge, and we can leave the inner edges as unfilled. It'd just so they can grip onto accessories nicely. Finally, set The appearance to the same yellow plastic is the head, and then your hand part is complete, seeking. Save it so it's a quickly recap. Let's go back to the head part. This is made with a simple revolve. Next, we cut in one of the air holes from the top, and we used a circular pattern. It's a pattern this three times around the head. Then we drew a sketch for the face features on. We use the split feature, and this allows us to split a surface into smaller services without taking any material away. Moving on to the hand itself, we started with a simple extreme. Then we cut away the curve at the bottom. Then we added a sketch in and uses to create a new plane. Then we did another simple extreme for the rest itself, another one for the rest outer. And then we did a small revolved for this ring around the rest. Then, finally, we just finished off with a small Philip around some of the edges. In the next video, we're going to be modeling up the tour Social Assembly, and this consists of the upper body itself and then to arms, which are opposite hand versions of each other
54. 9.2 The Arms: welcome back to the Lego Man section of the course. In the previous video, we completed the head and the hands, and in this video we're going to model up one of the arms. Then, in the following video, we're going to model up the torso and again to add the arms and the tools so together in a sub assembly, start a new part and then start a sketch on the right plane and use a center rectangle at the origin to draw a sketch something like this. Then use the Ark tool and use a tangent arc to add this arc all the way around the top edge . And this should be fully defined. And if it's not for any reason, select the Ark. Select those two vertical lines and add a tangent relation to each side. Then you can use the trim toe to remove the upper horizontal line, and you should have a fully defined sketch. This is going to form the upper arm, so make an extruded boss base four millimeters thick and press OK and then call this upper arm, and this is also a good point to save your parts. Next would like to angle this front face of the new body. To do this, we could just use an extruded cut from the side. We're actually going to introduce the draft feature, which is a little bit easier. We're going to look at this in more detail in a few sections time. But for now, all you need to know is that the draft feature adds an angle to a specific face. So select the draft feature, which could be found on the features toolbar. Then the first thing that we need to do set the draft angle, and this should be 20.25 degrees. Next, we need to set the neutral play, and this is basically the plane which your draft angle will be measured from. Make sure you're in the neutral plane selection box and then choose the underside face of the body that we just created. Next. We need to actually choose the face to draft itself and choose this nearest face to you. Then press OK and you can actually see that I've drafted in the wrong direction. We should have cut this angle rather than added material, so go back into the feature in the feature tree editor and then change the direction. And that can be done by clicking this button and you'll notice that this arrow moves direction, press okay, and then we should have the correct draft. Next, we need to set up a new plane for the bottom half of the arm, and to do this will start a sketch on this rear flat surface. Then select construction line and draw a line from the bottom right corner downwards at an angle of roughly 45 degrees, then set. The actual dimensions is 45 degrees from the horizontal. On the length of the line should be 3.2 millimeters. And be aware that this is the actual length of the line, not the horizontal distance. Then use this line to add a new plane. So exit the sketch, go to reference geometry on the feature tab and press new plane to the first reference should be the end point of the line registry. On the second reference should be the line itself, and that should give you a plane that looks something like this. Next we want to round off the inside edge of the upper arm, but we don't want to do in a constant manner. We actually won quite a big curve down at the elbow. We want this to reduce down to nothing up with shoulder so we could use a variable fill it . But that's a little bit beyond where we are in the course, so we're actually going to use our first cut loft instead. Cut loss are very similar to lofted bosses in that they need to arm or profiles. So, firstly, let's draw the first profile, started sketch on the underside of the body and then draw two straight lines from the top corner, one going down vertically on one going right, and they should both be 1.6 millimeters long, Then use a tangent arc to add an arc between these two lines on your sketch should be fully to find at this point, so exit the sketch and we want to use this profile to cut a curve upwards. But we want it to gradually reduce down to a single point at the shoulder so we can actually loft directly to a point. And to do this all we need is a sketch with a single point in it. to make this sketch, we could officer a new plane, and then we could just draw a single point. But a bit of an easy way to do is just to use a three D sketch to do this, go to the sketch tab and then go to the sketch button on on the drop down press three D sketch, then select the point tool and just out of point at the top of this line near shoulder. And that's all there is to it. Now we're going to do a lofted cup from the elbow to the shoulder. So hold on. Control. Select both of your sketches. The normal one in the three d one. Then go to the features tap on the command manager and just press lofted. Cut. You should then see a preview, something like this, and you'll find that moving the green connector point around doesn't make any difference because we're just going to a single point anyway, press okay. And then rename that features upper arm curve. Next, we need to round off this upper edge of the arm. So at 1.75 millimeter Philip around this top arc, and they should automatically continue along both straight edges as well. And you should be able to start to see the arm shake coming out now. So next we're going to use a loft to draw the forearm or the lower to do this start sketch on that new plane that we just made and then draw a circle should be four millimeters diameter. Then from a normal T view, we need to add a tangent relation between the circle itself on this right hand, straight edge and then another one between the circle itself on this upper straight edge. And that should lock your circle in position. So against do loft from this circle up to this face. Now, to use this face for the law, we could start a new sketch on that and use convert entities on make the face into a new sketch. But actually, we can just use the face itself, So make sure you've exited the circle sketch and then choose lofted bar space. Then for the first profile, choose the circle that we just drew. And for the second profile, click on the face itself. You should get preview something like this. If it looks any different. Make sure your green connectors are roughly lined up as shown in my video press. OK, and you can call this forearm next up. We want to cut off this sharp edge at the base of the forearm, so start a sketch on the front face off the forearm, then select the face and press convert entities, and this should make their outer circle into a sketch entity. Then use the line tool to draw a straight line vertically down from the left. Most point on, then horizontally over to the right to the lower. Most points on your sketch should now be fully defined if you picked up those two widest points of the circle. So now we're going to do a coup extrude through all backwards, but run again to cut with a certain selected area. So go to the selected Contours box and then choose that roughly triangular area in the corner, Then call this feature for our edge cuts. Next up, we're gonna cut a hole, which the hand fits into so again, starting with the sketch on the end face of the forearm and then just draw a circle. That's 2.25 millimeters diameter, then do an extremely cut lined 5.7 millimeters deep. And this can be called wrist hole. Next up, there's a small peg inside the shoulder that fits into the whole in the torso, and we go to draw this using a revolved. So start a sketch on the plane that goes through the center of the shoulder, and for me, this was the front plate. Go normal, too, and then we'll zoom in and add a center line. They should start from the top of the lofted cut and go out horizontally to the left. The length of it isn't too important. Then, after that, draw the revolved profile, and this sketch can also be found in the course downloads. Draw the straight lines first and at dimensions. Then you should have a gap in your profile on. We're going to feel this using an arc, so probably the best one to use is a three point arc. So the first click sets the start of the arc, which is here on the left. The second click sets the end, which is here on the right, and then the 3rd 1 sets the actual diameter so click anywhere for now, as long as the artist convex, then you smart I mentioned to set the radius is 3.22 and you're scared should now be fully to find. At this point, we can do a revolved boss base because you've only got that one centerline in your drawer. They should work automatically if you click the button. If not to select the profile and then select the centerline on revolve it 365 degrees Press okay and call this shoulder peg. So, as we mentioned before, this section is forced through the hole in the torso and this is what holds the arm on. But we actually need to cut a small slot in it to allow it to be compressed through the hole. So start sketch on the flat face of the revolver and go normal to should look something like this. Then draw a center line starting from the center point of the revolver, going diagonally down on with an angle of 45 degrees. And the length isn't too important. As long as it extends a little bit beyond the edge of the revolve, we're going to use the center line to draw a rectangular cut. We can do this by going to the rectangle tool and choosing a three point center rectangle. So this type of rectangle, the first quick sets the center. The 2nd 1 sets the ankle, and then the 3rd 1 sets the size. So click somewhere on the center line that we just drew to set the center point of the rectangle. Then, if you drag out, you can see you've got this small construction line following the cursor, and this sets the angle. So click somewhere else on the line that we just drew, ideally to one of the end point and then drag outwards to set the width of the rectangle. Then press escaped to exit the tool, and we can add some relations to make this rectangle coincident with start in the end points of our centerline, you smart dimension to set the width. There's no 0.7 millimeters. They're just grab your rectangle and try to drag it around to check whether it's fixed. If it's not, then you might need to select that center point, hold down control, select the center line that were originally drew on, then add a coincident relation. You might also need to add a parallel relation between the center line on the sides of the rectangle. And then, finally, you might have to make the short edges of the rectangle coincident with start and the end points of the center line. But when you done your sketch should be fully defined like this. Then you can do an extruded cut up to the main arms surface and do this by choosing up to surface. And now you can see the cut in the peg, which will allow it to compress inwards and allow the arm to be fitted to the torso So we can call this Paige cut now almost complete, and all that we need to do is add some Philips. So first, let's add one around the elbow, which is north 10.75 millimeters. So click on the inner elbow on. You might also need to click on the outer elbow to make sure it goes all the way around. Next up will add a 0.1 millimeter. Fill it, and that should be around the sharp edge of the peg. On also the bottom edge of the large Paige section, and this will just help with fitting into the hole on the torso. It should also be around this long edge all the way down the inside of the arm, and this will just take off this job Pedj Then finally, there's a no 0.25 millimeter Philip, which would be on the two sharp edges of the pay cut, and this will just remove the sharp edge and any stress concentration there. Press OK and now the Lego part is done so you can set any appearance you want and you can save your parts. So, to recap, let's drag back through the model and see how we put this together. We started with just a simple extrude, which was a center rectangle with a tangent arc on the top. Then we use the draft feature toe angle off this large face on with the draft feature, you need to set a neutral play, set the angle and then choose the face to be drafted. Next we added a construction line, and we use this to create in new play, which will be used to make the forearm. Before this, we cut a curve on the upper arm using a lofted car. On this just went from a simple sketch up to a three D sketch, which was just a single point. Then we had quite a large fillets around off the outside edge of the arm. The next we used a love to draw the forearm section, and this was from the new plane that would just you directly up to the face of the upper arm. Then we cut away the sharp edge on the bottom of the forearm. We cut a hole for the rest, and then we revolved the shoulder pack next week, a segment out of the peg, using the rectangle to and to finish off. We added some fillets by rounding the elbow, then adding a few more small fillets to help with the fitting of the arm to remove the sharp edges and to reduce the stress concentrations. Then we just added appearance, save the part, and then the part was complete. In the next video, we're going to be modeling of the torso itself, and we're going to be using this to create a sub assembly with the torso on both arms
55. 9.3 Torso Part and Subassembly: Now that we've created the Lego arm, the next thing we need to do is create the chest or torso part that fits into so started new part and start to sketch on the front plane, then draw a profile. Something like this. Start with the centerline, then agile lines and dimensions. The shape is 13.8 millimeters high. The top is a 11.2 wide, the bottoms 50.3, and then the small vertical section on the left and right is one millimeter high. Then select all your entities and mirror them about the center line. Use this profile to create a mid plane extreme that 7.8 millimeters wide. Then call this feature torso and save your parts. Next would like to hollow out this part, so use the shell feature, set the thickness the 1.5 millimeters and then select the bottom of the body rejects trick press okay, and they should hollow out everything and cut away that bottom face. Then we'll cut the armholes. So start sketch on this sloping face on either the left or the right. Draw a center line down the middle, then draw a circle at some point on that center line. It should be 3.8 millimeters diameter and nine millimeters from the bottom of the body. Then use this to make a coax during through the walls of the shells. Feature we just created so you can maybe choose up to next. Or you could just do a blind extreme of two millimeters on Call this feature arm hole next up, mirror this whole onto the other side by selecting it, then also selecting the right play and pressing mirror. The next thing we're going to draw other small ribs are inside the body, and these air used to hold in hip section of the legs. So start sketch on the bottom face at a center line and then on one side of the center line , draw a small triangle, something like this, then add some dimensions. So there's three millimeters between each triangle. The top edge is 1.2 on the height is no 0.8. Then select your triangle and mirror about the center line. Then use these two triangles to create an extruded boss base going into the body and just select up to next, and they should go all the way to the top of the body, so these small ribs will grip onto the legs sub assembly when it's pushed it, and we can call them something like hip ribs. These ribs can be found on the front and back, so select the feature and then mirror. It's about the front plane. Next, we'll add the neck to start sketch on this top face and then draw a circle at the origin. Make it 4.8 millimeters diameter on extruded upwards 5.5 millimeters. Then rename this neck and next we're going to cut an inside cavity inside the neck. And this will just ensure that we haven't got a piece of plastic that's too thick to mold well to start a new sketch, but this time inside the park on the inner up a face. Then draw another circle at the origin, this time a diameter of 2.5 on well, extrude this 4.25 millimeters upwards. Call that feature neck inner, and then save your parts. Then we'll finish off by adding some Philips so firstly will add a one millimetre. Fill it to these four outer edges, then we'll add another one millimeter, fill it around this top loop. Then finally in North 0.1, just a take of the sharp edges of the arm holes on the top of the neck and also the area around the vertical section on both sides at an appearance and safe, apart. And now the torso section is complete. We're now going to use this part to create the tour, so suffer simply so within your part. Go to file, make assembly from part and uncertain. It also fixed to the origin. Next, we'll and certainly arm part that we made in the last video. So go to insert component, and if you've got it open, it should appear here. If not, you might have to browse for it. Place in roughly the correct position, and then we'll mate it in position first at a concentric made between the arm hole on the torso on the peg on the arm itself. Then add a coincident mate between the outside of the torso on the inside of the arm, and now you'll see that the arm is fixed in place and it can rotate all the way around like a really Lego man's arm convict, and this is a good point to save the assembly. So just call it something like Lego two or so. Next, we need to add the second arm. So basically we need to just mirror this arm, but flip it around so everything's opposite. So start by just trying to mirror. This part is normal, so select er select the mirror plane, which should be the right plane. Then go to the assembly tab and go to linear component pattern. Press on the drop down, impressing mirror components to here on the left. You should have the right plane to mirror about on the arm part selected to mirror. Click on the next hour at the top, and you should see a preview of the arm mirror. You can click through the four different orientations and see if any look suitable, and you'll probably see that three of the four look completely wrong on one of the four. It looks kind of right, but the arms are backwards, so just simply mirroring the part won't work properly, so we need to create an opposite hand version of it on locally. All we need to do is click the box that says Create opposite hand version so quickly button , and you'll immediately see that the preview now looks correct. Got two arms facing forward as they should be. Click the next arrow again and we want to create a new file, so make sure you've got the option selected. Then you can add a prefix to the file name, which in this case, is mirror. So this will name your new part the same as your current part that will just add the word mirror before it press next again and then click on the green arrow at the top on the new opposite hand part will be created, and now you'll see in the parts tree that we have this mirror folder. And if you expand this, you should see we have the mirror apart for the arm. This is a separate part in its own right, so you can click on it and open it and edit it. And so on. The new opposite hand part is actually linked to the original part. So if we use control tap to get back to the original arm part the left hand arm and then, for example, say we suppress the wrist whole Demi's control tab to get back to the new power, which is the right hand on. You can see that the wrist hole is also suppressed in this part. Then, if we go back to the original arm again on UN, suppress the rest hole and then go back to the new arm again, you can see is now un suppressed again, although it is actually possible to break this link if you need to. When you're in the new part very similar to a split part, you can right click on it and you can press edit in context, and this will take you back to the original part. Now if we get back to the original to also step assembly, you'll see if I move one of the arms, the other one or so moves. And that's because their positions are actually mirrored within the assembly. But this isn't really that accurate to real life in the real leg a man. You can move the arms independently so it's a break. This link, or we have to do is right. Click on the mirror component and press dissolved mirror component feature. Then you can either click yes or no and you'll probably have to Riyadh in your mates. So there's just a concentric one for the whole and Peg and then a coincident one for the outside of the body and inside of the arm. And now we can move the arms independently and we can make our Lego man look like he's in a bit of a rush. So let's recap what we've learned in this video by going back to the torso part and dragging through it. We started with a simple mid plane extrude, which we then shelled out. Then we added one of the armholes are the top left on. We married this over on to the right. Then we added in the internal ribs, which hold the hip sent on again. We mirrored this feature onto the other side next week, extruded the neck upwards, and then we cut out the inside of the neck and then to finish off. We just added some fillets, reset the appearance, and then we use this part to create a new assembly in this assembly. First we added the arm part that would already made the left arm, and we made it in position, and then we mirrored it about the center line. But we created an opposite hand version. So this is identical to the original arm part that everything is opposite. And this was saved as a separate part file that is still linked to the original arm part. Then, finally, all we did was dissolved the mirror relationship between both arms so they could move independently and you might have to Riyadh in the mates for the second arm. In the next video, we're going to be modeling up the hips and then after that, will be modeling up the legs themselves and adding those to the likes of assembly.
