360 LIVE: Sculpt a Nunchuck Controller

[Music] [Music] [Music] you you [Music] all right and we're live so good afternoon everybody my name is Jamie sharer and I am the guest for the live stream today Brad is on the line answering your questions and he reached out and mentioned that there have been multiple people asking for some tips in fusion 360 working with the forum environment or T splines or sculpted objects lots of names lots of stuff for us to break down and I'm really excited to dive in today so what we're gonna do is first kind of go over T splines 101 what is a t spline how does it work what's the simplest way to manipulate and work with T spline geometry and then from there I'm going to go through a quick exercise this is one that we talked about at fusion Academy this year if you're not familiar with Fusion Academy it's the place to go if you want to connect and meet with the fusion 360 community and learn from some of the experts that are out there working in Fusion every day so I'm gonna go through an exercise of kind of quickly developing a numb tract of game controller that many of you are familiar with and from there we're gonna have a good time working in T splines in fusion 360 so without further ado let's dive in so what I want to do is quickly you know take a look at fusion 360 and first talk about what is a T spline and more specifically if you're familiar or you're not familiar and you want to go try this out while I'm talking or if you're watching this back later how do you find the forum tools inside a fusion 360 so in the latest UI a fusion 360 you'll see that there's a button in the solid workspace and specifically in design under solid you'll find create form and when you hit create form it takes you into a subset of the solid environment and gives you a bunch of tools for creating t-splines now what is a t-spline I'm gonna probably say that more times than I'd like to but let's quickly define it T splines are unique geometry again this is some technology that is only in fusion 360 and it allows you to create a surface but also not be bound by a traditional B rep surface that has to have you and the surface directions that continue around the entire part now I'm gonna jump back here really quickly because I'm already talking with my hands and hopefully you heard you're following along when I say when I say U and V so you know what I want to show everyone is you know what I'm talking about is when you look at a surface it has U and V Direction so this is me talking with my hands over here in the background and specifically what I want to show everyone or talk to everyone about is when you create a t-spline in fusion 360 we'll jump back here and take a look in the fusion workspace I'm just gonna turn on an example the design that I was working on previously and we'll we'll talk a little bit about what a t-spline is so coming back in here we're going to turn on a couple bodies and there we go wait there we go alright so um what a T spine is I'll create something quickly that we can look at and you'll see in fusion 360 we have the ability to create these forms and what as I mentioned before is unique about them is that when you go ahead and subdivide to start creating more and more complex geometry you can create this T intersection now as I mentioned this is unique to fusion 360 such that any other surface and the surfaces that you create in the patch environment need to have continuous U and V Direction isoforms that take that go through the entire surface this allows us to create really quick geometry and also not add more and more complexity more more math to the surface where it's not needed so let's dive into this this example that I mentioned earlier so what we're gonna do I'm going to turn off the the kind of finished example something that I worked on previously and what I want to do is just first talk about how do we bring in say a napkin sketch or an image or something that we might want to use as an underlay that we can in this case quickly use as a reference that we can sculpt around so I'm gonna turn off the ones that I have here and what you'll find is inside of inside of fusion in the design environment if you go to insert you can insert a canvas and a canvas will allow you to first reference a plane so where we gonna put this geometry and then go out locally and grab an image that you can place in fusion 360 now the nice part about this is again this is a quick way to bring in an underlay a napkin sketch concept something that you want to reference and one thing that you'll get real used to after watching this lesson is using the handles or the manipulator inside of fusion 360 so you'll see first I used the little circle on the outside to rotate it again I'm just trying to you know maintain that it's upright or it's you know Z up which is the way that I'm gonna design today I can then use the handles to move it around the scene or grab the square in the middle that'll allow me to move it along x and y I'm sorry in this case Y and Z at the same time and you know maybe I want to line up there's a reference point I might want to put kind of 0 0 down in the bottom corner or in the upper you know the top part or again I might reference at any specific location once I'm done doing that I might want to maybe quickly scale it up to a certain size and you'll see there's many options in the canvas dialog that allow us to make this canvas semi opaque so