56. 9.4 The Hips: Hello. Welcome back. Now that we've created the torso section, the next thing we need to create is the legs. So we'll start with the hip joint that joins the two legs together. Start a new part, start a sketch on the right plain and draw a profile like this. Start with a vertical center line 4.7 long, then draw a circle at the bottom end of this center line. They should be seven millimeters diameter. Then, somewhere on the center line above it, draw a center point rectangle on the top edge of this should be coincident with the origin , the rectangle this 7.8 wide on its 2.1 high. So this rectangle is going to create the flat section that fits just below the torso. And then the circle is going to be where the legs joined onto. Then you can trim away the rectangle section, which is inside the circle. I never get to extreme this top section, so select extruded boss base and then in the selected Contours box, just choose this top rectangular section with a little circle section cut out there on doing mid plane extreme 14.1 millimeters call this feature hit base, and then we're going to reuse the sketch to create the bottom part. So create another extruded boss base they control. This time, select the circle on do amid plane extreme, and the thickness this time should be just 1.5 millimeters. On this will be the section where the legs during onto. So let's call this leg joint, then you can save your parts. Next, we'll start to model the pegs that the legs actually fit onto to start sketch on this circular face, then draw a circle in the middle of the face. And if you hover over the outer circular agent, you should be able to pick up a center point. Their circle should be 2.4 millimeters in diameter and also extruded 2.4 millimeters outwards and call this something like leg peg. Next, there's another smaller section of the Paige. So start a sketch on this new outer face, go normal to and draw another circle. This time two millimeters diameter and fixed to the center point of the first circle, this circle actually has the top. Cough it to get the line tool and draw a horizontal line across the top, and there should be no 0.75 millimeters from the center of the circle. Then trim away the top section of the circle on Extreme this 1.2 millimeters, and you can call this leg peg inner. Next. There's a small boss that hangs down from this inner peg, and this is actually what holds the lake in place. So start a sketch on this inner rim good, normal to and then select this inner circular edge and convert it into a new entity. Then select this new semi circular entity and press officer. Entities on offset this nor 0.38 millimeters outwards and make sure you haven't got any of their construction geometry options selected. Then start center rectangle from the bottom center point of the inner arc and drug outward so that the vertical lines cover both of the arcs, and this rectangle should be 1.4 wide. Then we can trim away all of the excess. The only section that we actually need is this curved section at the bottom. Once you've trained everything, you might just need to add the dimensions in again to make sure your sketches fully defined , and you can delete these construction nines in the middle, then extrude nor 0.7 millimeters, and you can call this feature leg lock. The next feature is going to be the section on top of the hips, which has she fits inside the torso. So start sketch on the top face and draw a center line from the origin all the way out to the right hand edge. Then draw a center point rectangle summer on this line, but not at the midpoint on the left hand edge of this should be 1.55 from the origin, and then the size of it is 4.8 millimeters on the length on the height, and at this point, you sketch should be fully defined. The corners actually have a circular cut out, so select a circle till goto one of the corners and just draw a circle, and this should be 2.8 millimeters diameter. Then we want to pat in this circle so it goes to all four corners, select a circle, and then we'll do a circular pattern to go to the linear sketch pattern button on the sketch tab click on the drop down and press circular pattern. You probably get preview something like this, which is incorrect. So choose the first selection box on the left, the point of revolution and clear any selections and then choose the center point of the rectangle. And this should give you a preview where the circles are in the corners of a square shape, so press OK. If they're still play, you might need to drag one of them around to pick up a relation with the corner. Then, when you're fully defined, all we want to do is extreme, This center profile so you could just trim everything away. But it's probably much easier just to extremely entire sketch and just choose that region itself. So select extremely boss base just so like that sensor region and then extrude upwards. 4.8 millimeters on call this feature hit peg. Next up, there's a cavity car into this feature that we just made, and this is probably to help with the molding. So start sketch on the top face of the future. We just made go normal to and then select construction line draw from the top right down to the bottom left corner and then out of circle at the center point of this construction line . And if you drag this circle out, you can see that the circle is centered on that feature set. The diameter is 2.8, and then next we need to cut off one of the edges with a vertical line, so choose some on the circle and draw vertical line down. But make sure you don't pick up one of the automatic relations. After you've added the vertical line, you should still be up to drag it around within the circle. And if you can't is probably accidentally picked up one of the automatic relations. And if this happens, just a liter and try again, then said the distance from the right hand edge as 1.3 and trim away the excess circular parts. Then use this profile to do co extruded all the way down to that large, flat surface of the hip base, and you can do this using the up to surface condition. Or you could just do a blind extrude 4.8. Call this feature hit cavity. Next, there's a small shampooed cut on the top edge just to help with fitting the legs into the torso and to make this start sketch on the front plane and then just draw a triangular shape on the top corner of this top feature, this should be three minutes is high and no 30.5 wide. And when you draw it, be careful not to pick up any of the midpoint. And if you do, you might not be able to put the dimensions improperly. If this happens, just delete the midpoint relation on and make sure you've still got a coincident relation between the line on the point of the triangle and then just add in the correct dimension. They don't cook street through old both and call this feature hit Paige Temper. Now all that we have to do is mirror all of Asia new features onto the other side, so choose every feature from the leg peg downwards. So all of the hit peg features on all of the leg peg features and then we'll mirror those about the right plane. So also select the right plain and then press mirror. And when you press OK, you should have finished part that looks something like this at an appearance and save your part on the hit joint is finished. There's recap this short section by dragging back through the model. We started with a sketch with a circle on the rectangle on the top. Then we did a mid plane extreme at the top rectangular section to create a hit place. After that, we used the same sketch again on we extruded the circular section. Next we added the leg peg, which was just a simple boss extrude and then the leg Paige Inner, which was also a similar extreme but with a top of the circle cut off. Then we created the leg lock feature on. We just used an officer and a center rectangle to create this next reality hit Peg feature on this was a rectangle with circles in the corners, and we just extremely the center part of it. Then we cut away a cavity in the middle, which was a circle with one of the edges cut off. Then we could a Shumpert into the top edge. Finally, we just mirrored everything, and then we added an appearance in the next video against the making the actual legs, and then we're going to be adding them into a sub assembly. With this hit part
57. 9.5 The Legs Part and Subassembly: Now that we've created the hit part, we only have one single part left and that's the legs. First we're going to create the left leg, and then we're going to add it to an assembly with hip joy and then similar to the arms, were going to create an opposite hand version. Open a new part and stop a sketch on the right hand. Play on would draw the leg profile. This could be found in the course Downloads folder is fairly simple. It's a circle, which is seven millimeters diameter centered on the origin. Then there's a vertical line down from the right hand, part horizontal line across the bottom of the foot. Vertical line upwards for the toes, then a horizontal line back in words of the ankle and then another vertical line back upwards to the circle, but not all the way to the left hand point. So the large vertical length is 11 point to the phone itself is 7.8 long. The toe is 3.2 high, and the leg itself is 5.6 wide. First, we're going to just extreme this top circular section, select extruded Boss base and then in selected consoles. Just choose the top circle, then extrude it 6.4 millimeters to the left on call This feature hip next will reuse that sketch again. So expand the first feature. Select the sketch on Impress Extruded Boss Base again this time only Select the bottom region on Xtreme this seven millimeters to the left, so it should be slightly thicker than the circular part of the top. Call this feature leg and then save your parts. Now the leg is also hollow, similar to most of the other parts, so start sketch on the bottom face. Draw a center line down the middle and then draw a sense a rectangle at some point on the center line, but not the midpoint. There should be 1.4 millimeters from the upper edge. The total height of it is five. On the width of it is 4.8 millimeters. Then we're going to add another horizontal line so we can use this sketch for two features and save a little bit of time. Make this new line 1.7 millimeters from the top of the rectangle, so the lower section is going to cut out the inside of the leg on the largest section is going to cut out the inside of the foot, then doing extruded cut and select the lower section, which is the larger one. Then, doing extremely cut 8.9 millimeters, they should cut all the way inside the leg as shown on call this feature leg cavity. Next to expand that feature, select the sketch again on Do Another extremely cut, this time selecting the smaller region on this time, cutting two millimeters press okay and you could rename this one as foot cavity. Next up, there are two small holes on the back of each leg, and these allow the Lego man or woman to sit down on other Lego blocks. Start sketch on the back of the leg at a center line, so this should be from the midpoint of the bottom edge of the leg, all the way up to the top edge, where it should be coincident. It won't be the midpoint of the top edge because the top edge is slightly thinner, then are two circles, make them the same size by giving them an equal relation, then set the position as 3.9 from the bottom to the middle of the first circle, and then 7.8 between the lower circle and the upper circle. On the diameter of them both is 4.8 millimeters. Then, doing extruded cut 1.8 millimeters deep. Call this feature stud cuts. Then there's another cavity within the top of the leg to start sketch on the interface of the top stud hole. Then go normal to make sure you've got the whole face selected and press convert entities, and this should give you a circular wretch. They're draw a profile using the line to like this. So a vertical line upwards from the bottom of the circle to the Topper circle, then a horizontal line to the right, but which doesnt touch the circle and then another vertical line downwards to the bottom of the circle. They make the left hand line 3.4 high on the horizontal line, 2.7 long, and they should fully define your sketch. Now we go to cut out just this rectangular section with the curved got a match. It's a press extremely cut and just select that region, and we'd like to offset from the front curved surface of the leg. So in the drop down, she's offset from surface. Then select this front curved surface, then set the distance as 1.2 millimeters and your preview should appear. And if it looks incorrect, try pressing the reverse offset and make sure you're not going all the way through the front of the leg. Then press OK and call this feature hip cavity. Then the very last feature is the hole where the legs actually connect onto the hips. So start sketch on the interface of this circular top section, then draw a circle centred on that circular face, which is 2.25 millimeters diameter. Then do Coke Street and select up to next. And that should take the whole through up to the hip cavity that we just made. And now our leg part is complete so you can call this feature hip hole, and then you cannot the same appearance as you add it to the hips. Then finally, just save your parts. Next, we're going to make the leg sub assembly, so control tap and go back to your hip part. If you haven't got it open you'll need to reopen it and then select. Make assembly from part, press the green tick in the top left, and this should insert your hips fixed to the origin. Then go to insert components and insert the new lake parts and then meet in position. Select the hole in the peg on data concentric meat, then select the outer face of the hip circle on the interface of the leg circle and add a coincident mate. Now, if you try and drag the leg part around, you'll see that you can actually move it 3 60 degrees on. This isn't realistic because obviously, you can only move it as far as the plastic will allow. In the next video, we're going to look at some more advanced mates, which will make this more realistic. But for now, we'll leave it mated like this, and we'll add in the second leg. So select the leg. Select the center plane, which should be the right plane. Then go to the linear components pattern butter. Click on the drop down and press mirror components, and as before, you should have the right plane on the legs selected. So click on the next hour. Then you can go through the different mirror options, and you'll see that as we found with the arm parts, there isn't an option that works. So press creates opposite hand version, and you should see that the preview looks correct. And at this point you can just press the green tick and the new part will automatically be inserted. And it should be the same file name as the leg part. But just with the default mirror prefix press okay, and you may need to save your files or your assembly at this point. So now we've got both legs on again. Save your assembly. If you haven't already, then the same is the tour. So suffer simply right. Click on the Mir features and press dissolved mood component features. Then press yes and react. The mates, if required. Another late should be independent, and we've completed the legs of assembly. And as before, you can open the mirrored leg part, and this will be its own part. But it's linked to the original leg part. Now let's quickly recap everything we've learned in this video, so go back to the leg part and drag up through the features. We started with a sketch of the leg profile, but we just extremely the top circular hip section. Then we also exclude the bottom section, but slightly wider. Next we cut the leg cavity again, using a shared sketch, and then we cut the foot cavity using the same sketch. Then we cut the stud holes on the back and then we could this cavity inside the top stud hold. Then finally, we cut the hip hole itself on. As usual, we added an appearance, then get back to the legs sub assembly. So we started a new assembly with just the hips. Then we insert the leg and made it in position that we use the mirror feature on. We created an opposite hand version of the leg. Then we dissolve the mirror relationship between both legs so they could move independently . In the next video. We're going to put all of the Lego parts together and have a look at some more advanced mates and how subassemblies work within larger assemblies
58. 9.6 Building the Lego Figure Assembly and Advanced Mates: Welcome back to the Lego Figure section now that we've made all the parts and sub assemblies were in a position to make the actual Lego figure itself start a new assembly and was stopped passing in our components. The first thing that well, that is the lakes of assembly. So press, browse and find the folder that you've been working in and you might see something like this. You might just see the part files. They're not the assembly files. If that's the case, click on one of these quick filter buttons and click on this one, which is assembly. So it's the green and yellow one, and that should just show your to sub assembly files should be the torso sub assembly on the legs of assembly, so select the legs, insert it and press the green text so it's fixed to the origin, and now you should find you've got completely fixed set of legs in this assembly. If you expand the part tree, you'll see the sub assembly. Then, within that, you'll see the parts themselves to the hit part on the two leg parts, and we can then open the parts if we need to So if you go back to the new assembly, you might notice that some of your parts have got this small feather next to them. It might not show up on yours, depending on your settings, but if they do, that indicates that these parts have been loaded as lightweight. Lightweight parts are basically a stripped down version of the park, so you can see that they look exactly the same. That not all of the model data is loaded into memory, and this is just a way to reduce the memory usage. And depending on your settings, this tends to happen automatically. If you open a very large assembly to make components fully resolved, you can right click on them and press set to resolved. You can also right click on the assembly and press settle, lightweight to resolved and vice versa. Another thing you might notice is that we can't actually move the leg parts around, and that's because by default, subassemblies are inserted as a rigid assembly. So if you want to actually adjust the position of the legs, you have to click on the sub assembly within the parts tree on open the assembly, then adjust the parts within this assembly and then use control tab to go back to the main assembly. Then, when you rebuild by pressing control bay, you should see that the part position has updated. You can't actually also adjust them within the main assembly. And to do this, you have to make the sub assembly flexible. To do this, click on the sub assembly in the Park Street and then press makes of assembly flexible, and now you can see that we can move the legs around. In general, it's probably best to keep your service some of these rigid unless you've got a specific reason you want them flexible. So to make the rigid again, just click on it again and press makes of assembly rigid on one other small point to mention when your sub Semb Lee is flexible, the part that was fixed in that service simply is fixed in the main assembly, so this hip section is fixed on. The legs can move around so you can keep the legs of assembly flexible for now. And let's insert the next sub assembly, go to insert components and then browse, Then use the quick filter for assemblies again and then select the torso sub assembly on. Insert this somewhere roughly in the correct position in your model. Then let's make this imposition. So select the underside face of the torso and then select the top face of the hip heart on . Just give them a coincident mate. Next, we want these two sub assemblies to be lined up from the front to the back on because we used a mid plane extreme for both of them and started at the origin. You should be able to select both of the front planes and then select a coincident mate, and this should line them up from front to back. And we could also do the same for the letter right movement. We selected both right planes, one from each of assembly, and added a coincident mate. It would line them up correctly, but instead of using that, we'll have a look at a width mate and this allows you to center part within a selection so we can make sure that the sides of the torso are centered in between the sites of the legs . The width make consists of three or four different surfaces, so I've got to outer surfaces, and then you've got to inner surfaces which are centered within them. But you can also just have a single surface, which is centered within them. If you choose a circular surface or if you choose a single plane, which will be exactly in between the two out of services to show you how this actually works will select four services. So select the left hand faces of the legs and the torso, and then also select the right and faces of the legs and a torso, and the wit mate will send to the two faces of the legs within the two faces of the chest. Press the Maybourne on the tool bar on the width. Make should automatically be selected and you'll see in the selection manager on the left. We've got the two torso faces selected for the width on. We've got the two leg faces selected for the tap, and if we didn't have those right planes lined up, then this is a really good way to center parts against each other, and the width make can be found within the advanced mates. So when you open the main tool at the top you'll have the standard mates and reviews most of those before. And then underneath you'll have the advanced mates. Next, we'll at the head in place. So go to insert components, browse and find head part, and we can add a concentric mate between the neck and the head. And then we can add a coincident make between the top of the torso on the bottom of the head, and we can also set the angle of the head, so it's not rotating all the way around. To do this, select the head part on expanded in the part tree and then select one of the planes, for example, the front plane. And then you can make this with one of the assembly planes, and you can add an angle mate. Then just set whatever value suits you, and you should now see that the rotation of the head is fixed. Next up, let's at the hands. So go to insert components, browse and find the hand part. Rotate the parts of roughly the correct position by holding down the right mouse button on rotating around on the part, and then we'll try adding a concentric mate between the wrist hole and the rest. And when you do this, you might find that this happens. Your part is completely disappeared. What's actually happened is that the concentric mate has been added, and so the parts flown off somewhere into space. And if you press the F K, you zoom out to fit all of the parts in your model. Usually you'll be able to see the parts that you need and then you'll be upto agile next May. But in this case, that being moved so far apart that I can't actually see where they are. And if this happens to you, probably the easiest thing to do is just delete the hand part and then press the F key again, and you should zoom back in on the body. You can then react the hand part by going to insert components and finding the correct part , and this time, try adding another mate first. So this time will try adding a coincident mate between the back of the rest on the end of the arm, and this time you'll see that the May is added on the part has a good flying off into space . Then you can add your 2nd may again. So now with the concentric mate, and it should move the hand into the correct place. When you're adding your concentric mate, you probably see this option that says lock, rotation. And if you check this box, it would just stop the part rotating within the hole. And it's just save you, adding an extra mate to stop the parts spinning around next, hold down control and drag out from the hand on. This should insert another hand. Both of these parts are exactly the same seat. Don't need to create an opposite version or anything, and again, we'll add in some mates, so the same as before. We'll add a coincident mate animal out of concentric mates. This time we won't look the rotation, and you should be able to see that you could drag the hand around and you can rotate it. Now. Our Lego figure assembly is complete, so the lecture be able to move on. The arms should be fixed because the sub assembly is still rigid and if you click on it also, sub assembly and press makes of assembly flexible than you should be able to move the arms around and we can now pose the figure, however we want it. But you might remember one last problem that we had from one of the previous videos is that you can actually do this with the Lex. You can spend them all the way around on. Obviously, this would be impossible in real life. So open the legs of assembly to fix this. Click on the legs of assembly in the part tree and press open assembly, and now we'll add some additional mates. So as we mentioned, our legs can spend all the way around. But we want them to actually stop when they hit the plastic like they do in real life. On the way to do this is to use an angle mate, but to specify in minimum and maximum angle. To do this, select the large, flat shin edge of the front of the leg and then select the flat front edge of the hip part and then open the May tool, scroll down past the standard mates and expand the Advanced Mate section. I would like to add an angle mate, which is this one down at the bottom, so click on the button on a few more options should appear. We can now set a maximum angle and a minimum angle, and the first thing we have to do is set a star angle so quick in the top box of the three and put zero degrees. And you may have to play around with these settings a little bit. But what I found work 12 for my model was to set the maximum to 97 degrees on the minimum to minus 70. Then press OK wants and then try to drag around the leg part, and you should see that we can go upwards 97 degrees, which is almost all the way up to the hips, and we can go backwards minus 70 which is about all the way back to here, and that looks about correct to me. But if it doesn't look correct, or we have to do is click on the make down here on the bottom left, and this will take you back to the original options box. And then you can try adjusting the angles if you need to. You try to always start from the same star ankle and you'll see if I had just thes and then try and move things around. I don't have quite the same range of movement, and then you could do the same on the other side. So so let the upright, vertical face of the leg on also the corresponding one on the hit part. Then go to the Mate tool and add the angle mate. Under the advanced mates, you might find that because this is an opposite part, you have to start from 1 80 degrees instead of zero degrees. And if this happens, you'll have to adjust the maximum and minimum accordingly. So on this side, the opposite values work 12 so 70 degrees for the maximum on minus 97 degrees for the minimum now for use control top to get back to our main assembly. The legs now move in a much more realistic way. The Lego figure is now complete. If we look at the May tool, there are actually quite a few more options to explore, but they're sort of beyond the scope of this section. If you look under advanced mates, you've got things like Symmetric Path. You've also got minimum and maximum distance, which is similar to the angle when we just made. Then there are also mechanical makes things like cam slots, hinges and gears and so on. And these are really useful. If you're trying to model up something mechanical that actually works, and you're trying to figure out how it all works together. You can, for example, put inmates between the different gears and can see how moving one thing will affect the rest of the assembly. So save your assembly and we complete to recap. First, we made a new assembly on we inserted the leg super. Simply then we had either to also sub assembly and the two extra parts the head on the two hands. Subassemblies can either be rigid or flexible, and that could be changed by simply clicking on them in the part tree when they're rigid. You can only actually just the parts by opening the sub assembly yourself, and you can do this simply by clicking on it in the part tree and pressing open assembly within the legs of assembly. We looked at some more advanced mates on. We added an angle Nate with a minimum and maximum, and we very quickly touched on the more advanced on mechanical mates in the next video. As always, we're going to be doing a recap of this entire section. And then in the next section we're going to be introducing configurations and drawings well done for finishing the Lego man, and I'll see you next time.
59. 9.7 Lego Figure Recap: Now that we're at the end of the section as usual, we're going to do a recap. We're going to make this one very quick because it is quite a large section with quite a few parts. We started with head. And to do this we made a new part and start to sketch on the front plane and we drew a revolved profile using straight lines and sketch fillets, and we revolved around a center line and then we saved the parts. Next we cut the air hole in the top and we did this by making a sketch on this top face, converting the inner circle, then drawing to construction lines on offsetting these out to the left. And then we just cut this specific region and if you like, you could trim away all the excess entities. But you don't really need to, because we can just choose that area. Once we had the first air hole, we used a circular pattern to pattern this three times around the head itself. Then, to finish off, we drew the face on the front plane. We started with a center line than havinsome construction lines, and then we used a circle to represent one of the eyes, and we mirrored this over to the other side. There were used a sensor point arcs locked to draw the smile itself on. We added relations, and I mentions to fully to find the sketch. Then we used a split line feature which can be found under the curves. Better to use this sketch to split a large face into multiple, smaller faces on this split line feature doesn't take away any material. It just splits the faces. Then to finish off, we added some appearances on we save the parts. Next came the hands. So again we started another part, which you're a sketch on the top play on. We drew two circles with a rectangle on the bottom edge to draw the hand outline on. We extrude this upwards. You can also trigger away the excess parts of the sketch if you need to, or you could just extreme one specific region of it. And at this point, we saved apart. Next up, we could the curve on the bottom and hand by starting a sketch on the right plane, drawing two straight lines and joining them with a tangent arc. Then we used to co extruded through all both to make this cut. Next, we added a new play by starting another sketch on the right play and drawing this construction line down to the right. Then we went to the reference geometry butter and selected play, and we clicked for the first reference on the end point of the line. And the second reference was on the line itself and actually give you a plane that looks like this, that we sketched a circle on this plate with a sense of point at the end of that construction line on, we didn't extreme up to next, all the way to the hand feature. Next, we added the thick apart, the rest by starting another sketch on that new play, drawing a slightly larger circle, then doing another extreme up to next but offsetting the start point of this one. Then, on the right plane, we sketched a small circle on. We revolved this around the center line of the rest, and this just gave us a small raised ridge that holds the hand within the arm, then finally re added some fillets, added appearance and save the part Next came the arms, which were another new part, and we started a sketch on the right plane Juris Centrepoint Rectangle, and then used a tangent arc to draw this curve on the top. Get them, trim away this top line or you could just extreme both regions. Then we angle the top of this extreme using the draft feature. This could be found in the features tab on the command manager, and first you have to set the draft angle. Then choose a neutral plane, which is where the angles measured from, and then choose a face to draft and make sure you select the correct direction. So taking material away, not adding it. Next, we added a new play by drawing a sketch on this back flat face and drawing a construction line down and write a 45 Great. We then added a plane to the end point of this construction line. Using that as the first reference and using the line itself is the second reference, and this is a good point to save you part if you haven't already. The next thing we did was our first lofted cut to cut this curve on the edge of the inner arm to Dennis. First, we needed to draw the first profile. So start sketch on this bottom face, draw two lines and joined them with a tangent arc exit this sketch and then we need to add the second profile, which was just going to be a single point. So started three D sketch and out of point at the top of the arm here, then select, lofted, cut and select both profiles. So the three D sketch, which was just a point on the two D sketch, which was the two lines joined by the tangent up and you should get a preview that looks like this press, okay? And you're Kurt should appear next. We added a fillets around off the top edge of the arm, and then we use the love to create the forearm. So we started a sketch on that new plane we made. We draw a circle, and we made it tangent to to the straight edges with Ended a lofted boss based from this new circle. And for the second profile, we just selected the face that was at the bottom of the upper arm, and you should get preview like this presser K on your forearm will be created. Next. We cut that sharp edge at the bottom of the forearm off by starting a sketch on the end of the forearm, basically where the rest is converting that face. So we get this circle, adding two lines and then just doing occur extreme through all with that triangular section . Then we added the rest hall, which was just a simple circle sketch on the end of the wrist face, which was blind ex treated into the arm. Next, we made the peg a the top of the arm by using evolved boss base, and we drew the profile for this on the plane cuts through the centre of the top of the arm . We used to center line straight lines on an ark to make this profile and then just use the revolved boss base. Then we cut a slot into this peg so it could be compressed into the whole of the body, and we did this just by starting a sketch on the flat face on drawing a center laid down at 45 degrees. There were used a three point sensor rectangle, which allows you to draw a rectangle at any angle, and we made sure that this was centered on the construction line that we just drew and that it was also parallel to that construction. We don't use this for a Coke street, and we went up to surface to cut through the entire heights of that peg. Next up, we finished off by adding fillets of three different sizes. And then we added an appearance and saved the OB. Next up was the tour. So So we started new part, started a sketch on the front plane and drew a simple profile just using straight lines. And we married this about a center line on did a mid plain X street. Then we shelled this body out, cutting away the bottom face and using a wall thickness of 1.5 millimeters that we cut one of the armholes and we've married this over to the other side on now is a good point to save your parts. Next, we added the hip ribs by during a simple triangle on the bottom face on mirroring this over to the other side. Then we did an extreme going inside the body and we selected up to next and then we mirrored this feature. Next, we extremely the neck which was just a circle on top of the torso and then we cut away the net cavity, which was a circular cut inside the torso. There we added fillets and an appearance, and we saved the parts. We then used this torso part to create the tour so self assembling. So from within the part, go to file, make assembly from part and set your part. Fix to the origin, then gated sir components and select the arm part and mater in position. Then we added the opposite arm by selecting the own part, selecting the plane down the center of the model and they go to linear component pattern, pressing the drop down and go to mirror components were then selected create opposite hand version, and this will make another version of your part, which is exactly opposite to the current part. This new part is linked to the original parts of any changes to the original Love will also pull through to this part that all we did was dissolved the mirror relation so that the arms could be moved independently. And then we added any mates that were needed and we say disassembly. So now we get in there in terms of parts, and the next part to make is the hips. Start a new part and start sketch on the right play and then draw the profile, which is a circle with a rectangle on the top of it extreme. Just the rectangular section, using a mid plane extrude. And then, for the next feature, extra just the circular section again using a mid plane extrude, then start building up the part where the legs actually fit onto. So this is just a simple circular extreme. And then there's another circular extreme on the top of it that this circles got the top flat and off. Then, finally, there's a small section, holds down and locks the leg in place, and to make this we started a new sketch. We converted that semi circular edge, and then we offset it as well. There is the sensor rectangle toe at these vertical lines on we trimmed away or the excess , and then we just extremely that semi circular block shape at the bottom. Next up we were adding the boss on top, which fits inside the torso part. And we did this by making a sketch and using the center rectangle to draw a square within, drew a circle in one of the corners and used a circular sketch pattern toe at this circle to the other three corners. Then we X treated just the middle section. Next we cut away the cavity by drawing a circle on the top on cutting away a straight section of it. And then finally, we cut a shampoo on the top edge by starting another sketch on the front plate, drawing a triangular shape and doing a Kotick street through will both. There we mirrored all of the features underneath the leg joints. And if for any reason, you find you get a problem with the mirror, tried to smearing all of the features at the bottom first and then try mirroring the features above the hip joint in a separate feature. Then add your parents and save the hit parts. Then finally, let's model of the last part, the leg so open a new part starts sketch on the right play and draw the profile, then do a blind boss extrude for the top circle, do another blank Bostick Street for the lower section. This is slightly wider. A Nedra sketch on the bottom of the foot, and this will be used to cut the cavity within the lack. The sketch has two different regions, so one cuts the cavity all the way up the leg, and then the larger one just cuts the cavity inside the foot, and this is a good point to save. Then we cut the to study holes on the back. So start a sketch on the back, face at a centrally and add to circles. Make them the same diameter. Using an equal relation. They're fully defined your sketch on doing extruded cup for both of these circles. Next, we're going to cut the cavity inside the top one of these circles, so make a new sketch inside that top circle use convert entities to convert the edge of the circle and then draw three straight lines within it on dimension It then don't cut extreme . Just using the roughly rectangular profile on the end condition should be offset from surface, using the front curved surface of the lack. Then finally, just cut a simple hole in the side of the leg to allow it to be fitted to the hip. Give you part the same appearance as the hit part and save it. Then we can use these parts to make the lakes of assembly. To get back to the hip part and press, make assembly from park at the hit part, fix of the origin and then insert the leg part on tomato in position, then similar to the arms. We need to select the leg part, select the center plane and press mirror components again, create an opposite hand version of the park, dissolve the mirrored relationship and then add any mates that lead it. Save this assembly, and then we can add the limit mates to stop the legs going all the way around. So select a flat face on the leg and the hip. They go to the mate to go to advance mates and press a limit mate for angles. Set the start uncle first, which will probably be zero degrees and then set the maximum and mid of ankles that you want the leg to be able to rotate, then do exactly the same for the other leg then all that remains is to make the top level assembly. So from within the leg assembly, go to file makers simply from a simply on an uncertain the leg assembly that in certain torso assembly on. Fix this in position using mates, and you could fix it left and right just using the planes. Or he could use a whip may so with the width, make you have to select two outer faces and then either to interfaces or one single circular interface there. Would you select them a tool. It should automatically detect that you want to add a wit mate, or alternatively, you can add it manually. I go to the mate tool first and then selecting your faces from within the tool. Next we added the head part, cremated this imposition. Then, finally, we added one of the hand parts, and we made it. This it position, and sometimes you may find when adding makes particularly concentric makes that one of the parts goes flying off to a great distance. If you press the F key, it should zoom out to compass all the parts within your model. But sometimes you zoom out. So far that you can't see the parts anymore. And if this happens, just delete the latest part. Then press the F key to zoom back in and then reinsert the part and then this time, try adding a different mate first. So maybe try running a coincidence, mate before the concentric may, then at the final hand part by holding down control, dragging the other hand and then releasing. And they should add a duplicate parting, then add mates again to fix in place. When you're using subassemblies within a larger simply, you'll find that their inserted by default as a rigid assembly. If you want to make them flexible, you can just click of them and press make assembly flexible. Otherwise, you'll have to open the sub assembly itself on, make any changes to the positions of the parts within that sub assembly, and then give back to you, made assembly and rebuild it. So the Lego figure is now finished. You could say that simply I'm well done or finishing this section in the next section, we're going to look at configurations and drawings
60. 10.1 Drawer Box - Introduction to Drawings and Configurations: welcome to the ninth section of the course out 12. We're now 3/4 of the way through the course, and we've learned all of the major features that we get to use as well as quite there about assemblies. Now again to look a few more advanced features, drawings and configurations, you probably already understand what drawings are there two D representation of your part or assembly? And is there a great way to convey information about your part to people who don't have CAD software? So you can just send someone a Pdf, or you can even print out drawings and send them via snail mail? And even if someone is not that technical, it should be able to get an idea of what they're looking at. So we previously looked to engineering drawings when we first made the PCB in the first section, and also we looked at quite complex one when we made the bottle threat in the fourth section. And the great thing about engineering drawings is they couldn't really convey information across barriers so you could have a drawing from another country or from very long ago. This one's actually from the 18 hundreds And if you have the correct drawings, he could actually produce a cad model Exactly how this part would have been made back in the day. And the oldest thing I've actually made for a client was a part for really old machine that you couldn't get any bull on. The drawing was actually dated from 18 90. So before we start learning about drawings were going to have a look of configurations. And to do this, we're going to produce a model, something like this. It's basically a storage box. You can get it a lot of different homeware stores. Maybe you've seen them. I care, or somewhere like that. And we're actually just going to create one single drawer just for simplicity. We're gonna use that to demonstrate configurations. So imagine you're in business selling these storage boxes and you had loads of different sizes. You could make a solid works model for each one of them that you could actually just make one single model and use configurations to configurations allow you to create variations of a model within a single part, and this can provide a very convenient way to manage different families of similar products . we're muddling up a box, but it could be something like a bracket, and maybe the whole position is slightly different on each type of bracket. Rather than modeling every single bracket from scratch, you could just model one and then have a configuration for each different hole type. So it's a start off. We're just going to build a very basic assembly of this box. And then in the next video, we're going to look at adding configurations to this assembly and learning more about those . Then later in the section, we're going to use this to create a drawing. The box actually consists of five parts, so there's the bottom, the two sides, the front and the back, and we'll start with the base toe, open a new part, start sketch on the top plane and draw a sense a rectangle fixed to the origin. It should be 300 millimeters long and 200 millimeters high, then just extreme this upwards five millimeters and rename this base. Save your part and call it something like base in progress. This part is going to make up the base of our assembly, so go to file, make assembly from part on inserted fixed to the origin. Then we're going to add the new parts, the sides and the front and the back First savior simply. They go to insert components, impressing new parts. I select the upper face of this base part on. We'll start drawing a sketch for the back section, use a corner rectangle and start this from the top left corner of the base and finish it on the right hand edge of the base. Make it five millimeters high so it should be fully defined and then extrude at 100 millimeters upwards, then exit editing the part right click on it in the Part Street and rename it something like back. At this point, you can also save your assembly again, and then you can save this part externally. Next would like to add the front wall, and for now, this is going to be exactly the same as the back wall. In the next video, we'll look at adding some more details to the front, using the configurations, but for now to select the back part, select the front plane and then press mirror components. Now that we have the base, the front and the back. Next, we're going to add the site so again, to go to insert components new part and start another sketch on the top of the bass part this time. Start from the bottom left corner of the back part and go down to the top edge of the front part again. Set the thickness of five millimeters on extrude upwards 100 millimeters, then exit apart, right. Click on the new part and rename it. Then select the right play. Select the side part and mirror this over to the other side, and there we have it. That is the basic box complete. So again, save your assembly and save the new side parts externally in the next video again to look at adding configurations, which will allow us to have multiple sizes of the same part. And that should automatically pull through to the other parts due to the way we've set of the assembly. So, to recap very quickly, all we did was draw the base, which was a simple center rectangle extruded upwards. Then he uses to create a new assembly. Then we went to insert components new part. First we drew the back and then we married it to the front. And then we do one of the sides and mirrored it to the other side. And as we just mentioned the next video, we'll be covering configurations.