if you know we don't want it to kind of take over the scene but we want to be able to see it I might take that down to something like 50 if I want geometry 3d geometry to be able to be viewed through this image right meaning I don't want this image to be like a cutting plane I can't see geometry on the other side I turn on or off display through I can make it selectable or unselectable I can make it renderable if I wanted to show up in one of my renderings and I'm just gonna go ahead and hit OK and you'll see just like that I've added this canvas into my scene now the one thing that you probably are thinking or you might have noticed is I didn't define anything right I didn't even give it a dimension so what I'll do is back in the browser if this is the first canvas you put in you'll see it adds a folder for canvases and then at the bottom I can right click on the latest one in this case it's the one that we just added and I can go ahead and either edit it which will bring back the settings that I used before or what I want to do is calibrate this this sketch now calibration allows you to do one dimension right so I'm gonna reference you know one known size or you know one location that I know and it's going to be a point to point kind of straight pick to pick dimension so one thing to be aware of is you know if I was trying to define maybe the thickness of the handle or it's the overall shape and then as closely as I can say that the overall is you know point-to-point about five and a quarter inches and when I hit enter you'll see you'll now scale it back up scale it to the proportional size so now you know I'm working roughly to you know the scale of you know my napkin sketch or something that might have come in you know with no reference or completely unscaled so now let's jump in I'm gonna as I mentioned I'm gonna turn off the one that I had previously and I've just got two canvases in this scene I've got you know a side view and a front view that I'm gonna reference as we start to develop our quick concept for this this game controller so before we dive in and I start sculpting this and showing you some more tips I want to hit kind of the one-on-one level tips that you might have seen if you've watched the getting started videos that are out there on the fusion 360 homepage and it's my favorite way to describe how to use the form tools or tease in fusion 360 so we're going to start off by creating an object and you'll see in fusion we have many different ways that you can create new geometry for instance you can start off with a primitive box plane spheres quad balls pipes etc or you could excrete extrude revolve sweep or loft geometry from sketch geometry and I'll show you how that works here in a minute but what I want to do is just grab a cylinder and I'm going to give us something to start talking about and I'll roughly kind of make a two inch cylinder and I'm gonna control the amount of faces that it has just for our first examples sake now coming back in here let's talk about the three fundamental pieces of a t-spline and the three fundamental ways that you can edit it for starters every t spline is made up of faces edges and vertex or vertices if I had multiple and the three easiest ways that I can manipulate these are by taking the faces edges and vertices in this case I'll take the edge on the upper on the top edge and I'm gonna use the edit form tool now you'll find edit form in the right-click menu probably getting it their most frequently during this exercise but also modify it's always located at the top and it's the first option in the menu an edit form is what you'll use 90% of the time in this space and it's the tool that allows you to manipulate in this case if you look in a dialog translate rotate and scale faces edges and vertices so going back to kind of what I mentioned before three types of geometry faces edges vertices three ways to manipulate it and that's move or translate rotate and scale now we're gonna go through the exercise I made the cylinder and I just want to show you what those look like how they translate to the geometry and then we're gonna start using some sketch geometry to create some surfaces for our game controller so let's jump back in alright so back to what I already had started I've got this top edge selected quick hot tip if you double click on any edge it'll the entire loop just a quick and easy way to make sure that you get kind of a continual selection of edges that goes until it terminates in your skull geometry so what I'm going to do is let's start making some manipulations here maybe I want to start with a primitive and I want to start moving this around you'll see as I grab on the center square which is kind of the translation on this plane I can move rotate maybe make another selection and move make another selection and move right I'm just grabbing on that square which allows me to move along in this case again the Y Z plane freely I could translate along one axis directly by using the arrows and as I did before I might want to start grabbing some of these edges and using the rotate tool so you'll see when I grab on the circle that goes around this this selection it allows me to rotate that edge so maybe that allows me to better line up the top edge of you know what this controller would look like I'm also noticing I might have picked two inches and that might be too big so I could double click grab the entire body and then