61. 10.2 Configurations: Welcome back to the Configurations section. This was the point in which we left our last model. So we just finished the box assembly. And in this video, we're going to look at actually making your first configurations to do this. Open the bass part. And this was just a simple part that we made is just one sketch and one feature. So to add configurations, we go to the configurations tub and that could be found up here near the feature train. We've actually clicked on the configuration stop before, because this is where you'll find your exploded views in assemblies. So at the moment we only have one single default configuration because we haven't added any new configurations yet to add a new configuration or we do is right. Click on the file name at the top and press ad configuration. Then the first thing to do is give the new configuration and name, and we're going to call this 1 200 millimeters because that's going to be the length of the part. You can also add a description on. There's more details regarding bills of materials and things like that, but we don't need to look at those options for now and now you can see in the configurations managed yet that we've got to configurations the default one on the 200 millimeter one, and to switch between them, all you do is double click on the name. At the moment, the configurations are exactly the same, so switching between them won't actually change the view at all. So we just added the 200 millimeter configuration are part is currently 300 millimeters long, so we'll change the name of the default configuration to 300 millimeters. And you could do this biting a slow double click on the name. So I've been 300 millimeters and now we should have the 200 millimeter configuration on the 300 millimeter configuration. There are two main ways you can adjust configurations. You can either suppress features, or you can adjust parameters in sketches and features and will look adjusting parameters first. So double click on the 200 millimeter configuration and this should become active. And now we're editing this configuration. Click on the part in the graphics area and press edit sketch. So we edit that original rectangle sketch, and we want to change this 300 millimeter length down to 200 millimeters, so double click on it on typing 200 millimeters. But don't click OK yet before we do, we need to specify which configuration we want to change this distance, and we can do this by clicking this little acre on the right. If you hover over it, you can see it should say all configurations, and that means that if we change this distance, it will change in all of the configurations. But we actually really wants it to change in the one that we're currently working in. So press the drop down next to the icon, and you should have three different options. This configuration all configurations or specify configurations. Let's just press this configuration and you'll see that the icon has changed. So what this is going to do to change this length to 200 millimeters, but only in this configuration press okay, exit the sketch, and now you're seeing that the party is 200 millimeters long. Now, if we go to the configuration manager and click on the 300 configuration, you'll see that the size of the part changes the 300 then you can double click to change between configurations, and that's basically all you need to do. It is quite a simple process on. We're only really going to introduce the basics of it in this course. So let's have one more configuration. So right click on the file name at the top press ad configuration on Let's call this 1 400 millimeters. Now make sure you're editing the 400 millimeter configuration, so the other two should be slightly great out. And if they're not, just double click on the 400 millimeter one. Then click on the parts and edit a sketch again, then edit the 300 millimeter length again. We'll change it to 400 this time, and you see that we still have the option selected for this configuration, so we don't need to choose it again. We could just press okay, exit the sketch on Now if we click through our configurations, you see, we've got 203 104 100 millimeters white. So now that we've got the configuration set up, what can we actually do with that? That's controlled Tab back to the assembly and have a look at using it Now you should see in the part tree after the file name, it says 300 millimeters, and that indicates which configuration is active. And if we click anywhere on the part in the graphics tree now you'll see at the top. We have this drop down menu, and this will contain all of the park configurations. We can choose which one we want to use. So press 200 millimeters and press OK and you should see that your assembly adjust in size and the friends and back part should automatically adjust inland as well. And that's because we set them coincident to the edges of the bottom part. So if the bottom part changes in length, it automatically changes the size of those parts as well. So you can try changing between your different sizes and everything should automatically update. So hopefully you can see the value of this if you're producing a lot of similar parts, which is slightly different. We mentioned that there were two main ways to adjust configurations. Changing the parameters and suppressing features. So now we look at suppressing features in our assembly. The back and the front parts are currently exactly the same part. So open the back part and we'll look at adding a new feature to make this either the front or the back part. Call the first feature base if you haven't already, and now we're going to add one extra feature, which will just be a small handle cut out to the front part. But first we'll add another configuration, so go to the configuration tab. Slow, double click on the default configuration, and we'll call this one back then, right click on the file name at the top at a new configuration and cool this one front. Make sure you're editing the front configuration and get back to the featured tree, and we're just going to add a feature as you normally would. When you're building the model, start a sketch on the large flat face and draw a circle somewhere near the middle of the top edge out of straight line along the top edge and make sure that the center point of your circle has a vertical relation with the origin. Trim away the excess part of the circle and then just add some dimensions in a show. Then we're going to cut out this semi circular section on because we've set it related to the midpoint or the origin. It means that no matter what lent this part is this cut out will always be in the middle. If we'd said dimension from either the left or the right hand side and then we just the length of this part, then the cutout would no longer be in the middle. So this is a little bit of designing tent and thinking about the best way to set the model up. Then we can just do an extremely Kurt and call the feature front handle. Now, if we go back to the configuration tab and double click on the back configuration, you should see that that featured disappears. This is because we made the feature in another configuration, so it's automatically suppressed in the configuration that you're not active in. If we did want that feature in this configuration or you have to do is go back to the feature tree on UN suppressed the feature. So any feature that you don't want to appear in your specific configuration or you have to do is suppress it in the feature tree, so now we can very easily switch between the front and the back part. This is a very simple example, but hopefully get the idea of how this works now for use control tapped to get back to our assembly and you look in the parts tree, you can see that the front and back are still both in the back configuration. Two disc weight on the front part on on the drop down menu. Just choose the front configuration, and then you should see the cow appears on the front, and that's all there is to it, really. Obviously, this is a very simple example, with just a few different changes. But if you needed to, you could really build up quite a complex set of changes with different features and parameters. You should also notice that now free just the length of the assembly by adjusting the configuration of the bass part. The handle cow in the front part stays exactly in the sensor, so it's a recap. Let's open the bottom part. Configurations can be found in the configurations, manage its happen. You can add configuration simply by right clicking on the file, them impressing out configuration and You can also edit them by right clicking on the pressing properties. You can switch between active configurations by simply double clicking on them. Then we can edits a sketcher feature, and we can adjust any parameters, and we can make those adjustments take effect either within one specific configuration or within all configurations. Then back in your assembly, you can simply click on the parts and choose the configuration you want to use. You can also set configurations within an assembly. If you wanted to choose different combinations off configurations of parts, you could also make different configurations simply by suppressing features in the feature tree. And he can use these simple options to build up a whole range of different parts from one single base part. So this was a pretty quick introduction to configurations. In the next video, we're going to look at using this assembly to create a drawing
62. 10.3 Basic Drawings: in the last video reloads about configurations, and this is where you finished with our box assembly. We had multiple configurations for the bottom part, and then we had one each for the front and back part in this video and the next one, we're going to look introducing drawings and again, it's gonna be quite quick introduction. They should cover enough to allow you to produce a reasonable range of drawings. Drawings can be started by pressing the new button, but the easiest way to do it from a part or assembly is just a click on the file, but said and press make drawing from assembly or part presser K, and your new drawing will appear so here behind we have the actual drawing itself at the moment is blank because it has no views in it. And then here in the menu box, we have a load of different sizes of paper with preset drawing layouts on them, and if you look at the previews, you'll see these. There are slightly different shapes and sizes, but slightly different layouts of the actual detail on the drawing itself. Scroll down and select a four and see landscape press okay, and you should have a view, something like this. Yours might be very slightly different depending on your settings, but should look similar on the right. You have the view palette, which will talk more about in a moment, but click anywhere else in the graphics area and they should disappear. So now you should be able to see your anti drawing down here in the right. You've got a load of different detail, things like the title, the scale, and this is all automatically being brought in from the template we selected. So now we need to add actual views of our model, and to do this will use the view palette you might still have open. But if not quickly butter on the right hand side and you should see a load of different views of our box assembly model, and we can now direct these into our drawing. You can lay a model out in different ways, depending on exactly how you want to do it, in which standard you want to use, but we'll start from the top, so select the top few, hold down the left mouse button and drag it into your drawing and just place it somewhere in the empty space of your drawer. Open the view palette again, and this time, dragon a front view. You should see that you can place it anywhere, But if you go nearby to your existing top view, you should get this automatic snap line on. That indicates that these views are aligned. You don't have to align them, but it is standard practice, and it does make you of drawings much easier to read. So clicks have placed that front view. Then open the view palette again, and this time we'll add in a right view on again, make this aligned to the other views, then finally will open the view pal again on Add a three D view, and there's different options you can choose between. You can also set any view you want within your model, but for now, we'll just go with an isometric version, and at this point, you can save your drawing on your notice that soldier extraordinaire files are saved. Does SLT Drw files When saving your files, I'd recommend that you just keep the default made, which will be the same as the part or model name And the reason for that is if I now close the drawing file and now we're back in the assembly now if I'm in the part or assembly, and I can't remember where there have made a drawing already or where I've saved it. If I now try to make a new drawing from this part or assembly, I should get this message. There's already a drawing with same name. Do you want to open this file? And if we press yes, this will just automatically open the drawing that we've already started. So get back to our drawing on our view layout. There's actually a slightly easier way to lay up your drawing down to manually draggin all of the views. So if we select these views one by one and just press delete to remove them from the model , you can leave the three d one. Just delete the other three. Now go to the View layout tab on the command manager Press standard three view, and this brings up a menu sought similar to when you make an assembly. It will show any open parts or assemblies here. You can also browse for other files which are on your hard drive, so we currently have our box assembly open. We just press the green tech, and this will automatically insert all three views of the model. And depending on your view setting, you might also have these origin markers, and they're a bit distracting. Sophie do just go to the View menu and press origins to turn them off. And now we can just drag the views around within the drawing to change the position, and you'll see that if you move, one automatically moves those that are aligned to it. If you do want to break the alignment for any reason, you just right click on the view and there's loads of different options. You can do things like rotate the view, but you can click on alignment here and press brake alignment. And you can also react the alignment here if you need to. For now, we'll just keep the alignment as it is Now. Let's look at these views in more detail, so if you click on a certain view, you'll get a number of options on the left. On one of the top options is orientation. So if we first select our front view and then go to the left to the orientation section. We can actually change this front view to any other view. For example, we can change it to right view just by clicking this button, and that will automatically change the other two dependent views as well. And you should get a warning. Pop up if you just press yes to change the views anyway, and you'll see that the over two views automatically changes well. Now we can click about of you again and get back to a front view on again. You'll get the warning. Just press yes, again on the view should change back to how they were. So let's keep that view selected and then scroll down to see some other options. Scroll down on the left until you see display states on by default with drawings. This view will be hidden with lines removed so free Zoom in on our front part. You can see the bottom part, and we can see the front part in the back part, but it can't see the side pumps because they're hidden by the front part. If we were to select hidden lines visible now, you can see the site parts behind with these dashed lines, and there are also a few different options. You can go completely wife frame shaded with edges shaded without edges. But I'd recommend as standard you disuse hidden lines removed. Although there are certain situations we'd like to show the hidden lines just to show a bit more detail and clarity on the display style is really up to you. I usually tend to keep the engineering views is just a line drawing on, then for the three D view, say is shaded with edges on. This just gives whoever's looking at your drawing an immediate view of what they're looking at. You can also adjust the scale of the drawings, so click on a view and go down until you see the scale box on by default, views will either use the parent drawing or the sheet scale they can actually choose. Use custom scale and then you can choose any scale you want. And this drop down box has got a load of preset options, and you can also see him right to the top of the options and press user defined, and then you compare in any scale you want next up we look, adding sometime mentions to the drawing, and to do this we go to the annotations tap. Select the smart Dimension Tool. Then just use this in the same way you use it when you're making sketches. So you could even quicker line or various different points and adding the dimension, and you can then just drag out and place that dimension where if you want and you'll see this says 15.75 and that's because the drawing is automatically started in inches. You can change us in your preferences, or you can easily just quit down here where it says I PS, which dance for inches pounds seconds. Ondas change it to a millimetre scale. When you're placing your smart dimensions, you might notice these two semi circles and clicking on one of those just automatically places your dimension to the left or the right or up or down, depending on the orientation. And if you use these automatic placements, then they'll also automatically space as you add more dimensions. You can also adjust whether the arrows are internal or external by clicking on the leader, which is just the line with the arrows and then clicking on a small circular box. And you can also manually just the spacing of your dimensions if you need to. Also, if you want to add any extra detail tubes, I mentioned, you can click on the dimension, and then there's loads of options on the left. You can do things like change of tolerance at brackets and symbols, and you can even add extra notes to the dimension. And you do this just by typing in where it says dimension. Text on the part that says D I. M in angle brackets is actually the dimension itself. So if you delete this, you can overwrite the dimension, but then it won't automatically update on. At this point, you can just add a few more dimensions to the drawing as well as dimensions. There are also some different options. For example, we can add note by clicking on the note tool, and then you'll see that you've got this text box that follows the cursor. Now, if you choose an edge or face you'll at a leader, which is just a line with a narrow and then you can type in your note text as usual. You've got a load of different options. You can change the font size or things like that. And then on the left, you can change the leader style itself. We can also add more detail with things like center lines and center marks. So sensor mark usually indicates the center of a circle or a whole. So just click on the center, marked better and then choose a circular edge. And now this cross indicates the center point of that circular cutout. You can also add a center line by clicking on the tool. This indicates the midpoint of a symmetrical part toe at this or you have to do is choose to edges. So I just chose the two outer edges. And then we've got this symmetrical line all the way down the middle of the box, and you can actually drag this out larger if you want to. So that's the very basics of drawings and how to insert views into your model. But what about this section down here? The title block. If you go down and try to click on it, you'll see you actually can't edit any of it to edit this title. Blood we actually have to edit the sheet separately. And to do this just right, click in some empty space. Make sure you're not on an existing view and press edit sheet formats and you'll see that all of your model views have now disappeared. And we're just editing the background of the sheets itself. And now we can select any of these lines or any of this text and delete it or change it. And there are certain parts of text which have bean dragged through automatically, such as the title or the scale. And if you hover over these tax, you should see this code pops up, and that actually drives the text that we see so it might pull through a file name. We might pull through a sheet size or things like that, and you can actually overwrite this and just right in the plain text of what you want. If you keep this coat than this text will automatically update if anything changes. For example, this text currently says she one of one. If we had an extra sheet, this will automatically say she one of two. Then, if we went to the second sheet, it would say she two of two and so on. And this is a fairly complicated title block with lots of different boxes, and this might be too complicated for your everyday needs. I tend to use a very simplified drawing with a lot of this stuff stripped away, and you can actually make your own template and then save it. When you don't editing the title block, just click the button in the top right to finish editing the sheet, and then you'll go back to your actual views and you'll see all of these changes have dragged through. We also mentioned that you can have multiple sheets and to add extra sheets or you need to do is click on the add sheets button down here and now we're in the second sheet, and you can add views using the few palette as normal. And if you zoom in, you see the title block now read sheet to to Then we can click on the tabs down here in the bottom left to get back to the first sheet and you see this one. Now reach eat one of two, and you can right click on these tabs and do things like renamed the sheet or deleted copy and so on. So let's delete that second sheet for now, so I just got a single sheet. So now, thinking about the drawing file itself, it kind of works in a similar way to an assembly. So if you send it to someone, you have to also send the assembly and part files. The drawing is also automatically linked to the part and assembly files. So if you make any changes to those, they will automatically pull through to the drawing. So as an example out quick on the three d isometric view and press open assembly, and it will take us back to the box assembly. Now, if I suppressed both of the site parts and then use control tab to get back to the drawing , you'll see that the side parts and also suppressed in the drawing. So if you actually want to send this drawing to someone who doesn't have solid works, we need to export it somehow. And probably the most useful former is a Pdf. To do this, just go to file savers and then choose PdF from the file type. And there's also a few different options. You can save it as things like an image or the XF, which is useful for laser cutters. But pdf is probably the most useful one. So just press save, and then your pdf should automatically be created if you're exporting a drawing with more than one sheet, and you'll also have the option to choose which sheets you want to export. So it's a recap to make a drawer and either get to file new drawing or if you're in a part or assembly, just get a file. Make drawing from assembly or parts, then select the drawing template you want to use. And then you can use the view palek to drag in different views. Or you can use the view layout type to add all three views at once. There's also some more advanced views here that would look at in the next video. Once you have your view set up, you can change the scale on the display type, and then you can use the annotations tap to add things like dimensions notes, center lines, center marks and so on to just the title block or the background of the drawing itself right click in cement e space and press edit sheet format. Extra sheets can be added by clicking down in the bottom left. Then the drawing could be exported by going to savers and choosing PDF. And if you send the drawing file itself, make sure you also send the assembly and part files with it. If you do a pack and go option from the drawing itself. And it will include the drawing and all of the part files as well in the next video, again to be looking at some more advanced drawing options, things like section view, detailed view, exploded views and so on.