use the uniform scale which is in the middle of the selection to scale this down a little bit and then now we'll continue to scale and move to make those manipulations so you'll notice in just a couple simple moves again I'm kind of directly manipulating this geometry I'm moving it around too loosely line up with the the image that we imported now what I'll do is I want to add some more sections and you'll see faces and the amount of faces that you use in the form workspace is paramount you have to pay attention to the topology of your object and how many faces you have the best the best best best tip that anyone has ever given me and I can pass on to you is that when in doubt start with less you can always add more later it's a lot harder to make manipulations and capture especially broad form when you have many many many faces right it gets kind of heavy and more difficult to not to work so jumping back grab this bottom edge and the last quick tip in this you know in this kind of simple explanation or this simple 101 level form t-spline technology is when you grab on an edge if you hold alt it'll add a new set of faces so you'll notice here I'm just kind of gonna grab maybe extrude out another edge another set of faces a hold it all together pull out another maybe this time I need to scale that down and that could be scaled down in X or in Y or in all three at the same time and I'll just drag out one more and scale it down a little bit more you'll notice when I scale up it kind of flares that out and as I scale it down it's making it smaller right very easy but also super powerful just to be able to kind of add more faces and start to build this shape now I've only been working on this one plane if I were to rotate this around you'll see I haven't quite captured the the shape entirely on the other side but I could continue to work on this just the same maybe grabbing edges scaling this along one access to add you know kind of the you know intended shape or that intended Flair that you would typically see in this in this object and notice this is also kind of passing through the geometry there but we're gonna stop right there because what I want to do is kind of uncover some other techniques and some other tools that you can use again in service of in maybe one hour's time creating a concept for this that you know we might want to take 3d print hold in our hands make some renderings of and you know and maybe take to a design review and then also the power that we have with these tools in doing that making copies and then making tons of iterations is absolutely incredible and that's what we're gonna get to today so I want to take this cylinder that we started forming and I'm gonna delete it and we're gonna go back to our side view and let's jump into some more examples so I'm gonna go ahead and turn on my sketches and you'll notice that before we met I was already doing some work I mentioned I did this at fusion Academy but I just laid some simple curves on top of my M those are the curves that I want to use maybe the drive may be the reference maybe to create geometry with and I'm gonna show you a bunch of different techniques that we can use to do that so first I want to start off and I can start really anywhere I could start on the the front view the side view I can start with any panel in any technique that I might show you but the one that I want to start with is again in creating new geometry I'm gonna go ahead and we're gonna sweep and I want to use a sweep for a couple different reasons one I want to show you the power of being able to create curves and then drive them in this workspace but also because it's a really great way to take a profile and sweep that profile along a path so now you'll notice in every every new creation tool in this workspace I have pretty similar options so get familiar with kind of some of these these terms that I'm talking about now you'll see in the sweep dialog it's defaulting to eight faces and if you look at the result I have eight subdivisions along I'll call it the kind of y-axis of of my new surface and in the x-axis or you know U and V if you're thinking of it that way I have one two three four five subdivisions which amounts to the same that you'll see in the face dialog over here now I mentioned before start with less we can always add more so I'm going to take this all the way down to one and you'll see that with five subdivisions I only have one span in the you know Y direction or the V direction and the reason I'm doing that is cuz I'll add more later kind of as I mentioned I don't want to over build this I don't want to make this more difficult for myself later you know when I want to go ahead and add some more detail right now I'm kind of capturing broad form I'm gonna start off with just one face in one direction now why did I choose 5 and the other why didn't I do one by one well in this case I already have a good idea of how maybe complex will look back the model here you can see there's a lot of curvature that runs along you know not only the bottom of this of this concept or this nun check that I'm starting to sculpt but in both directions right and I know that if I want to match this kind of complex curve one subdivision is clearly not gonna do it even 2/3 would probably be the closest I could get but I still may not be able to match that closely or closely enough so I'm gonna start off with five and I've also done this before so