63. 10.4 Advanced Drawings: welcome back to the drawing and configuration section. In the previous video, we made our first basic drawing on. We looked adding different views, adding annotations like notes and smart dimensions on editing the title block and sheet itself in this video again to look at adding some more advanced techniques. And we're going to look a different views on also adding bills of material. So if you go up to the view layout tab, you'll see there's loads of different view options that we cannot. We're not going to cover all of them in this video, only the most important ones on we'll start off with section view. A section view is essentially a slice three or model, and it's very common in engineering drawings because it allows you to see a lot of internal detail that otherwise would be hidden. In our case, we're going to cut through the middle of the top view on this was Show us the wall thicknesses of the front and the back and also the base. To add a section view, simply press the section view button, which could be found up here. Then your curse all change into a cutting line and this could be used to cut anywhere through any of your views. You can change the orientation of this by clicking the buttons on the left, and you can also do angled and partial cuts in this way, for this exercise will go with a vertical cutting line, and we'll cut right down the center of our top view. So if you hover over the middle of the view should snap to that center point. Click the left mouse button to place the cutting line and then just click on the Green Tech . Then you'll get some options. Pop it. We can change things like shading, but for now, we'll just keep them all as they are impressed. Okay, now your view will be created and you can drag it out. It will be aligned to the parent of you, and you can place it either to the left or the right. So place out to the right where you've got bit of space and we'll zoom in and have a look at some more details. Here you have your actual cross section view, and then on the parent view, we have the cutting line, and you can also change the position of the arrows or the text if you want them to be in a place where they're easier to read, and you should notice that your section view has been allocated a letter. So mine says Section C, and you can actually change this over on the left in the property manager. And there are also many different options. You can flip the direction of the cut. You can change the hatching, which is the shading inside the cut, and you can change other display options and scale options and resume actually in on the section view itself. You can now see this cuts all the way through the model, and it's hatched away with these diagonal lines where it cuts through a solid surface, so the front you can see the handle cut. Then you can see the thickness of the front wall, the base wall on the back wall, and now, for example, we can add some dimensions. And if you need to adjust the cutting line, you could always edit it by right clicking on it. And then you could just editor in a similar way to editing a normal line sketch. And if you drawings looking a bit cramped at this stage, you can always move around the views to make a bit more space, so the next you're going to look at is the detail few, and this allows you to zoom in on specific areas of your model on other views. This can also be found on the View layout tab, so click the button. Another curious will turn into the circle tool. So wherever we draw this circle is where the detail view will zoom in on. So let's zoom in on the area around the front handle. Draw a circle just like you're drawing a normal circle in a sketch. Quick wants to set the center point and then drag out and click again to set the diameter. Then similar to the section view, you'll get this dashed box on wherever you place. This is whether detailed view will be placed, but this isn't locked in alignment to the parent, fuc complacent anywhere on your sheet. So place it down in the bottom left. We have some space, and you see that this is actually a zoomed in view off the area within the circle. If you click on the view again. There are lots of different options. You can change the labeling, so I changed it to be, and there are also different styles of detail view so you can do a broken circle. For example. I like to use the connected view because this is very obvious where your detailed views, then looking at in the main view. And then we can adjust the other views a little bit to make things a bit better laid out unless cracked. And you could also double click on the labels and change it's anything you want. So, for example, I could just call this something like front handle detail. And, as usual, if you click on the view can do things like changing the display style, the scale and so on. And that's the detail view. Next up, we're going to look at adding custom views and exploded views, but this sheets getting a bit crap. So add a new sheet by clicking on the new sheet button in the bottom left. So here, in our new blank sheet, let's say we want to add a view. If we open the view palate, you can see we have all these default views that imagine. We want to add a custom view to do this. First, we have to set the view within the model itself to get back to the first sheet quick somewhere on the assembly and press open assembly. Now we can drag the model around using the mouse, and we can set it to whatever view we want. So say, for example, we wanted a view from the bottom. Something like this we have to do is press the space bar to open the view orientation menu . If you don't already have open, then it's click on the new view. Better type in the view name and press, OK, and then it will appear underneath all of the standard views you can then go to any other standard view or just of you in any way. And when you click on that safe you it will go back to that view. So press control tab to go back to the drawing and then go to the second sheet. And this time we'll add in that new saved view on the view layouts tab, click on Model View and then make sure you've got your assembly selected and press the next arrow in the top. Right now, we can choose to insert any of the standard views as normal. If you zoom down, you should also see your new save you in there and you can insert this as normal and then you can do things like adjust the displaced A and scale as usual. Next up will look, adding exploded views and in the same as a custom view. First, you have to create the exploded view within the model Use control tab to get back to the assembly model, then just go to a normal three D view and isometric view, for example, then will create the exploded view. You might not have done this for a while, so as a reminder, the exploded view is up here on the assembly tap. Just click the button, then click on the parts one by one and just drag them out. Using these triad arrows, create a simple explode by just moving all of the parts outwards slightly. Then press OK, and now, as before, you can find this exploded view under the configuration tab, now controlled her back to the drawing, and you should be up to click on any view in your drawing, then at the top of the property manager. That should be a new box that says Show in Exploded State. And if you check this box, you share the exploded view and you'll see. Now we can see how everything fits together. And if we wanted to add the underside view again, we can just select the few press control, see to copy it and then click offer and press Control V to paste it. Then we can click on the new view on Just change it back to the previous view style, and we can also uncheck the show in Exploded State Box and that will collapse the view. Then the final drawing feature we're going to look at is adding a bill of materials, and this is basically a table that lists all of the parts within your assembly. You confined this by going to the annotations tab, clicking on the tables better and then going down to Bill of Materials, and the first thing you need to do is select a drawing view so you can select any of these because we have the same assembly in all of the views. And then you should get a load of different options on the left. And here we can choose whether to show all of the parts in the assembly or just the top level, and also quite a few different options regarding configurations and things like that. We'll stick with the default options, so press the green tech and then the table should be attached to your cursor. So wherever you click, that's where the table will be positioned. Place it wherever you have space for me. It's down here in the left, and you can also just the size later on. So don't worry for overlaps the title block a little bit Once you have it place. You could drag the columns around to justice size, and you can move it around by dragging the move icon in the top left corner. So let's have a look at the table itself has got four items in it. It's got the base, the back, the back again, which is actually the front and has won each of those components. And then we've got the side and there's two of those components on. This is a list of all the parts within your assembly, and we can actually add some number balloons to the assembly to make this clear. In this case, it's quite obvious. But if you got very complicated simply or lots of similar parts, it might not be as obvious to add the balloons, go to the annotations tab and click on Auto Balloon and then select your view. And you should see that the four balloons automatically appear on these are linked to your building materials. So if the numbers changing your bill of materials, then they'll also change on these balloons. You can drag them around and put them in a position where they're easier to read, and you should see that these numbers indicate the parts in the table. So number one is the base number twos that back and so on. So now we're almost done. One thing you might want to do is delete the description column because there's nothing actually in there. So this right click in the letter in the top of the column and then go to delete colon. And you can also add in split columns and rows in a similar way. Now you might notice that there's one small problem. Both the back and the front of both called back in progress, which is the actual file name rather than the configuration name. To fix this, we have to open the party itself, so hover over the front or back part. They're both actually the same part, right? Click and press open parts. And now we need to edit the configuration to go to the configuration tab, select the front configuration by double clicking on it and then right click on it and press properties. Then down here, we have the bill of material options, and you can see that the partner to be displayed is actually the file name, which is back in progress. So if we click on this drop down menu, we can change it to the configuration name, which should be front press. Okay. And then we can do the same for the back configuration. So double click on it, then right? Click on it and press properties. Then just change the bill of material options from document name to configuration name. Save that part and then use control tab to go back to your drawing. And you should now see in the bill of materials. The parts are called back and France, so that's an introduction to building materials and drawings to recap will go back to the first sheet, and first we added a section view, which is a slice through one of your views, and this can be found on the view layout tap first, the cut line is set, and then the section view itself is placed. Next we looked at the detail view, which is also found in the view Layup tab on. Basically, you just draw a circle, and this is the area that the detail view will focus on. There are also other options, such as break, and this can split a very long component down so it can fit on. The paper can also crop views to cut away certain parts. Or you could do a broken out section, which is kind of like a mixture between a cross section and a crop to you. Then you can do things like projected views, which of use nonstandard angles. Next we added the second sheet, and we added a custom view. So first you choose the view within your assembly or part model, then you just press the new view better and save the view on when you give back to your drawing. You can then choose this saved view, and we also added an exploded view. So again you make exploded view within the assembly model itself. And then when you go back to the drawing, you can choose this option. Then finally re added a bill of materials, which can show all of the parts within your simply. And we added some balloons using the auto balloon feature in the next video. As usual, we're going to be re capping configurations and drawings. Then in the section after that, we're going to be looking at importing 1/3 party model, and we're gonna be making a raspberry pi enclosure.
64. 10.5 Drawer Box Recap: welcome to the final video of the configurations and drawing section. As usual in this video, we're going to have a quick recap of everything we learned in this section. So he started by making the box assembly, and we started with the bass part, which was just a simple sketch of a rectangle on the top plain X treated five millimeters upwards. This rectangle was 300 millimeters long and 200 millimeters high. We saved this part and then used it to create an assembly. We saved this assembly and then we inserted new parts directly into the assembly on top of the bass part, and we drew a new rectangle for the back walls. This was linked to the top left corner on the right hand edge, and it was five millimeters thick and ex treated 100 millimeters high. We re named this virtual partners back, and then we saved the assembly and save this virtual part externally, so it became its own independent part. Then we married this back walls and now we have a back wall and a front world. Next we insisted another new part on top of the bass part on. We link this to the back and front walls. And again it was just a rectangle five millimeters thick and 100 millimeters high. This part was renamed aside and again we saved the assembly and we saved this externally. And then we married this site part to the other side as well. And then our assembly was complete, ready for the new configurations to add our configurations. First we went back to our base part, and then we renamed the first features base. Then we selected the Configurations tab and we renamed the first configuration by doing a slow double click on it, and we called it 300 millimeters. Next, we added a second configuration by right clicking on the file name and pressing ad configuration. We call this configuration 200 millimeters. Then we edited the sketch double click on the 300 Dimension and changed it to 200. Then before pressing, OK, we clicked on the configuration button and we made it. So this new dimension only applies to this configuration press. Okay, exit a sketch on. Now we have the 1st 2 configuration set up and you can switch between them by double clicking on the name, then we right click on the file name, impressed ad configuration and added 1/3 configuration called 400 millimeters again reedited. The sketch changed the dimensions of 400 millimeters on made sure this was on this configuration. Now we have our three configuration set up so you can save that part. Go back to the Assembly, and now you should see the configuration name. After the part in the parts tree, we can switch between these configurations by clicking on the part in the graphics area and just choosing the configuration you want from the drop down menu. And when you change the size of this base part, it should automatically change the size of the back in front parts as well. And if it doesn't, this probably means that you didn't add a coincident relation when you were making the back in front part, so you can edit those parts and add in that relation manually. Next up, we added a configuration to the front and back part, so click on the part and open the part renamed the first Features base. Then go to the configurations tab on Do a slow double click on the default configuration and call it RIA, then right click on the file name and press ad configuration and call this one front. Now that we're in the front configuration, we can start a new sketch, and we can create the feature for the handle cuts out. Then, if we get back to the configuration tab, you'll see because we made this handle cut out when we were active in the front configuration. This feature is now active in that configuration, but if we switch to another configuration, the rial one than this feature will be suppressed so you can add and remove features from different configurations simply by suppressing your UN suppressing them in feature tree. So save this part, go back to the assembly. Then when you click on the front part, you should be able to choose the front configuration, and this assembly was now ready to be placed into drawing. To do this, simply go to file, create drawing from assembly. First, you have to choose your sheet size and template. We went with a four and see landscape. Then you can eat the dragon views in from the view palette, or you can go to the view layouts up and press standard three view, and it will insert three views off your model. These will be aligned to each other, but you can drag them around on the sheet as required, and you can turn off these origin markers simply by going to view origins. Then you can add dimensions using smart dimension from the annotations tab. And if you want to change the units, you could do this in the preferences. Or you can simply click down at the bottom where it says I PS and change it to millimeters . We could also use the annotations tap to add notes, and we cannot in different views, like a three D view by getting to model view there, make sure you've got the right assembly or part selected, then choose the view that you want and just place it as required, that if you select any view, you can scroll down on the left and you can change things like the display stale or the scale on a number of different options. And if you want to edit the title block on the background of the drawing itself, just right, click in some empty space and press edit sheet. Former And then you can edit the title blood as normal new sheets can be added by clicking the new sheets. But down here on the left, and then you can switch between the sheets simply by clicking on the tabs, and you can also save your assembly. At this point on the file name will be dot s L D D R W. And remember that sado extraordinaire are linked to the part on assembly file. So if you send them to somebody, you also need to send all of the associative model files, and you can also export as PDF's and a number of different formats. We can easily add more advanced fuse by going to the layout tab. For example, the section view you just click on the button, and then the curse will change to a cutting line. You can select the orientation of this on anyway, you place it. This was sliced through your model, so we placed it halfway through the top view. Then there are some different view options, and you can place your section view and this will be aligned to the parent. You. You can also add detail views again in the view layout tab, and if you click the button anyway, you draw. A circle will be zoomed in on in the details view. And as usual, we can change the options on the left, and we can also add extra annotations, such as a center mark or a center line. We can also add custom views and exploded views, and we do this by going back to the assembly and setting them in the assembly. So first we added an exploded view just by dragging out these parts. Then we also added a custom saved you. So just set the model in any view you want on impressing new view on the view orientation box on. You should then be able to write in the name of your view on this will be a safe view that you can access at any time. So then, if we go back to our drawing on Goto, our second sheet with a bit more space, he'd go to the View Layups tab, select model view. Make sure you've selected the correct view and press next. Then just choose your saved you from the different options. Then we can copy and paste this view and we can change the actual orientation. And then we should be up to click on this show in Exploded State Box and this will explode this view. Then finally re added a bill of materials and we did this by going to the annotations tab, pressing tables and then selecting Bill of Materials. First you have to choose a view. So we chose the assembly, pressed okay and then place the table at the cursor. Then we deleted any rows or columns that we didn't want. And then we auto believed the assembly, and this added a number pointing to each part which relates to a row in the bill of Materials. Then finally, we opened the front and back parts and we adjusted the name that showed in the bill of Materials. So he did their spite going to the configurations tab, right, clicking on the configuration, pressing properties and then changing the bomb display name from the document made to the configuration name. Now we have both of the sheets and as we mentioned, we could export this as a pdf. So if you have multiple sheets when you export, you have to choose which sheets you want to export. And if you want to use more than one, just hold down control when selecting so well done for learning how to create drawings and learning a bit about configurations in the next section, we're going to be importing a raspberry pi circuit board. I'm going to be making an enclosure for it.
65. 11.1 Raspberry Pi Enclosure - Importing Non-Solidworks Files and Starting the Enclosure: Hello. Welcome to the 10th section of the Mastering Solid Works course. In this section, we're going to imports and non solid works. CAD file. I'm going to use this to create an enclosure for a raspberry pi circuit board. Now you may have seen these is basically a small computer on a circuit board. We're also going to talk briefly about designing for injection molding on. We're going to look more at the draft feature, So first we're going to try to import a respirator pie model. This is actually a step file, which is quite common cat file formats. So download the raspberry pi dot step file from the course files and just put it into the folder that you're working in and you see if we just double click on it to try to open it, then it probably won't open, and you'll probably get some kind of Windows message that says that your computer doesn't recognize this file type so you can set it up that Solid works opens these files by default , but probably the easiest way to do it. For now, it's just to drag that step file into your open, solid works program and you should get some kind of progress box in solid works that looks like this. It might go through a few different stages, and depending on the speed of your computer, this might take a few minutes. But your step foul will now be imported as a solid works file. Then, eventually your model should appear on Look something like this. You might have to turn on the shaded edges by going to the view option here, and you'll see in the part tree on the left that we have a load of different parts. And this is one of the good things about step files. You can actually import one single file, and it will expand out into an assembly with all the different parts. But you'll see that if you actually click on the parts and try to open them to edit them, you can't actually open them. And this is something that has changed with the latest versions of solid works on the previous versions. In previous versions, you could open a step file, and then you could open all of the individual parts on just edit them. That now solid works is using a system called three D interconnect, and this is designed to help share CAD files between different camp programs like Autodesk Unsalted Works, for example, You can see that the file is using three D interconnect because of these small green arrows , and they indicate that the step file will be linked to the solid works file that comes from it. So if any changes are made to the step file, then they'll pull through to the solid works file. So if we want to now edit these step parts, what you have to do is break the link to the original cap file, and you can do this quite easily by simply right clicking on the assembly and then just pressing. Dissolve feature. And then you'll be asked whether you want to break the link to the original cat file. If you click. Yes, then solid works will work for a few minutes, and once it's done, you'll see that the small green arrows next to the parts have disappeared. And then you can open these parts and use them like normal solid works parts. But you'll notice that rather than all the usual solid works features, you'll just have one single or maybe a few imported features. So then just go back to the main assembly and we'll say this assembly when you say that all of these part files will automatically be saved out in the folder urine as well. So press safe and you could just accept the default name for the assembly, and then you computer will probably take a few minutes because it's saving all of these individual files. Then, if you go back to that folder that you're working in, you should see that now all of these files of Saif separately we're now going to use this is simply to make the rasp reply enclosure or case so from within the assembly, go to the file menu and press and make assembly from assembly. Then press the green take on your raspberry pi sub assembly should now be inserted into the assembly. Save your assembly. At this point, just call it something like enclosure in progress and then we can start creating the new parts. Thean pleasure will be made of two parts, a top on the bottom, and we're going to make the bottom first to go. To insert components and pressing new part, and we want to start a sketch on the bottom face off the circuit board, then go to a normal to view on. We want to create for standoffs, so get the circle tool and just draw four circles with one each in the sense of these screw holes. And as usual, you should be able to pick up the center point of the screw hole just by hovering over the circular wretch. Once you've drawn the four circles, select the mall and add an equal relation, so that will be the same diameter and then set the diameter is seven millimeters. If you have any problems setting the diamonds a seven millimeters and you get a driven dimension warning, then it's probably that your coincident with one of the whole edges by accident. So if this happens, just choose the circle on delete that coincident relation and then Riyadh in the seven millimeter dimension. Then we will x treat these six millimeters away from the circuit board press okay on an exit editing the part, and now you should see we've got these four standoffs, right click on the new virtual part in the parts tree and rename it just something like enclosure base and then save your assembly and save this new part externally. And now we've got a separate enclosure bass part. Now we're going to continue building, and we're going to add a base, which would join all of these standoffs together. So click on the bass part in the parts, treat on editor and then choose the bottom of any of the standoffs and start a new sketch, Then go to a normal to view and at a sensor rectangle censored on the origin and drag out beyond the edges off the circuit board. So now we could set an overall size. But what we'll do is we'll dimension the base according to the circuit board pie myself. So at a three millimeter dimension from the outside edge of the circuit board to the outer edge of the rectangle and do the same on the horizontal and vertical edges on. Now you'll see, because we started from the origin, they should actually be central all the way around your model. Then we're going to extreme this rectangle 1.5 millimeters, which is the thickness of the best extreme upwards towards the circuit board So now we're effectively reducing the height of the standoffs from that six millimeters down to 4.5 millimeters. Then you should have something that looks like this. So it's a flat rectangle with four circular standoffs coming off it. Next, we'll at the walls. So start a sketch on the top face of that rectangle we just drew. Then select the face and use the convert entities tool to make the outside edge of this face into new sketch entities, then press control A to select all and then use the offset tool. And we're going to offset 1.5 millimeters inwards and make sure that you de select the construction geometry options there. When you press OK, you should find that you've got two rectangles, one slightly smaller than the other. It might cut into the outside of the rust repair model slightly, but we'll deal with that later. So for now, just extreme. This new profile upwards to create the walls and hides of these is 12.5 millimeters ex editing the sketch, and now you can save your simply, and you should see that we've got the start of the bass part of our enclosure. It's quite basic at the moment but were built up over the next few videos, and you could also expand the enclosure bass part and renamed the 1st 3 features. So just something like Standoff Base and Walls, and you should notice that we've got this external reference indicator, and that's because these features are actually linked to the raspberry pi model. So, to recap this introduction to import a non solid works cad file, usually you could just drag it into solid works. It might take a few minutes to import, depending on the complexity of it. And then you can just say that out as a solid works assembly or part. So we saved the rest reply assembly, and then we use that assembly to create a new assembly. On we inserted a new part inside out, which is going to be the bottom part. The enclosure. We created four standoffs linked to the screw holes of the circuit board on. We just extremely these downwards. Then we created the base just bone, making a rectangle and extruding that upwards, then finally restarted a new sketch and we converted the outer edge. And then we offset this edge on we extremely that upwards to create the walls of the enclosure. In the next video, we're going to be adding the top section and then we're going to be looking at refining these parts and adding some draft angles and Phillips and so on.
66. 11.2 Enclosure Top: welcome to the second video of the raspberry Pi section. In this video, we're going to make the top section of the enclosure on. We're going to add some more details to both parts. So start in the assembly as we left it at the end of the previous video pressing, sir component and choose new part and then select the top face off the bottom part of the enclosure. And the first thing we're going to do is convert the sketch, which made the walls of the bottom part. They're actually going to convert the sketch rather than the face itself, because the face might change later on. If we had any rounded corners or extra details, If we use the war sketch itself, it will probably stay the same. So expand the base part in the parts tree, then expand the walls feature, select the sketch and press convert entities, and you should end up with these two rectangles inside each other. Then extreme This profile upwards 12 millimeters and this will give us the walls from the top parts press. Okay. And at this point you could exit editing the part and right click on the part name in the parts tree and rename it is something like enclosure top, then savior assembly and, as usual, safe, apart externally. Next, we're going to add the upper face so the top parts fully enclosed. So right. Click on the part in the Part Street and press edit part. Then start new sketch on the top face of the walls and with that top face, still selected press cover entities, and this should give you a rectangle round the outside of the walls, then simply doing extreme 1.5 millimeters thickness. So it's the same thickness of the walls and make sure it goes downwards. Press okay on now, if we go to a section view, you should see that the rest reply is fully enclosed. And then we can rename those 1st 2 features as walls and top face, then exit editing the part, and we'll talk for a moment about how we're going to develop these two parts, so selecting both and make them semi transparent. And then you should see at the moment we've got this bottom section with these four small standoffs, and then the top section is just walls and a top, so go to make these bottom four standoffs into counter boreholes, and then we'll have screws coming up through these holes, and then they'll screw into four new standoffs, which come down from the top face on. They'll hold the board in place. So first well at the new standoffs to the top section. So make both through parts solid again and then edit the top part. Then, if you rotate your model upside down, we actually want to extrude the new standoffs from this inside top face. So start sketch on that face and then go normal to on draw four circles, each of which assented on the screw holes. Select them all by pressing control a or dragging a box around them and then give them all an equal relations said they'll all be the same diameter and set this diamond as six millimeters. So it's slightly smaller than the bottom standoffs. And that's because these were just upholding for the screws themselves and not accountable for the screw had. Then you can extrude these four circles upwards by 16.5 millimeters, and this will take them almost up to the face of the Rust Free Pie Board so they won't quite be touching it. There'll be a little bit of tolerance, but they should hold it in place quite nicely. Then you can expand your part tree and rename. This features standoffs and then exit editing the parts next that we can start adding the screw holes, so edit the bottom part. First, you can select this in the part tree and then select the whole wizard from the features tab . And now we go to add some countable holes. So that's the first option. The sizes end to make sure you're in and see metric, Then go to the positions tab and just put four points somewhere on this bottom face. Then press the end key to go to a normal to view, and you might have to press it twice so they can see the standoffs. Then you should be out to press Escape, wants to stop placing new points and then drag around those four points and make each of them concentric with screw holes or the standoffs. Then, when they're all in place, just press okay in the top corner, and then you might need to go back to the type tap in the whole wizard and make sure that these counter boars are set to through all. Then press OK and exit editing the part. And if you rotate your model, you should now see the cavity where the screw heads on the screws will go. Next. We need to add the corresponding holes to the standoffs in the top part, so click on the top part and editor again. Select the whole wizard. And this time we want to straight tap hope it should be size m two and will set the debt as five millimeters, go to the positions tab and then place four holes, one on each of the face of the standoffs, and they should be concentric. So the right in the middle of that circular face press okay and exit editing the part. And now you see if we open these parts individually. First, the bottom part. This is where the screws will come up through and they'll go through those holes in the circuit. Board on the circuit board will sit on top of these standoffs. Then, for the top part. The screws will screw into these holes in the standoffs on the standoff themselves will actually clamp the respiratory by PCB in place. So at the moment we have quite functional. But a very basic looking enclosure on the main problem is we don't have any cutouts for any of the pores, and some of the ports actually overlapped the walls, so this is pretty useless as it currently stands. It also looks very angular and blocky, so we'll add some fillets at this stage to see if we could make it look a bit better. And then we can always drag back before these fillets and at the cutouts for all the ports later on. Start with the bottom part, so open the part on we'll add a number of Philips. First, add three millimeter Phillips to the four outer edge corners, and then we need to add a corresponding fill it to the inner edges, and this is kind of similar to the fillets that we added on the key fob model. We've got to take away the wall thickness from the size of the inner Phyllis, So the outer fillets are three millimeters. The wars are 1.5 millimeter fake. So at a 1.5 millimeter, fill it to these four inside edges. And then if we zoom in, you can see this allows us to maintain the constant war fitness around the corners. If we had added three millimeter Phillips to the inside and the outside, then these corners would probably be a lot thicker than the actual wars themselves. So then we'll add a two millimeter Philip around this bottom loop, and then the corresponding fill it on the inner loop will be half a millimeter, which is two millimeters the outer Philip, minus 1.5 the wall thickness. We want to fill it the inner loop, but also the four standoffs, so you could select all five items individually. But if you just select that inner bottom face than it should automatically fill it, everything connected to it. And already just with those four Phillips this parts looking a lot better. So next let's go into the top part, go back to the sent Lee and you'll notice that this top part still has thes square corners . And that's because we used the original war sketch from the bottom parts and make the top walls. So the sketch that we converted hasn't actually changed. It's just the face that has changed. Open the top part. I will start adding fillets. And again we'll add the same Phillips three millimeter Phillips to the four outer edge corners, 1.5 millimeter Phillips around the inner edges and then two millimeter Philip from the bottom loop on 1/2 a millimeter village on that inner face. And now, if we get back to our assembly, you'll see it's already looking a bit better. But obviously there's still some issues, as we mentioned before, with access to the pores. We're also going to look at making these parts fire injection molding, so we're going to have to add draft angles to the sites, and this is something will cover in more detail in the next video. So, to recap this video, we started with the bottom part and the rest reply enclosure, and then we inserted a component, and we added a new part, and we made the walls for the upper part by conversing a sketch for the walls from the bottom part. Next, we didn't extreme toe at the top face there we added the four extruded circular standoffs, and then we had it tapped holes inside these for the end to screws on. We also added the M two counts aboard to the bottom part and then finally re added a number of Phillips to each parts. As we mentioned before in the next video, we'll be looking a bit more at injection molding on draft ankles.
67. 11.3 Draft Angles and Molding: welcome back to the restaurant Pie enclosure model videos in this video again to talk about draft angles. Draft angles are very important when making parts for injection moulding. So go to talk briefly about how you might make thes inclusion parts in previous videos. In the key FOB cover, for example, we talked about three D printing, and this is a great way to make unusual parts or small runs of parts. But it's actually quite slow process, and it's quite expensive. So the vast majority of plastic parts that you see around you are actually made via injection moulding. And that's because this is quite a fast process. But more importantly, it's a very cheap process, so to explain it, very simply, injection molding is a process in which plastic is melted and then forced or injected into a cavity in a mold. And this mold is basically just two pieces of metal, which fit together, and they've got a gap or cavity in between them. That's in the shape of the park, so the melted plastic is forced into this cavity, and then once it's cooled, these two halfs are open apart, and then you should have your plastic part left in between them, and this process is used to produce millions or billions of parts a year. There are many design considerations we need to think about when making parts for injection molding, but the main three are wall thickness undercuts on draft angles. So if we open the bottom part and zoom in on the corners, we can see that we try to maintain this unit for wall thickness, and that's why we change the size of the Philip for the inner Phyllis. So when making parts for molting, it's important to try and keep the wall thickness as uniform as possible. And this is because if you have a very thick section of plastic next to a very thin section , it will actually cool a different rate to the thin section. And this means that it might warp or deform your part, so should try and keep them as similar as possible. It's not always possible to do this, and if you have to change the thickness, then try and keep it as gradually as possible, and you should also try to reduce or remove any sharp edges if possible. Secondly, with molding, we want to reduce any undercuts if possible. That's because if you think about mold, usually it's two metal halfs that come together. So if you haven't undercut, your part will actually get stuck in the mold when you open it, it is possible to use undercuts. Becky will result in a more complex and, um or expensive mold on often. If you think a little bit about your part design, you can remove or reduce undercuts, and you can actually see this process. If you look at love plastic parts, you'll often notice that there are small holes underneath areas that would otherwise be undercuts, and that basically removes the undercut. Then the third main thing to consider on what we're going to look at mostly in this video is draft angles, and this is basically adding a small angle to the vertical sections of your part to allow it to be removed from the mold more easily. If you look at a cross section view of one of our parts, that sides are completely vertical, and this could be a problem with molding because as the plastic actually cools in the mold , it contracts or shrink slightly. So if all of your walls are completely vertical than your plastic will actually grip onto the inside of the mold slightly, and it be really hard to remove the parts. If we had a slight angle to these walls, usually only one or two degrees is enough. Then the part could be removed much more easily. So draft angle can seem like a very small consideration. But it's actually a very important thing to think about when making parts for molding. So now we're going to add draft angles to our top and bottom parts will start with the bottom part. We're going to assume that the mold will split apart at the top face here. Now drafts can be added in a few different ways. They can be added at the feature level when you're making your extrude or cuts, and they can also be added using the draft tool, which we've used briefly before, and to check draft angle. There's actually a specific tool that we can use. So go to the evaluate tab and click on draft analysis. The first thing that we need to do is choose a neutral plane or parting face, so make sure you're in this top selection box and then choose that upper face off the walls and make sure you select the face itself and not one of the edges. Then all of the surfaces in your model should change color to either yellow, green or red. And now we can see where draft needs to be applied and you can set the ankle of draft required on the left is currently three degrees. You can see that everywhere that's yellow requires draft everywhere. That's green has got positive draft, and everywhere that's red is negative or an undercut. So now we need to add draft every face that yellow will start off with the walls. Close this draft analysis tool, and then we'll use the draft tool itself to try and add draft to the walls. So go to the features tab Select draft. And the first thing that we need to do is that neutral plane, and this is basically the face where the mold will open and for this would choose the flat face on the top of the walls. Then we can just select the faces to draft, which are all of these outer wall faces set the draft angle, which is one degree, and press the green tick in the top left, and you'll probably get an error that says could not construct draft. And that's because the draft tool really doesn't like rounded Phil. It'd edges because it's probably quite mathematically complex to work out the draft of thes rounded edges. So it's a good idea to try to add your draft angles before your Phillips, if possible. So exit the draft tool and then dragged the robot bar above the Phillips. So now you should have you completely square box on would try adding the draft angle again . Select the draft tour, select the neutral plane, which was the top of the walls, set one degree and then select these four outer walls, then press OK. And now your draft has, Bean added, and it might be quite difficult to see any changes. If we go to side view and zoom in. We can see we've now actually got a slight angle on the walls that no longer completely vertical, and if you press em to open the measuring tool, you can measure them and they're now actually 89 degrees. But we actually won that angle to be 91 degrees because the mold is gonna open downwards. So we need to flip the angle of draft. And to do this, just edit the feature and click on the neutral plate. And now you should be able to see that the angle of drafters flip to the opposite side. And if we go to a cross section view, you can see things a little bit more clearly. This in a wall is still vertical, but the outer wall has got one degree draft angle inwards. So next we need to add the draft angle to the interfaces as well. To do this, exit the cross section view, select the draft tool and then select the same neutral plane, the top of the walls, and then select those four inner walls at a one degree draft angle and press OK. And now if you go to cross section view, you should see you've got this constant wall thickness, with both the inner and outer wall both having a slight angle on. We should ensure that both the inner and the outer wall a parallel, said the wall thicknesses uniform on the way down. If we chose in the wrong direction for the inner draft ankle. It would look something like this so the war would actually be thicker at the top. Then it would get narrower as it went down. And you have this undercut on the inside so the mold would actually get stuck in this position. It's enough free. Exit a cross section view and go back to the draft analysis on the evaluate tab on again. Choose the top of those walls and set the draft angle toe one degree, and I should see that these inner walls have all turned green. And that's because there were one degree dressed angle. And if you flip the direction of draft, you can see that the our tools are also green, which indicates they've got a draft angle of one degree or smaller. So now all we need to do is add a draft angle to the standoffs as well. So press OK on the draft analysis tool, and this will close the tool. But it will keep the draft analysis colors in the model so you can see in real time which faces still need the draft, adding. So it's add the draft to the standoffs again. We could use the draft feature, but we can also just add it directly into the feature. So edit the feature in the feature tree, then disc licked the draft button and add one degree of draft, and you should be able to see that when you click the button, the preview does change slightly. And now when you press OK, you'll notice that the standards have turned red, and that's because the draft angles actually in the wrong direction. So we've actually made these into an undercut. So again, edit the feature lenders, check the draft outward box, and this will flip the direction of draft. And then you can see that the standoffs have turned green, which indicates they have positive draft. So now we've any draft everywhere. We need it. We can just drag back down below the Phyllis, and they should be added back into the model. And then if you go back to the draft analysis, we can check both directions, and you can see we have draft everywhere. We need it, and you can just ignore these small faces around the counter bore for now. So save this part unclos it, and that should take you back to the assembly. So now if we go to a side view, you should be able to see that the bottom part has a slight draft ankle. But the top part doesn't so let's add a similar draft angle to the top parts, open the part and then dragged the robot back above the fillets. Then use the draft feature and select the top of the walls. Then first, select the four outer walls and add a one degree draft angle. And if we use the mating face, which is the top of the walls on both of the parts, then that means that they'll still be exactly the same size when they fit together. So the size of the feature will actually stay the same at the neutral plane, and it will reduce or increase as you move away from that. Then we can do the same for the inner walls out of one degree draft angle to those, then just double check that you've got both of the ankles correct by going to a cross section view, Then edit the standoff feature on under one degree draft. To those and this time you don't have to draft outwards because they've actually being extruded from the bottom surface itself. And now if we do a draft analysis, you can see that all the faces of Green then dragged the rollback bar back down to the bottom toe. Add the fillets back in, and if all of that looks good, you can save the feature and close the part to get back to the Assembly. And now I can see if we zoom in, you've actually got a slight angle on both the top and the bottom part. But they actually joined at the same place, and that's because we started the draft from this neutral plane, which was the face where both of the parts fit together. So it's a recap. Draft is a very important part of designing for injection molding. It's quite easy to overlook, but it's very simple to add to your model. It can be added by simply using the draft feature or adding draft at the feature level itself. So when the draft feature first you select the neutral play, then you select the faces to draft. You may encounter problems if you try to draft faces which have already been Phil. It'd so usually it's best to add the draft before any fill it features. You can also add draft directly in an extremely or a cup feature by simply pressing the draft butter. Then you can check your draft using the draft analysis tool, which can be found under the evaluate tab. Then we just did exactly the same for the top part as well. So I headed out to draft features above the Philip Features and then we drafted the standard feature directly in the next video. We're going to be looking at making the cut outs for all of the ports on the PCB and really finishing off this enclosure.
68. 11.4 Enclosure Finishing Touches: welcome to the fourth video in the respirator by enclosure section. This is how we left the assembly. So we have the two enclosure, Hafs, we've got the rounded edges, the standoffs and the drafted walls. So we need to do now is add some cutouts for the ports on the restaurant. By PCB itself, we're going to make a single sketch for each wall and we can reuse that same sketch on the top and the bottom parts. So start with the USB and Ethernet ports on the right hand side of the respiratory I and we'll do the top part first, select a section view. So we're cutting through the model and showed and then flip the view so you can see the side with the U. S B and Ethernet ports on Then drag the section view along towards the ports. So you go past the standoffs and this should be about 24 millimeters from the start point. Then edit the top part and start a new sketch on the right hand plane. As shown, press the end key to get a normal to view, and you may have to press it twice, So we want to be able to see the USB Ethernet sections, and all we need to do is sketch three rectangles and into Kirk Street. So is one for each set of pores. And to make sure you're in the correct position, Probably the easiest thing to do is to select a center line and then draw a center line at the center of one of the pores. So this should start from the midpoint of the bottom edge and go all the way to the midpoint of the top edge. Then select the rectangle tool and uses sensor rectangle on the midpoint of that center line and drag it outwards so it completely covers the ports, then issues smart dimension toe added dimension to make it slightly larger than the poor. So I made mine half a millimeter larger in both directions, then do the same for the two USB ports. So first select the center line, draw a center line down the middle of the ports. Then, on the midpoint of that line, start a sensor rectangle, drag this out larger than the poor itself, then add some smart dimensions to set the size. And again, I made the rectangle half a millimeter bigger than the ports. And don't worry too much about getting the exact center of the poor as long as you're roughly in the correct position and your rectangle completely covers the port, then finally do exactly the same thing for the second USB. You could actually use a linear pattern here, but it's probably just a fast to draw another rectangle from scratch. When you have your three rectangles, we can do an extruded cut through all through that right hand edge of the enclosure. But remember that we have the standoffs in about this position, so we need to offset the start of this cut on offsetting it. 30 millimeters to the right should be plenty of space. We made the cut from the right plane rather than sketching directly onto the wall, because then it's no affected by any draft angle on the world ex editing the part, and you may have to press control, be to rebuild. You should now see that the top part has thes three cut outs from the ports, and you can close the cross section view, then to make the cut ups. For the bottom part, we can actually reuse the same sketch. So edit the bottom part, starts sketch on the right plane and then use convert entities on the sketch that we just re the three rectangles toe. Add this sketch into the new part, and you don't have to offset this one because the standoffs are actually lower than the cut out. And then we want to do a similar thing for the rest of the ports. If you look at their position, you'll see we actually only need to cut the bottom half for these ones. Start with the cutouts on the long side, so again, go to a cross section view and make sure that you can see the ports that we're going to be cutting out. Edit the part and start a new sketch on the appropriate plane. For me, this was the top plane. Then go normal to and start drawing the profiles for the cutouts. I started with a headphone socket, and I made this a circle half a millimeter bigger than the circular part of the socket. Then for the USB sockets again, address center line down the middle of the soccer, and I used a sense, a rectangle to draw out a profile that covers the entire socket. If you had a bit more time, you could make this a bit more form fitted and you could follow the profile of the U. S. B a bit more closely. So for the larger poor, I made it half a millimeter wider, horizontally. And then I made it coincident with the PC bay. And if you can't pick up the exact relation, you can just add the correct I mentioned then for the smaller port. I did a similar thing again at a center line and uses sensor rectangle. And I made this 1/2 a millimeter larger both horizontally and vertically. Then once we had all three profiles, we just did an extremely cut through all to cut all the way through that wall ex editing the part and rebuild the assembly and you should see your cutouts. And finally, all that remains is the SD card cut out on the other small end. So as before, go to another cross section view. Make sure you're pointing down towards the area where cutting edit the bottom part and then start a new sketch on the right place. This one's a little bit harder to see than the others, but basically we want to cut out around this inner rectangle so at a center line, and then add a sense a rectangle and make it half a millimeter larger than that smaller rectangle all the way around. Then use this sketch to create another extruded cut through all ex editing the part and rebuild. If necessary, Close the cross section view, and now you should see that we've got all the appropriate cutouts. Now let's have a closer look at the parts themselves, so open the top part first. And if you go to the evaluates, have and use the draft analysis tool, we can now see that the walls of these small cutouts still require draft, and this could be added simply using the draft tool. So select the tool. Select the neutral plane, which was a top of the wall face. Make sure you've got one degree of draft angle set and then choose thes six small inner walls press OK, and now you draft analysis should show everything as green so we can turn off the draft analysis tool, and this part is almost done. Just rename that cut out feature, then drug it up above the original draft features just a tidy up the feature tree A little . Save the part and close it so you go back to the main assembly, and if you zoom in on the first cut out, you'll see that there is a slight draft angle to these small taps. But because we set the mating face with the bottom part as the neutral plane, you see the still actually fit together perfectly. The bottom part is slightly more complicated, so let's open that part now and firstly rename all of those cup features. So they're a little bit easier to recognize and work with, then dragged the features up above the draft feature. You have to drag each feature up individually. So looking at the Kouts themselves, we still after add draft to these new cutouts in the same way as we added it to the top parts. But we've actually also created some undercuts here, and then undercut is when you've got material above and below the cut out. So the only way that would be out to mold these undercuts would be by using moving parts in the mold, which makes it more complex and more expensive. If we think a bit about the model, we can actually remove, all of these undercuts. So first they let's edit the sketch that's got the headphone on the two USB sockets on it, and we want to adjust the profiles so they cut out all the sections above them. So for the headphone socket, we could just simply add a line going downwards, and we could also add all one degree draft angle. At this stage, we can also add a center line going down from the center of the circle, and we can use this to mirror that first line across to the other, side them against a cow out this entire section so there'll be no material below the circular bed, so there be no undercut. The large rectangle already doesn't have an undercover, but for the smaller one, we need to cut away this material between the cut out on the top of the wall. So just extent, the rectangle downwards you could just had three new straight lines. And if we keep the original sketches, it means that we keep all of our dimensions and relations. So exit the sketch and you should get an error. And this occurs because we now have multiple profiles within the same sketch. So just click exit the sketch and rebuild anyway. Then you're cut out. Feature would probably fail. Edit the cutout feature in the feature tree, then in the selected Contours box. Just choose all of the contours. So choose those two new profiles that we just added. When you have the correct selection, your preview should look something like this press. OK, and now you can see that these cuts outs no longer have any undercut issues. So then we can also do a similar thing with the SD card cut, edit the sketch and then just extend the profile so it cuts all the way down to the bottom edge, exit a sketch and again except the error, then edit the feature and in selected consoles, choose both the original profile on the new profile that we just added, and you probably see now that we're cutting way too much of the bottom of the enclosure. So we need to offset the start point of this cut. Edit the cut feature again on offset the start 0.42 millimeters. So now it will cut through the end wall and it will cut through a small section of the base and every use control tabs. Go back to the assembly. You'll see that this cuts out on the base actually will help us removing the SD card. They controlled her back to the base part again and use the draft analysis to to see which areas still need draft. Then use the draft tool itself to address to these yellow sections, so there should be six more faces on one of the small ends. The same is the top part. Then there are four small faces on the long edge because we already added the draft to the headphone cut out at the sketch level press OK to add a one degree draft, all of those cutouts. So all that remains is to add draft around the SD card cut out on the small end of the enclosure. They can see we've got this Philip around the inside of the Kyoto, which will probably cause US problems if we try to use the draft feature. So grab the SD card, cuts out feature and drag it below that Philip feature, and this should remove the fill. It'd edge from the cut out itself. Then select the draft tool. And this time, select the bottom face of the enclosure is the neutral plane and then select those two curved faces and add a one degree draft angle to both of them. The faces should turn red, and that's because we're looking at the draft analysis from the other side. And at this stage, you can also add draft to these four small council boreholes again, select the bottom faces the neutral plane and then just that one degree to those four large countable holes, then exited. Draft analysis Feature on all we might want to do is at a few Phillips to finish off this part. So on these side cutouts, we can add a one millimetre, fill it to the bottom edges, then for the end cut outs lets out 1/2 millimeter Philip around those, as well as adding that around the SD card cut out, the bottom part is now finished so you can save it and close it to get back to the assembly , then just reopen the top part on at 1/2 millimeter Philip around those cut outs as well. Then save the part and close it. So you get back to the assembly, and now you should be able to see that we've got cut outs around every port. And if you wanted to develop this a bit further, you could make these cut outs a bit more form fitted so they really follow the shape of the port. And you could also add some extra features, like feet or events or even some styling features. But to keep it simple, let's just add some screws and and then the final interference detection check just to make sure everything fits together properly. So open the solid works. Toolbox, goto ansi metric components and select an M two machine screw. So the diameter is M two, and the length of it is 10 millimeters at four of thes imposition. And remember, you can automatically make them first hover over a circular hole, then hovered over the face that you on the underside of the strew head to make tea at all four of those and once you complete can delete any excess ones. So now the enclosure is completely assembled Let's run a quick interference detection check , go to the evaluate tab and press interference detection. Then press calculates. What you'll find is you get absolutely loads of interferences. I had almost 80. If you actually look at these in more detail, you'll see that most of them are on the raspberry pi self assembly itself. So it's things like the USB socket interferes slightly with the board, and we know that there aren't actually any interference is here because the rest reply comes pre mate. So it's essentially one single part. So the vast majority of these interferences aren't relevant to us. So what we can do is scroll down and check this button that says, treat subassemblies as components. Now the rest reap ice of assembly will just be treated as one single part, so any interference is within that sub assembly will just be completely ignored. So check the button and then press calculate again to re calculate the interferences. And this time you should have a lot fewer, probably around eight. If you look at these one by one, you can see that the 1st 1 is between the screw on the standoff, and this is Okay, We actually expected this because the screws screws into a hole, which is slightly smaller than it. So you can ignore these four interferences between the screws and the standoffs. So that leaves us with forem or interferences. And these are between these small tabs on the USB ports on the actual cutout itself. And that's okay because these tabs are actually slightly flexible. But if they weren't, we could perhaps just make this cut up slightly wider so that we can see we've got no more interferences and everything looks good. And as we mentioned before, there's a lot more development you could do on this if you wanted to prove it a bit. And here's an example of a version I made, which is a little bit more complex. So to recap in this video, we finished off the enclosure top and bottom parts. Firstly, we made the cut outs for the U. S. B and Ethernet ports on the end, and we drew the sketch within the assembly so we could actually link the size of the cutout directly to the raspberry pi parts. We offset the cut out so that we didn't cut through the standoffs, and we also added Draft and Phillips to the cutouts there. For the bottom part, we reuse the same sketch to make the end cut outs, and they were created new sketches for the cutouts on the other faces. We then adjusted these cuts out so that we don't have any undercuts. Then, for all three sets of cutouts, we added draft angles on Phillips. Then finally in the Assembly, we just added some screws on. We ran an interference detection check. And as we just mentioned, there are many ways that could further develop this enclosure if you wanted to. So in the next video, as usual, will have a full recap of this section. And then in the next section, we're going to be looking at using three D curves to make a three D sweep. And that'll be the last new thing that we learned. And then in the section after that will be putting everything together for one final project
69. 11.5 Raspberry Pi Enclosure Recap: welcome to the last video of the rasp reply enclosure section. As usual in this video, we're going to do a full recap of everything we've learned in the section. So we started by importing the raspberry Pi cad model itself. And this was a step file, which isn't a solid works file, but it's a very common cat former, and it's really useful to be able to use these other cat formats to import the step file. All we do is drag it into solid works, and then it will import. It might take a few minutes, depending on how complex the file is and how fast your computer is. When you're done, you should have something that looks like this. So you got the circuit board model on all of the parts down the left hand side in the part tree. If you then save this file, you'll be saving this assembly and saving out all of these parts as solid works parts suppressed save. And then we'll use this assembly to start a new assembly with the enclosure top and bottom , and you can do this by go to file, make assembly from assembly, insert the rust free price of assembly and then save this assembly, and it's important to save it at this point. Before you start inserting the new parts, they will start adding the enclosure parts and we'll start off with the underside or base part. Go to insert components and then press new parts and choose the underside of the raspberry Pi PC Bay that sketch the four standoff circles, which will be concentric to the screw holes in the PC Bay. There is a lot the same size by adding an equal relation and then make them all seven millimeters diameter that extrude these six millimeters away from the board, then exit editing the part and right click on the new part in the Part Street and rename it and then save your assembly and save this part externally. They continue editing the bass part and start to build up the rest of the features. So next we sketched a rectangle on the bottom of the standoffs, and we made this three millimeters larger than the PCP and then extruded it 1.5 millimeters upwards. There were created the walls, which were 1.5 millimeters thick, and we did this by converting the outer edge of the rectangle and then offsetting 1.5 millimeters inwards their way, extruded this 12.5 millimeters upwards. Next, we used the whole wizard to add the M two countable through all on the bottom face of the base. Then we added the draft angle on the outer and inner walls, and this might be a slightly different order to the way we made it in the videos. But it will give you the same and results, so we use the draft tool. We selected the top of the wars as the neutral plane on. We added a one degree draft first to the outer walls and then in a separate feature to the inner walls. And after you've added thes, you can go to a cross section view, and you can check that everything looks correct. The walls should slope slightly inwards as they go down from the top of the walls, and they should both be parallel on the inner and outer next week. Added some Phyllis. So there were three millimeters on the outer corners, 1.5 millimeter on the inner corners because of the 1.5 millimeter wall thickness. Then there was two millimeters on the outer bottom lube and half a millimeter on this inside face. Then you can save this part and get back to the assembly. Next, we created the top part of the enclosure by inserting a new part in the assembly and starting this on the top of the walls of the bottom parts. First we converted the wall sketch from the first bottom part, so select the wall sketch from the first part and press convert entities. Then we extruded this new profile 12 millimeters upwards. Then we just added a rectangle for the upper face and we extremely that 1.5. And next we sketched four standoff circles on the inner up of face, and these were all the same size and they were all six millimeters diameter. We extracted these downwards 16.5 millimeters. Then we use the whole wizard to add em to tap holes inside these standoffs, and it was M two and five millimeters deep. Next, we use the draft tool to add the draft angle first to the outer walls and then to the inner walls and the same is the bottom part. This was a one degree draft angle with the top of the walls as the neutral plane. And as before, you can check. This looks correct by going to a cross section of you, and you should see that the two parts, the top and the bottom slope away from each other slightly. If the draft door looks correct, then we can add the Phillips. The same is the bottom part. So three millimeters on the outer corners, 1.5 on the inner corners, two millimeters around the outside loop and then half a millimeter for that interface. Then X editing the part right click on it and rename it and save it externally. Next we added the cut outs, and we started with the end face with the U. S. B and Ethernet ports. We went to a cross section view and we moved the cross section towards the right towards the Ethernet ports. So we get beyond the standoffs, but so you can still see the ports. Then we edited the top I and started a sketch on the right plane, and we used a center like to find the center point of each of the pores. And then we use that sense of point to create a sense, a rectangle that extended beyond the edge of the ports we used. I mentions to make these rectangular profile slightly larger than the ports. And then we did a cut extruded through all with these three rectangular profiles, and we had to offset the start point of the cut so that we don't cut through the standoffs inside the part. And this is a good point to rename all your features. If you haven't been doing it as you go along next that we can make the cut outs in the bottom part and we can reuse that sketch that we just created. So edit the bottom part, start a sketch on the right plain, and then select the sketch we just created for the cutouts and press convert entities. Then do occur extrude three will with this sketch, and that should cut in the bottom half of those cutouts. Next, we can move on to the other cutouts on the other two sides, and it's the same sort of process to go to a cross section. View starts sketch on the appropriate play and then draw the cut profiles, whether it's a circle or rectangle and this could be dimension, so they're slightly larger than the ports that you're cutting out. Then when you have your profile sketch, just do occur extrude to make the actual cutouts themselves there. We did exactly the same process for the final cut for the SD card on the other small face. So now you should have all of you cut out, so we just have a few bits and pieces to finish off. So, firstly, open the top part. We can drag the cut feature above the drafts in the fillets just to tidy up the feature tree bit that we can use the draft analysis tool to see where draft is still required. Set the tool toe one degree and anywhere that's yellow still requires draft. So firstly, we can edit the standoffs, and we could just add draft directly into the feature. Then, after that, we can use the draft feature itself to add one degree to these six small walls here, then close the draft analysis tool on. All we need to do is add some small fillets to remove the sharp edges in the bottom of these cutouts. Save your part and close it to get back to the main assembly, then open the bottom part and will tell you this one as well. Firstly, rename all the features if you haven't already, and then move the cut features up above the draft and Philip Features then edit the profiles of the cup features to remove the undercuts. So with headphones and the small USB socket, just extend that profile So it goes all the way up to the top of the wall, and with headphones, you can build in the draft angle to the new profile. When you then exit the sketch, you'll get an error. Just accept this era and then edit the cup feature itself, then select all of the required profiles for the cuts, and this should eliminate the undercuts on those cut features. Then do the same for the SD card occur, So extend the sketched. It goes all the way to the bottom of the enclosure that exit a sketch except the era and then re edit the feature on adding voted for profiles. And this time you'll have to offset the start of the sketch so that it doesn't cut all the way through the bottom of the enclosure. Next, we can use the draft analysis tool again to see which faces still require draft. There we can add draft to the standoffs directly within the feature, and then we can use the draft tool itself toe add draft to the small faces around the top edge, then for the SD card coat. It's a little bit more complicated because we have this Philip on the inside edge, and that would probably cause a draft feature to fail. So drag the SD card cut feature in the feature tree down below the Phillips and that will remove the Philip from the edge. Then you can just use the draft tool and select the bottom of the enclosure as the neutral play and then select those two curved edges and at one degree of draft to those, and you can also draft to these council boreholes. Then to finish off, we can add some Philips to remove the sharp edges. So one millimeter to these cowards here, then half a millimeter to the cutouts on both of the shore edges. Then this part is complete, so save it and close it to get back to the assembly. Then, although we have to do in the assembly is at the screws in from the toolbox, and he's a M to buy 10 millimeters long. Once these are added, you can check everything looks correct, and you can also run interference, detection. And if you check the box that says treat some assemblies as components, then this will ignore any interference is on the restaurant pace sub assembly. And you should just get the interferences between the screws on the standoff, which are okay. And then between these small tabs and the US bait, which are also okay, so well done on finishing the rust repair enclosure in the next section, we're going to be covering three D curves, which will be the last new subject.