I know five is a better better place to start off for our example so let's jump back let's jump back into this so I'm gonna go ahead and just hit OK and you'll see just like before it went up and created a sculpted body or a t spline for me to use but also I'm only working in one plane so if I rotate this around just take note I'm working flat right now right and I know everyone is used to these brilliant beautiful examples but this is a really powerful way to start off when you're working in this workspace and that's start with you know faces start with a flat object and then build from there sometimes hard to you know give it the most complex you know curve Network and frankly if I had all of the curves crafted out I probably would better off in the sculpt workspace I'm sorry in the patch workspace and just building that as a as a pouch but the next thing I want to do is we're gonna start to add some more complexity to this surface that we created and what I'm gonna do here is I'm gonna use a tool called match now the majority of the tools that you'll hear me use from probably this point to the end of our session are all going to be located under modify but you'll also notice I'm an old AutoCAD user from once upon a time and I love to type so I'm gonna hit S on the keyboard and I'm likely gonna find the majority of the tools that I'm looking for either in my shortcut toolbox or just by searching for them and I love this because you know if you're new to fusion or maybe you're a part time fusion user you don't have to always remember where things are located you I from time to time will pin things in my shortcut toolbox but I love just searching for them I find it to be the easiest way for me so I'm gonna use match and what match allows you to do is take a t-spline edge and match it to a target and in this case I'm gonna match it to a curve that was already pre-existing and you'll see when I do that it's gonna go ahead and take that edge and kind of suck it to the curve that I created and it's gonna give me a number of different options that we can work through now one that you'll see often in this workspace is you can choose the spacing and the spacing is how fusion will break up the phases or the you know the unv phases that make up that surface and it'll either make them uniform or you can pick curvature which will set in this case you won't see a very big difference but it'll set more phases closer together or more edges closer together where there's higher degrees of curvature now I'm working flat so this is not the best example but just wanted to point out what that is and why you know and how it works in infusion so say ok to that and again we're still working flat I've roughly matched this I'm not gonna fuss with it too much because we're gonna be doing lots of changes lots of manipulations to keep working on this so now let's go ahead and I'm just gonna grab that edge and you could imagine there's many different ways that you know I might want to work on work on this geometry you'll also see I have some in this case I want to turn my my sketch off so I can grab my edge I have this edge and you know I might be kind of forced to or I might be thinking well I should just kind of pull this and you know do like I did before drag it out in space maybe grab on an edge start to manipulate it match vertices to my image and I could in you know a reasonable amount of time start to capture or get close to the example that we started with but that's not what I want to do and not that this isn't a valid workflow there's going to be times where you want to do this but I actually think that with this geometry I have some curves that I want to use just gonna undo back to where we were in this case if I turn on my my sketches I have some curves that I want to use but I might need to create some more so you'll notice I don't have any curves for the front of of this shape right which is a critical feature when you're looking at the design that we're creating so right inside of the form tool set I'll go ahead and create a new sketch and I'm gonna use the fit point spline to just quickly build another curve that we can use and maybe match or extrude with later so again I mentioned Fusion Academy earlier and while I was there I sat in an incredible class that was created and you know delivered by Jake Fowler who's one of our one of the folks on our UX team that's our user experience team and Jake explained the value of creating really crisp in and good curves because good curves create good surfaces and you know the same the same rules apply here that apply to creating sculpted objects and that's keep them light wherever you can right so I'm gonna come in here I might think in some cases you know I you know you might be familiar you might have done this before you know I might think boy this is a complex shape I should come in and you know build a bunch of a bunch of curves to try to more closely match that shape but one thing that you'll see and you can also come in here and use the curvature cone to to take a look at the result is that it's not gonna give me a very great result and whoops I think I'm there we go let's go back in there and into the sketch palette and no there we go let's go back to sketchy sorry guys back in here again I could look at the curvature cone and what you can probably already tell is that I've over built this curve I've got way too much way too many points that are defining