70. 12.1 Bicycle Fork - Drawing the Head Tube: Hello. Welcome back to mastering solid works. This is the last section in which we're going to learn new techniques in the next section against everything's getting into one final projects. But in this short section, we're going to learn about three D curves. We've actually already used three D splints, which is sort of similar, but they're just not quite as accurate. So if you take a look at this replica of a very old bicycle type that I made, you can see that these front forks are actually curved in two planes, so they curve out to the side and they also curve out to the front. But this curve is very specific because it has to hit these three points exactly. So you could try to make this from a three D splint. But it probably be very difficult, especially when working in three day, and a much better way to do this is to create a curve. And that's what we're going to do in this section. So firstly, we're going to set up the part, and then we get to draw the head tube, which is where the fork cheap start from. Start any part and firstly will just add some sketches for construction to show where the tire will be to start, sketch on the right and plain and draw a circle attached to the origin, which is 700 millimeters diameter. And click on this and make this four construction, and this represents the outer diameter off the tire. Next, draw another sketch on the front plane, and this will represent the whip for the thickness of the tire. Start center rectangle from the origin and drag it outwards and upwards, so it should be 700 millimeters high and 25 millimeters wide. So maybe it's quite a thin tire me for a racing bike or something like that. And again select all the entities and make everything for construction. Then, if you exit, you can see these sketches to find the area that the tire will be within. So I've got to stay outside of these sketches when you make our forks. Otherwise, you'll have a problem in trying to ride the bike, and at this point you can save your parts. Next, we'll draw the head chief itself, and this is the chief that the fork cheap start from and this actually joins the front four to the rest of the bike and allows it to steer properly. This cheap will just be quite simple, revolved, so start sketch on the right plane. Select a center line and start center line from the origin going up until the left. And this cheap isn't exactly vertical. So set an uncle of 17 degrees from the vertical and set the length of this line as 450 millimeters. And make sure this is the actual line length and not the vertical height, and the top of the center line will be where the cheap starts from. So at the top of the center line, draw another small center line, which is perpendicular. Then we can use the line tool to start drawing the to profile itself, so first will draw the inner diameter, and this should be perpendicular to the small center line that we just drew. But don't worry too much at this stage if you don't get the exact relations because we can add those in a moment, then at the top is a small wall section. Then there's the outer diameter. And then there's a small gap because they'll be a curved, airy here that will add in a second they're towards the bottom of the chief. There's a slightly wider, cheap section as well. So once you have those straight lines that looks something like the video, we can start adding relations and dimensions. It's probably easiest to add your relations first, so make sure that all the adjacent lines are perpendicular to each other. So, for example, the small center line and the inner diameter should be perpendicular. Then the small wall sections on the main diamonds should be perpendicular and so on for the rest of their lines, and you can also start to add the dimensions so the inner diameter is one inch sick. You just type in one and then type in i N. And this will automatically be converted to millimeters, which is 25.4 millimeters. And if you try to add a dimension between two lines that are parallel, but you actually get an angle, this means that then know exactly parallel. So just hold on control, click on both and add a parallel relation between So the largest diamond of the bottom is 1.375 inches at the height of this section is 1.75 inches. And because this is a bike part, most of the dimensions Aaron inches rather than millimeters than the outside diameter of the thin section. At the top is 1.1 T five inches. The total height of the cheap is 8.9 inches. The diameter of this middle section is 1.2 inches, and then we just need to add a split between the ends of these lines. Sections at attention relation between the top straight line on the end of the spine, and then the height of the spine is 2.7 inches, and then you're revolved. Profile should be fully defined. Select revolved for space and choose that main center line that came up from the origin. And you should end up with a profile that looks like this. So it's the same diameter all the way up the inside. Then on the outside, the bottom section is wider. Then there's a slight curve where it fits into the steering tube, and then it goes straight up again. So then you can rename this features head cheap, and that's all the really is to this video. In the next video, we'll start adding the curved fork sections themselves, and they'll come out of the bottom of this tube and go down to the center of the wheel. So to recap, it was a very simple video. Firstly, we just drew some sketches to share whether tire will be. Then we sketch quite simple revolved profile on the right plain, and we revolved this around to create ahead. Cheap. All of the dimensions were in inches because easily use these in solid works just by typing i n when adding the smart dimensions. So as we mentioned in the next video again to be making the curves and adding the fork tubes themselves.
71. 12.2 Adding the Curved Forks: Welcome to the second video of the Bike Forks section. This is where we left the last video. So we have the sketch that indicates the bike wheel. And then we've got ahead. Shoot itself, which was just a revolver in this video again to add the actual fork YouTube's themselves. So they should start this bottom wide part of the headship and then curved down to the middle of the wheel, and we're going to make those using a sweep. You might remember that to make a sweep, you need two elements. You need the path on the profile and for the path we're going to create a curve. Curbs can be found on the features tab on were specifically going to use Project Curve, and this will essentially project two sketches from different planes and make a curve at the point where the Intersect to look at this more closely. Firstly, we need to make two sketches, so start a sketch on the right plain, and we're going to draw a Splain first, your center line down the middle of that widest section of the headship and then start displaying from the midpoint of that center line and go down and finish this plane at the origin, and you don't need to add any extra points. This spines going to represent the curve of our fox from the site so you can grab the handles and move it around a little bit, so it's a little bit more of a sweeping curve with it. If we had a picture or some dimensions to work with, we could use those at this stage. We could insert sketch picture if you wanted a really accurate fork. But for this part, just do it by I and try and get roughly the same as the video. Then exit that sketch and next we need to add a similar sketch, but from the front to start a new sketch on the front plane, first thing that we're going to do is draw a midpoint line, so select this option from under the line tool and started at the origin and draw it horizontally outwards set the length as 140 millimeters, and this represents the width of the wheel. Whether hub is in the middle, select the line and make it for construction, and then we can draw our spline for the curve itself. Start displaying from the outer points of that midpoint centerline. We just dream. Then finish the split at the same point as the finish point of the other Splain, which is on the head cheap. Then adjust the handles so it looks something like the video and then exit the sketch. So now we have to sketch is one from the side and one from the front, and these both represent the fork for different views. We can now use both of these sketches to project a curve, which will occur at the intersection of both of those sketches to show exactly what we mean . Go to the feature tab, then go to curves and from the drop down press project curve, make sure that you have the sketch on sketch option selected and then in the selection box . Just choose both of your two sketches, and you should get a yellow preview, which looks something like the video. So press OK. And now you should just be left for the curve that two sketches are consumed by the curve feature. If you expand the curve in the feature treat, you can edit the sketches as usual, and this curve can now be used as the basis of the sweep that we're going to use to make the ribbed tubes. Now that we have the path, the next thing we need to make is the profile sketch. We should just draw this on the top plate, but instead will in certain new plate at the end of the curve, which is perpendicular to the slope of the curve itself. And this will just reduce any errors we have with the profile, not be intention to the curve. So to insert this do playing, just go to reference geometry plane. Then select the end point of the curve as the first reference and select the line of the curve itself as the second reference. And you should get playing. It looks something like this press okay, and then start a new sketch on this plane and draw the profile for the tube. This is just two concentric circles. The outer one is 22.22 millimeters, and then the other one is 0 00.9 millimeters smaller. So set the dimensions first and then add relations to ensure that your circles are fully defined. It might be possible just to drag around the center point of the circle and pick up their end point off the curve. But if no hold on control, select the center point and then select the curve itself and Adam Pearce relation. This will mean that the center point of that circle touches the curve, and since the curve only goes through our plane at one point, there's only one place that this circle could be. So exit a sketch, and now we have the two elements that we need for the sweep the path on the profile. So go ahead and create this sweet by selecting swept boss base on Obviously, select the curve as the path on the two circles as the profile. And in terms of options, probably the best one to use is just follow path. If you have any problems with your preview or anything, maybe some areas of your curve too tight. So if so, go back into the curve feature editor sketches and just make the curves a bit more wide and flowing. Then when you happy press okay and we should see the rib YouTube curve, and if we get a front view or a side view. We can see that this tube exactly follows the sketch in that view, Then next week, in simply mirror this cheap feature about the right plane as shown and immediately the part should start to look more like a bike fork. At this stage, we can also cut away the excess tube inside the head shoot. So start a sketch on this bottom face of the head tube, select the inner diameter press, convert entities and then just to occur, extruded through all and rename your features and save your parts. So to recap this video first, we created a curve, which was created from two sketches on We Used Project Curve. We created these sketches on perpendicular planes, and then the project curve meant that we created a new curve at the point where these sketches intersected and projects curve is very useful for making a very accurate three D sketch, and it can also be used to start making the edges off surfacing features, which is slightly beyond the scope of this course. But it's good to know as a bit based knowledge. Next, we added a new plane at the bottom of that new curve, and we sketched the Jew profile on it. And then we used to sweep to make that tube itself to finish off. We just mirrored the chief onto the other side, and then we cut away the excess inside the head tube. And there we have the start of our bike forks. In the next video, we'll be using this to create an assembly and will be adding the bike wheel in itself. And then we'll be adding the drop house, which is the sections at the end of the fork, which actually hold the wheel in place.
72. 12.3 Adding the Dropouts and Finishing the Assembly: Hello. Welcome back to the bike tube section in this video again to finish off the part by adding the drop house to the bottom of the fork. And this is the point where the wheel actually joins onto the fork. So start by sketching the dropout shape itself, and then we'll just make a simple extrude. So start sketch on the right plain and draw a circle at the origin, which is nine millimeters diameter. And this will be the inside of the dropout whether we'll will actually attach. Then draw another circle, which is Consent Drinker, which is 27 millimeters diamonds. Then we need to add a few more details. Firstly, out of centerline from the center point of the circle going out to the outer diameter, and then you smart dimension to set The angle of the line today is roughly parallel with the fork tube, so for me, this was 35 degrees. But for you it might be slightly different, depending exactly how you made your tube sketches. Next we go to add the cut out where the boat will actually fit into the dropout, so get the line tool and start a line on that inner circle going out to the outer circle, there should be an angle of 125 degrees from the vertical. On the line itself should be tension with that inner circle, so it should be fully defined when you've added that relation and dimension, then at a 2nd 1 on the other side of the circle. So again, use the line to click on the inner circle and then draw a line out to the outer circle and make this line parallel with the first line so that both 125 degrees. If your lines aren't fully to find at this stage and they're still blue, you may need to select the line and also select the inner circle and at a tangent relation between them. So going to extreme, this semi circular, C shaped section that is also another section to the drop out, which goes inside the tube to draw this section again, get the line tool and this time starting line from the outer circle going up along the tube , you might find that you automatically get this tangent relation with the line and the circle, and we don't really want that. So if you get that, just cancel the tool and start again and then try and start your life from somewhere a bit closer to the center of the tube. So you're not picking up this tension relation. So draw. Three sides of a rectangle has showed they make the long lines parallel with that first center line every true, and then make the short line perpendicular to those long lines. And the total height of this section should be 30 millimeters from the center point of the circle. The thickness is 12 millimeters and then just select both of the long loans on the first sensor line on at a symmetric relation, and that should fully define your sketch. Next, we need to actually extrude the dropout shape itself. So with the sketch selected press extruded boss base and then in selected consoles, just choose a C shaped section and then choose the peg that went into the tubas. Well, we're going to extreme 10 millimeters thick, and we also go to offset the extreme so that it's in the center of one of these tubes. So in the front box, choose offset and then my offset was 65 millimeters. And this should put the dropout extrude right in the center of that tube, as shown you can see that there's gonna be a bit of an overlap between the tube and the dropout. But that doesn't matter, because we're gonna cut a waste part that sheep in a moment. And to help with this, we're going to make the drop outs into a separate body. So uncheck the merge results box before you press, OK? And now you should see that we have two separate bodies. So we've got the tube itself, and then we've got the drop out. And now we're going to cut away the tube. So start sketch on the right plain and they draw a circle at the origin, which is 27 millimeters diameter. Well, then, use this circle to do occur. Extreme three will both, but we're only going to cut the tube body itself, not the dropout body. To do this in the feature scope, check selected bodies and then uncheck auto select, then in the selection box, just choose the tube body. And now you should see that we've cut around the dropout itself. So now we're almost finished, and all we need to do is mirror that drop out onto the other side. So select the dropout, select the right plain and then press mirror, and you'll have to select bodies to mirror rather than features to mirror, because the dropouts actually a separate body itself. And then we should have three body. So you got the forks and then to drop outs, and we can combine these into a single body to go to the search commands at the top. Start typing in combine CEO MB, then select the combined to make sure you got the ad option selected and select. Those three separate bodies. Press OK. Another bodies all merged into a single body, so this part is now finished and you can save it. You might notice that there's a small gap around the drop outs in the bottom of the fox fur . In real life, this would be filled up with welded material, but it's not important in the model to finish off with just at the wheeling to check. Everything fits okay to go to file, make assembly from part and then press the green tick to insert the fork fixed to the origin. Then go to insert parts and browse and find the 700 c road by Thai apart. Insert this into the model in roughly the correct place, and there will add some makes to fix in place. Firstly, at a concentric made between the excellent the wheel on the circular part of one of the dropouts. Then we can use a width may toe actually sent to the wheel within the fork. So for the width that we need to choose four faces so you can choose the outside of both of the standoffs and then the outside of both sides of the wheel axle. And you might need to drag the wheel around a little bit, seeking that actually see all the faces that you need to select. So when you have your four faces selected, just press the May tool, and it should automatically choose a wit from eight. Then you should have something that looks like this, and you should be able to rotate the wheel, and you can see that there are no problems with the wheel clashing against the fork. So that's the assembly complete, and you can save it. So it's a recount in this video. He finished off the four part and we did this by first creating the dropouts. These were made from just a simple sketch, which was two circles with some lines on it, and this was extruded offset from the original plane. The extreme was made into a separate body, so we could then cut away the bottom of both of the tubes. There we mirrored the dropout body onto the other side, and then we just combined thes three bodies into a single body. Then, finally, we just created an assembly and added in the wheel part on, added some mates and made sure that everything fitted together okay with no clashes or problems. So that's this assembly complete in the next video, as usual, would be doing a recap of this very short section. Then, after that, will be going into the final section where we'll be putting everything together and making games controller for a consul
73. 12.4 Bicycle Fork Recap: welcome to the final video of the Bike Forks section, as usual in this video, going to do very quick recap of the entire section. Firstly, we started a new part to make the bike fork itself, and we started with some sketches to indicate where the bike wheel will be. The 1st 1 was just a circle, which was 700 millimeters diameter, and it was made for construction. On the 2nd 1 was a rectangle also made four construction, and this was perpendicular to the first sketch. Next we started new sketch from the side and we added a center line coming up from the middle of the wheel at an angle to the left. At the top of the center line, we sketched the revolved profile, which is going to make up the headship. And for this we used a lot of measurements in inches that you can use these directly in smart dimension simply by typing I n. After the number. The Jew profile was mainly made up of straight lines, but there was also a spying in there when it was fully dimension, and we revolved around that main center line. We need this feature head tube, and then we saved the parts. Next we do two sketches, which will be combined to make a curve, and this will be used to make the fork tube itself. The first sketch was from the side, and this was just displaying down from the head tube to the middle of the wheel. Then the next sketch was per particular to this on again. This went from the head tube to the middle of the wheel, and it finished, offset from the center point of the wheel to allow space for the wheel hub were then selected. Both of these sketches went to curves, which is on the features tab and selected projects curve, and we chose a sketch on sketch curve, and this makes a curve at the point where these two sketches intersect. This care of features then created, and it consumes both of those original sketches. Next, we inserted a new plane by go to reference geometry plain, and for the first reference, we clicked on the end of the curve. On the second reference, we clicked on the line of the curve itself. Then, on this new plane, we drew a profile for the tube, and this was just two concentric circles. The outer one was 22.22 on the inner one was no 10.9 millimeters smaller than that. We then added a pierce relation between the center point of this profile on the curve itself, because the curve only cuts through that plane at one single point. This fixed that profile in place. And then, finally, we use the swept boss based feature to create a sweep using this curve on the sketch. Next, we mirrored this sweet feature to create the second arm of the fork. And then we cut away the excess tube inside the headship simply by starting a sketch on this bottom face, conversing the inner diameter on doing a cut extruded through all next to sketch the dropout profile. And this was on the plane from the side, and it started with just two concentric circles. And then we added in some extra details, using straight lines. The first were the two lines for the cut out, where you'd actually insert the Axl and his word is tangent to the inner circle, and they were set at an angle of 125 degrees from the vertical there may sketch three sides of a rectangle for the peg that goes inside the tube. And when the sketch was fully dimension on defined, we extruded the appropriate sections. Which of the C shaped bit and then the peg that goes inside the tube so extremely them 10 millimeters thick. And we also offset the start point so that the standoff will be exactly inside the tube. We uncheck the merge result box and pressed okay, and they should give us two separate bodies. So the 1st 1 is the head shooting. The fork tubes joined together. And the 2nd 1 is this dropouts. We then sketched a circle on the plane from the side and we use this to cut only three the bottom of the tubes on this trend aware section for the dropouts. Then we married that first drop out simply by selecting it, selecting the sense of plain impressing mirror, and you might have to select bodies to mirror rather than features to mirror. And then finally, we use the combined feature to join all of these three bodies into one single body. Then we saved this part on. We created a new assembly with that, and in this assembly we also inserted the wheel and then we mated that in place, using a concentric mate and a width mates. So this was quite a short section just to introduce curves. And he's a very useful if you want a really accurate three D line, and they're also good for drawing the boundaries of surfaces once you get into surfacing so well done on completing the penultimate section in the final section up next, we're going to be putting everything together and modeling a gamepad control.
74. 13.1 Gamepad Controller - Introduction and Basic Shape: welcome to the final section of the mastering solid works tutorial Course. Congratulations on making it this far through. In the section we're going to be modeling a games controller, something like an Xbox or PlayStation controller, and they should draw upon most of the things that we've learned throughout the course. So let's get started starting new part and start sketch on the top plane First, we're just getting a model up half of the game controller, and they were gonna mirror it all onto the other side. So you start with a sensor rectangle, and this should be horizontally in line with the origin. 60 millimeters wide and 50 millimeters high on the right hand edge should be coincident with the origin, so that should fully to find your sketch. Then do amid plane extrude 40 millimeters, and this is going to make it the sense a portion of the controller, and this is a good point to save your parts. Next, we're going to make a loft, which will make the handgrip, and we'll do this by starting a sketch on the back face of that rectangle and drawing the first profile, which is just an ellipse draw it slightly off. Horizontal are shown in the video on data center line along large access, and the dimensions of it should be 60 wide and 45 millimeters high. We'll also select the top left corner of the rectangle on, make it coincident with the outside of the Ellipse and then next select the bottom left corner of the rectangle on. Also make that coincident with the outside of the ellipse, then finally will add a 20 degree angle between the horizontal and that center line along the middle of the Ellipse, and they should fully define your sketch. So then we have the first profile for the loft on Next will draw the 2nd 1 which is another sketch, but this time on the front face of that rectangle. This is also another lips started roughly here and then drag it out in this kind of shape. Again, we'll add another sensor line across the large access and will select this right hand point . Make it coincident with the outside of the first ellipse that we drink. There must select the top point on Also make that coincident with the outside of the first Ellipse. Then we'll set the length along that long axis as 85 millimeters and then set the angle between the two ellipses as 15 degrees. And it should look something like this. Then finally, to fully to find the sketch will select the top left corner of the first rectangle again and make that coincident with the outside of this new Ellipse scenario sketched should be fully defined, and we coincident here, here and here we got the lead set is 85 we've locked the rotation by setting the angle from the first Ellipse. Exit this sketch and next will add a new plane for the third and final profile. So let the front plane that hold on control and drag it out for words and set the distance as 70 millimeters in front of the front plate. Then we can draw the final profile on this new plane, and again, it's another relapse. So the right hand point of it should be coincident with the midpoint of the first ellipse, and then the top and bottom points should each be coincident with the outside of the large ellipse. On the width of the ellipse is 50 millimeters, and that should fully define your sketch. So exit this sketch on now. We should have three profiles, which we're going to use to create the lofted handle. But before we make the loft itself, we're going to add some guide curves. Just help guide the shape a little better. Start a new three D sketch and use displaying tool first on the left hand side to draw. Explain that cuts through the outside points of all three ellipses, then exit this sketch and create another three D sketch and again uses spine that cuts through all of the right hand points of the three ellipses. And where this right hand curve, we can see that it joins the last profile quite a tight angle. So grab a handle and just adjust displaying so it joins a bit of a flatter angle, then exit at sketch on. Select those 1st 3 normal sketches and create a lofted boss base, and you may need to move the green connectors around a bit to get the correct preview. And when it looks roughly correct, then you can add the guide curves by adding those 23 D sketches, and you should have a preview something like this. And if that looks all okay, press okay and then rename the features something like Handle, Grip. Next, we'll start adding some fillets to smooth off everything. So we'll start within our 12 around this endpoint. And ideally, we should have one single face all the way around instead of multiple, smaller faces. If you do have smaller faces than that can potentially causes problems later when we're trying to shell the part. So if you do have smaller faces on not one continuous face, you can try adjusting your guide curves of it, or maybe changing the fillets I slightly and seeing if that helps. But don't worry about it too much for now. We'll continue with the model, and if this causes problems later, we can come back and fix it at points. So next up will add a 60 millimeter. Fill it to this bottom edge, and hopefully this will make a nice, smooth join from the lofted part to the straight part. If you get a preview like the one that I have, then this can indicate a problem. This means that straight part doesn't quite join the curve. Lofted part properly. There's actually a small gap, so the fill it won't work properly. Ideally, instead of this straight edge, we should have a slightly curved edge like we do here on top. And that indicates that the curved loft actually cuts into the square section. So to fix this, we need to go back into the loft feature and then just edit. The guide gives a bit to try to improve the shape of the loft and get this slightly curved edge. You might need to edit them from the top and side view. And as long as you've got a small curved section, you can then add the Philip and this should extend to cover the whole gap. So I tried to add a 60 millimeter Philip, but this was a little bit too big, so I went down to 50. And that seems to work correctly and you should see the entire gap is filled with Phil. It'd material, So just play around with your model until you get something that works. It might know exactly work first time because it is a lofted shape and it's not fully defined. Next up, let's have 27 millimeter Phillips to these front edges than a 30 millimeter around this large edge, where the handgrip joins the center and then finally a 10 millimeter Philip around this back edge. And that should automatically pick up the entire loop. And at this point, we could just mirror the entire body. So select the right plane, then press mirror and then in bodies to mirror. Just select the main body, and you should have something that looks roughly kind of like a gamepad. You can spend some more time on the loft or in the center section to really make it a shape you're happy with. Next, let's start adding some details for the buttons. So on the top face Sketches Circle, which is horizontal from the origin, 50 millimeters in diameter and 75 millimeters to the left of the origin, then drawing a center line and mirror this to the other side. Then extreme. Both of these circles upwards, so they're just above the top of the main body. So I went with 24 millimeters. Next that we want to create the area where the joysticks will go, so make another sketch on the top plate and draw another circle. So this one is slightly smaller. It's 40 millimeters in diameter. Then it's 35 millimeters below the origin and 40 millimeters to the left and again draw center light and mirror this to the other side, then extrude both of them in two directions. So the first direction they should be just above the surface. So again, 24 millimeters is probably good heights, and then for the second direction you can do offset from the back edge. So they're slightly above the back edge. So I offset mind one millimeter from that back edge. So next let's add some more fillets in to round more things off. And as before, if any of these don't quite work for you, just try adjusting the size slightly to see your own model. Firstly, I added five millimeter Phillips run the bottom edge of the top circles, then a four millimeter fill it around the top of both of those circles, then carrying onto the joysticks themselves. It was our to around the bottom edge. Then there was a sham for around both of the top images, which is one millimeter and 45 degrees, and then a three millimeter fill. It around the back of where the joystick circles joined onto the main body. So now I've got the rough shape correct on. As we said before, you can play around with the loft and all the different sizes to make a shape that really suits your own taste. Next, we're going to shell this feature to make it hollow. So select the shell feature and set the wall thickness as two millimeters, and hopefully they should work correctly. If you go to a cross section view, you can see whether it shelled correctly. If it doesn't shell, there might be a few things wrong with it, but the main problem is usually that some of the outer or inner curves are too tight for the shell wall thickness. So, for example, if I get all the way back to this Philip and edit the fill it to change the size, and now we've got quite a few small faces around the end of the Philip. And now if I drag back down to the bottom, you'll see that the shell features failed because it often has a problem with a lot of small faces. If we now try and edit the shell feature, and we just keep the wall thickness the same. But try to re add the feature. You should see the areas that is failing in and as we expected, it's this area around the end where we just change the Philip, So to solve us, there's a few things we can take. Firstly, we could make the shell fitness thinner, and this allows you to actually have smaller faces and tighter curbs. If you wanted that wall thickness for a reason, then this isn't really the best solution. So the best thing to do is to deal with the source of the problem. So exit the shell feature and go back and edit the original Philip to make the curve a bit wider. So if you can, it's much better to try and solve the source of the problem rather than just trying to fix it later on. And you can also try to adjust your guide curves slightly to change the curvature. So the last thing we're going to do in this video is at in two standoffs inside the feature , which will hold the two halfs together. Once we split, it starts sketch on the top plane and then draw a circle which is 22 millimeters in diameter, which is 100 from the origin on which is 35 below the origin. Then mirror this over to the other side and we'll extremely circles both up and down to make standoffs within the body. Because of the position of the circles, we're going to have to offset the start point so that they're fully inside the body so offset downwards by 10 millimeters. Then for the first direction, select up to next on on the preview should see it slightly curved because is actually ending at the inside face off the body, then in direction to also select up to next and again. You should see that curved preview where the extrude hits the inside face of the body and now free dragged through a cross section view. We can see that we have standoffs inside the hollow body. So save your part and now this video is nearly complete. So to recap this video we started with a simple mid plane extrude of a rectangle There Next we made the handle grip using a loft and for this we drew three profiles which were all the lips, is a slightly different sizes or angles. We also created to guide curves using three D sketches and spines. Next, we added a load of Phillips to smooth the parts together, and we tried to keep the number of small faces to minimum. Then we mirrored the entire body over to the other side. Next week, added the circular pads for the buttons and also the circular pads for the jury sticks there we added some further. Phillips just a blend everything together as well as the champers on the top of the joystick circles. Next we shelled the entire body to a width of two millimeters, so that was hollow. And if you have any problems with a shell, just trade just in the fillets, so the curves out this type or reducing the wall thickness of the shell. Then, finally, we just added two standoffs inside by doing and extrude in both directions up to next. So that's this video complete In the next video, we're going to be splitting this into two parts, making it into an assembly and adding some more details
75. 13.2 Splitting the Part and Making an Assembly: Hello. Welcome to the second video of the gamepad controller section. This is where we left the previous section, so it completed most of the main shape and we had shelled out in this video. We're going to split this part into two halfs, make those into an assembly and then add some more details. So let's start by splitting this part into two. And first we need to draw a sketch with a split line on it starts sketch on the front plane and draw a midpoint line, which is below the origin out to both sides. Then I mentioned the line, so that is eight millimeters above the base of the center section of the game pad. And this just ensures that we don't have any problems with cutting the walls to short, then just make the line wide enough so it cuts through the entire model. So 260 millimeters should be fine, and then you might also need to add a vertical relation with the origin and the midpoint of the light. Then find the split feature by going up to the command search, borrow typing in split, select this feature and then used a sketch that we just drew to split this part into two different bodies, then rename each of these parts and will save them as external parts. Firstly, just check the box next to the body, then double click where it says non and then in the box that pops up. Just type in the name for the new part. So this will even be control atop or control of bottom. Do the same for the other half and then press OK on both of these body should then be saved out as separate parts and now for years controlled tap. To get through the open documents, we can see we've got two new parts controller top on the control of bottom. And in reality, these parts would probably be split slightly differently to avoid these undercuts. But this is OK for this model. Now we can use these parts to make in your assembly, So from the bottom or top part, get to file, make assembly from parts and press the green tick on this part should be placed fixed to the origin, then go to insert components and in certainly other parts and again press the green tech and they should be mated together correctly. And that's because they come from the same parts and it both share the same origin. Save your assembly and now we can start to add some more details. Firstly, open the bottom part, and the first thing we're going to do is add accountable so we can and screws in through this bottom part that screw into the top part toe. Hold the controller together. To do this as usual, will use the whole wizard. But because there isn't a flat surface on the underside of the controller will add a new plane that we can start the whole features from. So select the top play, hold down control and then dragon new plane downwards and set the distance as 50 millimeters. Then use the whole wizard toe. Add some end for countable holes, so council boroughs This first selection here, make sure you're a metric and select M four, and we can select through all as the end condition, then in the positions tab at to these holes onto that new plane that you just creates it. Then, when they're in place, press the end key to go normal, too, so you can see the standoffs from the top and then just drag those points around so that their concentric with the two standoffs Then you may need to get back into the type tab and click on custom sizing and ensure that the depth of the wide part of the counter poor goes up and actually cuts into the lofted curve press. OK, and now we can see from below that this is where the screws will go in tow. Hold the two halfs together. Next, we're going to add some ribs to the inside of this body. And I know we mentioned that we weren't gonna have any new features in this section. But that was a small error on my part. So we're just going to introduce the rib feature. This feature allows you to easily create ribs, and it starts with a sketch. So let's start a sketch on the cut face and draw some straight lines as follows. Firstly, we need a vertical line down the center and get from the outside edge of the body down to the outside edge on the bottom edge as well. Then select the midpoint line and draw a horizontal line from the origin out to the outside edge of the body again, then had three more vertical lines as show. Don't worry too much about the exact position because we're going to dimension them next, but make sure that they're all vertical. So there, two lines on the left should be Colin. Eah, so they should be lined up with each other. And they should both hit that standoff at the top and bottom point exactly. Then dragged the other ends of the lines so that their coincident with the outside edge of the body and that should make these two lines fully to find. Then for the third line, it should also be coincident with the outside edge of the body, and we're going to set 65 millimeters to the left of the origin. But this will depend exactly on the curve of your loft, so you might have to change this later on. And then the end point of the bottom edge should also be on the outside edge of the body on your sketch should now be fully to find, select those three vertical lines on the left and then mirror. There is about the center line, so I've got a sketch that's the same on both sides. Then exit the sketch, but with a sketch still selected in the feature treat. Select the rib feature, which could be found on the features top of the command manager and should get a preview like this. Yours might be slightly thicker. It might defaulted to 10 millimeters, and this yellow section will show whether ribs are going to go so basically anywhere that you've drawn a line. A rib will go down from there to the next surface so it can set the thickness and some of the features on the left, such as whether ribs, amid plane or for one side or the other. We can also set the direction of the ribs. Set the thickness to two millimeters on, make sure you've got the both sides option selected and we'll keep The direction is normal , too, which means the ribs will be going down in the direction of this area. Then press OK and your ribs should be created like this. And you should say that wherever we drew the line sketch. Now rip has been created down to the next feature, so this is a very quick and easy way to add ribs to your models. And if you do have any problems when you make the rib feature, such as a zero thickness era or something like that, try going back into the original sketch and then just adjusting the distance that the lines are from the origin. It might be that they cut the outer edge of the loft at an angle that doesn't quite work. So if you adjust that distance, usually it fixes any small areas like that. So this part is done for now. So let's use control tab to switch to the top section of the controller, and we want to do the same sort of thing. So first, let's use the whole wizard toe. Add to M four tapped holes, and you can make these about 10 millimeters deep, so make sure you've got metric selected select M four size and then set the depth as 10 millimeters, then in the positions tab. Just position these holes in the center of each of these two standoffs. Next that we want to add some ribs to this half, and we want them to be in the same position as the ribs. In the bottom half, we controlled Tab back to our assembly and then edit this top part and start a sketch on the split face. There we can convert the ribs sketch from the other half and uses to create our new ribs. So expand the features of the bottom half in the parts tree and then find the ribs feature and expand that. Select the sketch and press convert, and they should copy that sketch over into our current part. Then you can simply use the rib feature as be used in the bottom part. So select the rib feature. Make sure the thickness is set to two millimeters. Make sure of direction is correct and press OK and your ribs should be created. The next thing we're going to do is cut a cavity in the ribs in the top half. That'll fit a PCB and and this PCB will have all the buttons for the controller on it. To do their start sketch on the cut face again, go normal to and then start center rectangle from the origin, then set this as 35 high and 205 millimeters wide we want to cut this section downwards, so that is offset from the top of the controller. So select cuts extreme and then select offset from surface and choose this flat face where the buttons will go. And basically we want to offset so that the cut isn't quite touching the curve on the inside of the controller. So I started with 18 millimeters. They can see this cuts way too far downwards. So next I tried 22 millimeters and I pressed okay to make the feature. If you turn over the part you can see we actually do cut into the inside body slightly. So then I made that distance slightly larger. Up to 24 millimeters on this distance will depend exactly on the curve of your hand grips taken, rename that feature and save your part and go back to the Assembly. And if you look at our assembly now, what we're going to do in the next video is at a PCB which will fit in this committee, and then we go to out of more details such as the buttons and the cables and so on. So it's a recap if you go back to the original part. First we Juris sketch, which was just a line that split all the way through the part. And then we use the split feature to make this part into two separate parts were then created an assembly. With these two parts. We open the bottom part and we added some counter boreholes. And then we also added some ribs using the rib feature to use this all you do is there a simple sketch with lines on and then press and rib, and they can set the thickness of the direction of the rib and some other options if needed . Then in the top part, we did a similar thing. First we added the tapped holes for the screws. Then we added ribs using the same sketch as the ribs for the bottom half. We converted that sketch into the top half and they were used it to create the rib feature . Then finally, because a cavity into the ribs and this will fit a PCB, which will add in the next video
76. 13.3 Adding the PCB: Hi, guys. Welcome to the third video of the game pad section on in this section, we're going to add the PC baited again powder simply. This is how we left the assembly at the end of the last video. So to add the PCB first, we're going to hide this back part, so hover over it with your mouse and press the tab key to hide that part. And we're going to add the PCB into this cavity here. So firstly, go to the assembly tab and impress insert components and go to new parts. And then, as usual, we should get this green tech next to the cursor. And the first thing that we need to do is select the surface or plain that we're going to start the part on. So for this is going to be this flat surface inside the cut in the rips. So select that face, then press the end key to go normal to, and then we're going to select a center rectangle and start lap from the origin. Drag this rectangle outside roughly, fills that entire cut in the ribs and make sure you don't accidentally pick up any automatic relations when you've drawn the rectangle, select a smart dimension tool, and we go to make this rectangle 1/4 of a millimeter small of them to cut out there is it? So select the edge of the cutout and then select the edge of the rectangle and add a 0.25 millimeter distance and do the same on the vertical edges well, and that should fully define your sketch because it's fixed to the origin. And then we've set the height and the width. There we connect Street 1.6 millimeters, which is quite standard. PCB thickness away from the ribs, and there's our PCV part and you can exit editing the part, and, as usual, you can right click on the virtual part and rename it. And then, if you save your assembly, you can say this part externally. And now we can open the part by dis clicking on in the assembly and pressing open part, and you can rename that first features PCB, and you can also change the color of its a green just to make it look more like a PCB in the assembly. And then you can save this and use controlled tab to get back to the Assembly. Now that we have the base, we can start adding some detail to this PCP. So right click on the PCB in the assembly and press edit part. And as usual, the other parts will go semi transparent. Start a new sketch on the top face of the PCP and go normal to by pressing and on. We go to draw the buttons so there's going to be two buttons in the middle, maybe a start in select, but it and then there's going to be four buttons on the left in this circle for directions . Maybe there's also against before buttons on the right here, so everything is going to be symmetrical was thought on the left hand side here. So get the circle tool and pick up the center of this large circle. To do this, hover over the outside edge of the circle and then click on the center point and drag out a circle and set a 25 millimeters diameter and set it as four construction and this circle is going to be where all of our four buttons are spaced around. So next choose the center rectangle, and at the top point of that circle, draw a center rectangle, which is eight millimeters by eight millimeters. This rectangle should now be fully defined because it's snapped to that top point of the circle. And if it's not just out of vertical relation between the center of the rectangle on the center of the circle, this rectangles going to make up the bottom part of our button, and now we compact in this around that small circle to make up the other three buttons. So select the rectangle and then press circular sketch pattern, and you probably get a preview that looks a bit wrong. What we need to do is click in this top box and clear the selection, and then we need to choose the center of the small circle that we drink as the center of the circular pattern and set the number of instances to four. And you should get a preview that looks something like this, and you may need to just add some relations to fully define your four rectangles. Next up, we'll add another button in the center and again will use a sensor rectangle. We'll add it around this position and again making eight millimeters wide and eight millimeters high. The center of the rectangle should be 20 millimeters to the left of the origin, and then the center should also be horizontally in line with the origin. Nice get should be fully defined and weaken. Mirror these five buttons over to the other side. So firstly, draw center, line down the middle of the board and then select everything and press mirror entities. And you may need to manually select that middle center line because you've got more than one center line in your sketch. If the preview looks good, press OK and now it connects. Treat these 10 rectangles upwards so extreme them upwards blind extrude 15 millimeters and you can rename this feature as button basis. Next up will draw the actual buttons themselves, which we on top of these square button bases so start sketch on top of any of the button basis. Go normal to on. Basically, we need to draw a circle in the middle of all of these square button basis, so the first thing we'll do is draw a center line down the middle of one of them from the top to the bottom just like this. And then we'll draw a circle at the midpoint of that center line that goes all the way out to the top of the center line. Then we need to add these circles toe all of the other buttons so he could destroy them in manually. But we can again use circular pattern, but first we need to add a point for the center of the circular pattern. So select the point tool and at a point in the center of that large circle and select the circular button that we just drew and select circular sketch pattern. And as before, delete the selection in the first box and we'll add that new point that we just made as the center of the circular pattern. Make four instances and press OK and as before, you may need to just add some horizontal and vertical relations to fully define the sketch there. Next that we can add another center line to this center button and then also draw a circular button on there. Then we can have a sense a line down the middle of the entire PCP, and we can mirror these five circles over to the other side, and now we're going to extreme these circular sections to make the actual buttons themselves. But they're actually different heights. The ones in the middle are shorter than the ones on the outside, so we'll do it in two features that use the same sketch for both of them. So we'll do the sensor ones first. Go to extruded Boss base and make sure you've got that new sketch that we just drew selected. We don't want to extreme everything. So in selected contours, just choose those two center buttons on. We want to extreme them so they stick out two millimeters higher than the outside edge of the main casing. We could do this by using the offset from surface and condition. Select this and then choose the surface. You want to offset from, which is this outside surface of a sensor area and then choose the offset, which is two millimeters and then make sure the offsets in the correct position so you may need to press reverse offset to ensure that the buttons stick out. So there we have the sense of buttons, and now we're going to do the same thing for the out of buttons. So expand the PCB part in the part tree and then rename that feature. We just made a something like sensor buttons that expand that feature. Select the sketch and press extruded Boss Base again, this time in selected councils. Choose those eight out of buttons for on the left and four on the right and again we'll use offset from surface on this time. Choose the outer surface of those large circular areas again offset two millimeters and make sure the direction is correct so that the buttons are sticking out. Press OK, and now you can rename this feature. Next, we can fill it the edge of all of these circular buttons, so select the Philip Tool and then a 1.5 millimeter filler. If you select one of the eight buttons first, you should then be able to use the edge selection toolbar to select the other seven automatically. And then you can just select the two middle ones manually that if you exit editing the part , you should be able to see the buttons poking through the top of the casing like this. There's actually an interference at the moment because there are no holes for the buttons, but we'll deal with that shortly before that. The next thing we're going to do is add a cable coming out the bottom of the PCB with a small transformer. Today, this first re show the Boston part by clicking on it in the part tree and pressing show. And if we click on it and make it semi transparent, we're actually gonna make the transformer go all the way up to this rib so that when these two Hafsa screwed together, they hold the PCB in place. So let's make this back part into a solid appearance again and then click on the PCB part in the part tree and press edit part, start sketch on the back face of the PCP and then use a sensor rectangle tool to draw a small rectangle like so. So it should be 25 millimeters wide, 15 millimeters high on the bottom. Edges of it are coincident with the edge of the PCB. The center of the rectangle should be vertical with the origin, and this should fully define your sketch. Then we can select extruded boss based on. We want to extreme the transformer up, so it just touches the inside of this writ. To do this, we can use the up to surface and condition, but you may find it difficult to choose the inside of that rip. So if you do just exit the boss six drew tool and then go to a cross section view and then select the extruded boss base again. And this time it might be a bit easier to choose the face of that rip. Then press OK, and now we can see that the transformer part is being created so you can exit that part. And the next thing we're going to do is draw cable coming out of this transformer before I draw the cable itself again to draw a slot in the outer casing that the cable go through. So from within the assembly, edit the top part of the casing, then start sketch on this back flat face, and we just want to draw a simple straight slot. They should start from the midpoint of the bottom edge and just go directly upwards. The width of it is our five, and the length of it is six millimeters, as showed then to steer CO extreme blindly 10 millimeters in, And that should cut a slap something like this. So exit editing this top part, and now we're going to draw the start of a cable coming off their small transformer feature in the PCV part. So click on the PCB part press edit part, and then we'll start a sketch on this back face of the transformer and draw a circle, which is concentric with the circular section of that slot that we just cut on his nine millimeters in diameter. Then extreme the circle 15 millimeters straight out. And this will be the start of our cable there next that we're just going to use a sweet to draw a wavy section of the cable in the same way that we do the headphone cables way back at the start. Of course, to do, they start a new three D sketch and then select displaying tool, pick up the center of that circular face and then just draw a big, wavy spine, maybe with a couple of points. Next, you might remember from the headphone section that we want to make the point where the spine joins the cable into a tangent relation. And to do this, select a center line and then start a center line from the start point of the spine and drag it along that straight section of cable and pick up the center point of the circular face on the other end. And they should give you a short center line, which is fully defined. You can hold down control and select this center line and also the spine on at attention relation. Then you're splaying should look roughly something like this. So now we have the path for the sweep. Next thing we need to do is the profile. So exit the three D sketch, start a new sketch, just a two D sketch on the flat face on the end of the cable, Then select the ouster, Circular edge and just press convert entities on. This is your profile sketch. You can now select both the two D sketch on the three D sketch and press swept by space. And if you happen to get an error saying that your sweep is self intersecting, this may be just because you're sweep is too tight at one point, and this is probably just when we added the tangent relation. So if this is the case, just exit the sweet future on, Edit the three D sketch and make sure that the spline doesn't have any really tight curbs. Then select the two D sketch in the three D sketch again and press sweat Boss, based on your features should be created something like this. Then you can exit editing. The part on the PCB part is finished for now, apart from the appearances. Now, if you open the PCB part, you can rename any of the features if you still need to, and you can also add appearances. Let's leave the PCV itself green and then make the bottom of the buttons. Maybe gray the top of the bones red and then the cable itself, either black or grey. But this is totally up to you whatever you like. Then save this part and you can close it and go back to the Assembly, and the last thing will do. This video is just cut out a section in the top casing so the buttons can fit through. To do this, edit the top part and then start a sketch on one of the top faces. It could even be in the center or the outside doesn't really matter. Then we need to find the sketch that was used to create the circular tops of the buttons, and this will be in the PCB parts. Then we want to offset these circles so we can cut an area slightly larger than them so he could use the offset feature. But sometimes this doesn't quite work properly, so the best thing to do is first used to convert feature, then press control A to select everything and then usually offset feature on this time offset these circles half of millimeter. And this is the perfect example of when to use the make based construction option. If we didn't jacket would have 10 sets of concentric circles and we just cut out a small ring around each butter. But because we checked out the inner circles of for construction and the outer circles are solid, said Now, we can just do occur extruded through will downwards, and that should cut a space for all of those buttons. So it's a recap in this video. We added and made the PCB, and we did this by adding a new part to the assembly, drawing a rectangle within this cavity that was slightly smaller than the cavity and extruding it. Next, we added the small squares, which make up the bottom of the buttons. We used a circular pattern to add most of these, and then we married everything ever said the other side, and we extruded these airports, then reacted the actual buttons themselves. On top of this on, we extruded those upwards as well, using offset from surface. There, we just added Phillips to the top of the buttons on. Next we drew the transformer, which was just a rectangle extruded up to surface. We cut a small circular slot into the back of the top part, and then we use this to position the small straight section of cable which came out in the transformer. There we created a sweet to make a large, wavy section of the cable, and this was done using a three D sketch and a splint and then just a circular profile, which was sweats along this path. Then in the top part or you're done was cut this circular slot, and then after this, we cut the holes for the buttons, and that was done by converting the sketch for the buttons and then just offsetting the entities. So now the game pad stuck to come along quite well on the next thing we're going to do in the next video is add the two joysticks and then add some finishing touches to finish off the game pad.
77. 13.4 Adding the Joysticks and Finishing Off: Hello. Welcome back. Welcome to the fourth video of the game plan section. This is how he left the previous model. So we have the two halfs and also the PCB part, or complete it in this video again to finish off the rest of the assembly. So the first thing we're going to do is at the two juristic parts. These are made from just a single feature, which is a revolt. So we're going to start, need part and start sketch on either the front or the right hand plane, then draw a profile that looks something like this using the line tool, then add dimensions as showed to fully define your sketch on when everything has turned black. You can then use the sketch village tool toe act, rounded corners. So these two lower corners both are 10 millimeter Phillips. And then this top section is a two millimeter. Fill it, then select revolved Boss base and select that large sensor line down the middle on. We'll just make a revolt feature like this, and you can change the appearance to something like a dark grey and save this part of jury stick. They're making controlled tap back to the main assembly, and we can insert this joystick part into the assembly to go to insert parts, find the correct part, the jury stick and impress. Okay, and all we have to do is make a few changes to the top part to accommodate the jury stick. And the first thing we're going to do is cut out a small circle that the joystick will fit through. First up, select the top part and press edit part and then start sketch on the top face of these inner circles. Then we'll use the circle tool to draw two circles, one in the center of each of those larger circles, Then make sure they're both the same size by giving them unequal relation and set the diamond says 28 millimeters and then next weaken. Do occur extrude through a wall, and they should cut a hole for the joysticks. Then we can exit editing that part, and we can add mates to the joystick and the top section to make the joysticks in place firstly and a concentric mate and then secondly, choose the bottom of the joystick, then move the assembly around and select the inside face of the cavity where the joysticks fit on and a coincident mate. And then we can have a second joystick. And you can either do this by holding their control on dragging the joystick part to add a new one and then adding new mates. It's probably a bit easier, just a mirror it using the right plate. So now we should have both joysticks in place. If you zoom in, you can see there's quite a big gap around where they fit in, so we're going to fill this in a little bit. To do this will edit the top part again, and we're going toe Answer material using a revolver. If you go to a section view and then set the distance from the center as 40 millimeters, you can see that cuts right down the middle of that circle, and basically we want to fill in this section around the top of the joystick. The first thing that will do is create a new plane, so select the top part and press edit part, then select the right plane, hold down the control key and drag out the right plane to add a new play set this is 40 millimeters away from the right plane, and then we can start sketch on this new plane and go normal, too. And what we want to do is make a revolve. It goes around the center line of the jury stick, so the first thing we'll do is add a center line, which goes down from the top of the top part, down to the bottom of the neck of the jury stick as shown. And then we'll use the line till to draw a simple profile that we're going to revolve around this center line, so drawn upside down l shape of showed, and then the top section should be 28 millimeters in diameter. The lower section is 33 diameter on the outside line is 36 you might have already picked this up automatically. If so, this dimension might be driven, and if it is, that's okay. The total height of the section is 14 millimeters, and then the part that sticks in words should be at the same height as the bottom of the center line, so it should line up with the start of the neck of the jury stick as shown their manure sketches fully to find weaken. Revolve this feature by pressing revolved for space, and it should automatically pick up that center line in the middle. And you should get a feature something like this, when your presser came apart that you're working on in the assembly might actually disappear. And if so, this just means that it needs to be rebuilt, suppress control, be to rebuild. Then you should see a part with the new feature. Now I can see that it's still not a great fit around the top of the jury stick. So to finish off with just out of Philip without a 10 millimeter Philip around this inside edge at the top that if you rebuild again, you can see we've got a bit of a better fit now. It doesn't hold the joystick too tightly, so it can still move around, but it will stop it falling out of control. Then you can exit editing the part and exit the cross section view, and now we can no longer see this big gap around the right hand curie stick. So all we need to do is copy these features onto the other side so click on the top part on open it, and if we spend the model over, we can now see on this side we have the extra section, but on the other side, there isn't anything to hold the joystick in. So let's just rename these latest features, and then we can select the revolved on the Fill it, and we can mirror those about the sensor plane, which should be the right plane. Next up, let's add some screws to hold the two halfs together. Do this by going to the solid works toolbox and selecting ANSI metric. Then select bolts and screws and machine screws, and we just want to add a pan cross head screws, which is M for by 16 millimeters. So first set the diameter and for and then set the length. And then you can automatically insert this in position. And as before, if you don't have some roadworks toolbox, you should we have to find this screw in the download section. So now a game Patties pretty much finished. One of the last things that would do, which is pretty useful within assembly, sometimes is to do an interference detection. So go to the evaluate tab, press interference, detection and just press calculate initial Show us if there are any overlapping parts within the model and we can see that the only interferences are between the screws and the holes, and that's to be expected, as we discussed in previous videos. Then, if we just make any of the parts semi transparent, we can have a quick look inside on. Everything looks correct. So if we wanted to develop this further, we could maybe add a socket on the end here. We could do a bit more work on the joysticks to each other, properly held in position with springs and other feedback devices we could have marking for the buttons and maybe L E DS and things like that. And we could also cut the to half. So the right any undercuts and said that is suitable for molding. So there's really a lot of things that we could add to this model. But hopefully this shows some of the techniques that would learn throughout the course. And if we just take another look at our model, we can see that we've used a lot off the major features that we've learned about, so he made an extrude for the middle. Then we used a revolver for the joysticks we used to swept while space for the cable at the back. We also use the three D sketch with a three D spline. We use the law feature to make the outer hand grips, and then we use the shell feature to hollow out the part on the split feature to make into two separate parts. Then we created an assembly, and when we added the PCB, we using in context parts. Then we use the whole wizard to make the holes, and we use the solid works toolbox to add the screws. In the process of adding the buttons, we use various different end conditions, and we also use the convert entities the offset tool as well as a circular sketch pattern. So you can really see that we've used a lot of different techniques within this one single assembly, so this brings us nearly to the end of our course. We'll just have a quick recap of this particular video, and then we'll talk about the next video and the end of the course itself. So, to recap this video the first thing that we did was make the jury stick parts and this was just a single feature which was a simple revolved on it was made using lines and sketch Phillips. We added this joystick part to the main assembly and then we mirrored it to add a 2nd 1 Then we cut away two holes in the top part to allow the joysticks to stick out through the casing. Then within the top part itself, we added a new plane and we use this to make a revolve around the area which will hold the joystick it and then we just made it a bit of a tighter fit using a fill it. Then we married these features over to the other side. Then back in our assembly, you can see that the gamepad controller is now complete. So as usual in the next video, we're going to recap this entire section and then after that, we right at the end of the course. So just have one final video which very quickly recaps everything we've learned and talks about waken go next. If you want to continue mastering and learning about solid works,
78. 13.5 Gamepad Controller Recap: Hi, guys. Welcome to the last video of the gamepad controller section. As usual in this video, we're going to quickly rebuild the entire assembly so we can run through everything that we've learned in this section. So we started with the game pad body and we started a new part, started a sketch on the top play and we drew a center rectangle which was positioned as shown We did a mid plane extrude and this will form the base in the sense of the controller next recreated a loft for the hand grips on the site. And we did this by drawing some ellipse profiles. So the 1st 1 was on the back of the block that we just extruded and then the 2nd 1 was on the front of the block and then next we added a new plane Further forward on, we added the 3rd 1 there. Then we created some three D sketches and we used these to add guide curves using spines. Then we created the loft using these three elliptical profiles and also the to guide curves . And that should give you one of the hand grips next that we use fillets to round off this hand grip and to blend into the block in the middle. And once these were all added, we mirrored this entire body over to the other side. And then you got both hand grips on the center section of your control. Next that we started to add the circular sections where the actual buttons themselves are. So we started a sketch on the top plane and drew a circle on Dimension did it. And then we mirrored it over to the other side, and we x treated these two circles upwards. Then we did a similar thing for the smaller joystick circles. These were slightly smaller circles again, we mirrored it over to the other side, and we extruded upwards and we also extruded downwards, and we offset slightly from the back edge of that block in the middle. Then we started to add some more Phillips just to blend in a round off the corners of the circular sections and throughout this entire section. If any of these fillets sizes don't quite work on your model, just adjust them to something that suits your model a bit better, because it does depend exactly on the guide curves and the exact love that you produce. So we continued adding fillets, and we also added a sham for to the top of the joystick circles. Then when all that is finished, we ready to shell out the part. So select the shell feature on We Shelter War Fitness of two millimeters. And if you have any problems with this feature, just try adjusting the guide curves on your laughs a little bit and make sure that you don't have any really tight corners in your model. So once you're shelled out correctly, the next thing to do is at the internal standoffs, and these were just too small circles on the top plane. They were then extruded in both directions up to next, and you'll have to offset the start point of the circles so that they're fully inside the case. Next that we can save the part and then we'll draw a split line on the front plane and will use this with the split feature to split this part into two separate new parts. Remember that once you've split the parts, you can double click on them, and you can assign them a new partner on this will save them out as external parts. So now we should have the bottom part on the top part as two separate parts. And we can use these to create an assembly on because both of these parts come from the same parent part weaken just in certain fix to the origin and then they should be correctly mated together. So do that and then save this assembly. Next, we added some more details to these parts, so firstly reopen the bottom part. And then we added a new plane and we use this to add to countable holes using the whole wizard next week. Pallets of ribs using the rib feature. And to start this, all we did was draw or sketch on this cup face. They're registry lines wherever we want the ribs today. Once Havel, the lines drawed press the red feature, make sure you're going in the correct direction and then set the thickness, which was two millimeters and they should give you all of your ribs inside the parts. Next that we did some more work to the top section. So let's open that part and firstly again, we use the whole wizard and this time, we just added em for tapped holes. Next, we added ribs to the top section on. We want to reuse the same sketch that was used for the ribs in the bottom section. So go back to the Assembly and then edit the top section part. Start sketch on that split face, then select the original ribs sketch from the bottom part and use convert entities toe. Add this sketch to the top part, then use the rib feature and create the ribs. Now we can go directly back to the top part on. We can create a cup for the PCB, and this was just a center rectangle and a cutting street. Then back in the assembly once again, we can start adding the PCB part. So hide the part that we don't need the bottom part, that in certain new part into the assembly and select the face at the bottom of the PCB, cut out in the rips, then sketches. Sensor rectangle make this slightly smaller than the rib cut out, and then just extreme this upwards. Next up, we can start adding the buttons to the PCB part, so go back to the simply and edit the PCB part within the assembly and then start drawing the buttons. In. These were dissenter rectangles, eight millimeters by eight millimeters and first rigorous circle for construction that was concentric with those circles that we drew in the top part. Then we added the first center rectangle for the button and we used the circular sketch pattern to pass in this around that construction circle. Thanks that we added another bussing in the center. And then we do a center line down the middle of the PCB part and we married these five button basis over to the other side and then we extremely them upwards 15 millimeters next that we wanted to draw the actual buttons themselves on. These are on top of all those square extrusion is that we just made. So you start sketch on top of there and then just draw the circles in place and again use a circular sketch pattern on the mirror feature toe, add all 10 circles we can, Then it street these up through the top section of the casing. And to do this we used an extremely boss space and we used offset from surface. We also use selected controls. So firstly, we just extruded the middle two buttons, and these were offset two millimeters from that centre block on the next week's treated the other eight buttons on the outer circles on we also extremely, these two millimeters, but this time two millimeters from those outer circles. Then to finish off the buttons, we just added a 1.5 millimeter fill it to the edge of all the buttons. And now, if you exit editing the part, you should see the buttons sticking up through the top of the casing. Next up, let's continue working on the PC, pay so fiercely, show that bottom part and then go to a cross section view. And this is because we go to extremely transformer upto one of those ribs in the bottom part, edit the PCB part, and then on the back face of it, sketch a rectangle which will make up the transformer, then extreme this up to surface and select the inside face of that rib in the back part. Once this is done, X editing this part and then edit the top part starts sketch on this back face, and we're just going to draw a slot for the cable to get through, so just draw a simple straight slot as showed. Then just do a cut extreme three that back surface, then exit editing this part. And now we can use this circular edge to locate where the cable will actually be on the PCB part. So edit the PCB part again, start a sketch on this back face and destroy a circle, which is a nine millimeters diameter on which is concentric with that circular section of the slot cut out, then just extreme. This. Start the cable 15 millimeters that we can make the actual wavy section of the cable, and you can do this by making a three D sketch and using a splint. And you probably need to add a center line to that straight section of the cable so that you can add attention relation between the Splain on that sentiment. Then you can create another sketch on the flight end of this straight section of the cable , and you can just convert the outer circular edge, and this will be the path sketch for a sweat profile, which is going to make it that cable. So when you have both sketches, the three display on the circular path. You can use these to create a swept by space. Then all we had to do was add the appearances, save this part and then closer. Now we're really coming along. So next up we cut the holes for the buttons in the top section, and we did this just by starting a sketch and then reusing the circles sketch for the buttons from the PCB part. And we converted this into a new sketch on the top part, and then we offset this sketch on we used make based construction. Then we just used these new circles with Coke Street to cut the holes next that we created the joystick part, and this was just a single feature, which was a revolt. So we drew the revolver profile, just using the line tool and using sketch fillets. And then we revolved around the center and we saved this part and we added it into the assembly. Next up we cook two holes for these joysticks in the top part, and then we mated the joystick in position, and when it was in place, we mirrored it over to the other side. Now all that we really need to do is fill in the gaps around the top of the joystick, and this is probably best done within the assembly. So firstly, we added a new plane. Then on that plane we drew a revolved profile and we revolved this around the center of the jury sticks and this filled in a lot of that gap. Then we added a fill it and then finally we married this revolve on the fill it over to the other side. Then the anything left to do is insert the screws using the solid works toolbox. So these were m for by 16 millimeters and then this assembly is actually complete. You can add appearances if you want or do Orender. We've actually come to the end of all of our models so well done. You've learned all of the techniques in the course. Now the only thing left is one final video which will be in a section of its own. And this would just be a very quick overview of what we've learned in the course on also will tell you a little bit more about where you can go from here
79. 14.1 Course Conclusion and Future Learning!: Hi, guys. Congratulations. You very nearly finished the course. This is the very last video. So over the course of the last 12 sections, we've really learned a lot about solid works, and we'll just have a quick look over those last 12 sections there to recap. So, way back at the beginning of the course, we started off with the PCP model, and we introduce the solid Rex into face and the view controls. Then we learned about sketching and how sketches on the basis of most of the features, and we learned about things like sketch entities, dimensions, relations as well as things like mirroring and patterning. Then we introduce the basic extrude is the first feature. We also introduced Champers and Phillips as well as the whole wizard. Next recreated the pencil and we learned about revolves both cutting and adding material, and we also learned about multi body parts on adding text of parts. Next, we followed this up by making the pencil sharpener part, and this was the first introduction to assemblies. So we learned about different parts and about mating them together, and we also learned about the solid works toolbox by adding in this screw. Then we created the headphone model, which was another assembly and reinserted apart that already existed. The iPod, but for the headphones themselves were used to multi body techniques We used revolves to make the plug. But the main thing was introducing the sweep, and we use this to create cable itself. We also introduced three D sketches and spines next that we created the Coke bottle model. And again this was an assembly. And as part of this assembly will, it's about sweat cuts we learned about the shell feature on we also used Helix is to produce threats. We introduced the cavity feature to make the Coke inside the bottle, and then we also added some details to improve the realism of the renders. The computer mouse came next, and this is where we learn about the fourth main feature, which was loft. We also then split this part into two separate parts, and we use those to create an assembly. Now we're halfway through the different model sections on the next model we made was the key fob on the cover. In this section. We learned about sketching from photos, and we also used in context parts to create the cover. And at the Nissan logo, we introduce the block feature. The Lego figure came next, and this is where we learned about advanced assemblies, so we built all of the parts Separately. We learned about mirroring parts and about opposite hand version parts on we also introducing more advanced mates. The next section was quite a quick section, so we just made this simple box, and we used that to learn about configurations. We also learned about basic drawer rings, so we made a drawing of the box assembly on. We learned about some of the different view types that you can use within drawings. The rest free pie enclosure came neck, and in this section we imported an existing model from a step file, and then we used in context parts to make the top and bottom off the cover. Then, coming towards the end of the models, we had quite a short section where we just made this bike fork, and we used the three D curve on a sweet to make this curve fork. And then finally, the model that we just finished was the game pad, and we put everything together in this model, from extremes to lofts for the handles to revolves for the joysticks and sweet for the cable. Then we also used a lot of other features, such as shelling out, splitting it, making an assembly, using the whole wizard, introducing ribs and using in context parts. So that's all of the sections complete. And now you can see that you've learned about a lot of different features that you probably noticed that there's still quite a lot on solid works that we haven't learned about. And that's mainly because it's just such a powerful program. There are so many features. Even if you've been using it for years, you probably still find a few new features in there. So we're now just going quickly. Go over a few different areas that you could learn about in the future, and the 1st 1 is surfacing, and this is essentially a different method of making your models. So rather than using solids, you'll be using surfaces, and this allows you to have much more control over your shapes. So, for example, this is the start of a car body that I've bean modeling on all of these different panels are modeled as individual surfaces, and that allows you to produce a much more complex shape than just using those original features that we've learned about and then here to give another example. If you look at this rubber duck, you can see it's quite an unusual shape. They'd be very hard to make this. Maybe you could do it loft, but it's much easier to use surfacing. So in general, in servicing you build up the surfaces and then unit least together to create a solid part at the end. So this is definitely a very powerful way of modelling that you can learn after you've mastered the basics. Another very useful type of modeling is sheet metal modeling, and you can use this to create parts, which would be made from a flat sheet of metal in real life. So this could be loads of different things, from air ducks to computer enclosures, brackets all sorts of different things. On the real beauty of sheet model in solid wigs is that you can build up your model part by part, as usual, and then at the end of it, you can actually flatten it out. So it would be made from a single sheet, so this might be laser cut from maybe one big sheets of steel. And then in solid works, you can actually make a drawing, which shows where all the bend should be and how far they should be. So from your single flat sheet, you can actually make quite complex parts next that you can use more advanced mechanical mates things like gears to really build up your model within solid works. So if you've got a working mechanical model, you can actually test out how it's going to work virtually before you actually go ahead and build the real thick. So this is just an example. Assembly know all of the makes are fully active, but as you move parts, they'll react with various other parts, and you can see how your entire model works as an overall assembly. And then, finally, you can use the solid works FDA testing to do simulations within your model, and you can do things like test different loads, test how parts will deform. You can even test things like temperature, and it's really quite a powerful piece of software. So in a similar way to the mechanical mates. This allows you to actually test your assembly in your parts before you actually make them so potentially. It can save you a lot of time and money, so there's loads of ways you could move forward from here. I think the main thing is just to continue learning and there are tons of resource is online that you could learn more advanced techniques with. If you do have any questions or need any advice or anything like that, feel free to contact me as usual. So all that remains is for me to say thank you very much for taking the course. I hope you've enjoyed it. And I wish you the very best of luck in your future. Soldiers works endeavors. Thank you.
Johno Ellison, Professional Design Engineer