it and I want to keep them as light as possible so same as what I would typically do with with my my sculpted objects so you'll see here you know not only are they not in line and clearly I did that purposely by just kind of cooking quickly through space but you know if you compare that to the curve on the other side which was you know kind of created a little bit more quickly I might start to come in use that comb to inform or you know give me some insight into how to make that more uniform around my shape now the reason I'm not gonna gonna spend too much time doing that and again I would just like I mentioned before use the handles to start to craft this into something that's much more uniform but more importantly I'm not gonna fuss too much because I'm only creating that curve in surface in service of creating a 3d curve which will kind of be the connection of my two sketches and also where I want this surface to come together so I'll show you what that means now as I mentioned before with this first surface that we started to create I could use the same match tool that I mentioned before and maybe grab this edge and match it to the curve that we just created but that's not the right location right because this not only matches the sketch that we just created but it also matches the sketch that I had previously created right you'll see the red line and the new sketch line they need to work together right really that edge those two edges move together and come together in space and that wouldn't be the right answer for what I'm trying to do the tool that we want to use in this case is down under create in the sketch environment and under project include you'll find intersection curve and if you hover over that tooltip it explains it really well what an inert what an intersection curve does is allows you to take a sketch curve and then find the intersection in space with another either sketch entity or a curve or a face so what I'll do in this case is first select my new curve and say that I want to find kind of that intersection between that and we'll zoom in here so I can get the right selection and that edge in space and you'll see with the projection that it creates for me satisfies both curves ranked one and two in space and will allow me to now take advantage of that match tool one more time and that won't be the last time we use match but allow me to go ahead and match that to that geometry and now if we just kind of look at it I'm not only kind of close to the original sketch that I created but also from the front view we're nicely matched up along that edge as well so again really nice tool to use especially if you want to drive your your forms by curves in in this workspace all right so let's continue to move on we're going to go through probably the same set of of workflows a couple times and I'm doing that on purpose one just so that you can continue to see how these tools work but also because there's little tips and techniques inside of this that maybe address different scenarios so I'll show you what I mean next I'm gonna go ahead and we'll use extrude and just as I mentioned before we can always take a you know a profile and extrude that as well now just like I mentioned I probably want to grab that intersection curve again in space so I'll go back and we'll edit sketch eight I'm going to do the same thing do an intersection curve this time I'm gonna project from my front curve and then I want to grab this next curve and in my profile that's kind of you know the mid in some case it's kind of like the invisible edge where my front surface and my side surface come together there might be a blend or a fill it there but that's kind of what I want to drive along I want to have that nice crisp edge in space and once I do that we'll go back into our sculpt I'm gonna turn off oops I'm going to turn off some geometry here just to clean it up and we're gonna use extrude and I'll extrude this out now you might be thinking why on earth am I shooting that in the wrong direction which would be a very valid question why don't I extrude it back well I can it's a little bit harder for you to see I'm gonna extrude it this way because really I'm taking that curve and I'm purposely just extruding it out so I have the geometry I'm also thinking right now by default I don't want to use 8 faces because I know that this surface is going to mate with the other surface we created and that has 5 faces now not that I couldn't subdivide one or the other later and not that we can't join them together when they're not multiples of each other but I don't want to start off with you know misaligned topology especially this early in my design so whenever I can I'm gonna try to maintain topology meaning the kind of breakup and the math of my surface that's even with one another so I'll just say ok to that and you'll see I kind of extruded my surface in the wrong direction and I did that because this edge matters this one doesn't or it doesn't belong there and it didn't belong in the other direction either what I'm gonna do is use a tool called weld vertices and what weld vertices allows me to do is grab one vertice and weld it to another and I'm gonna just quickly go through these examples and basically think of it like you know you're a surgeon we're just kind of stitching up this surface on maintaining that first curve that we created and I'm stitching that to the second one that we're creating I'm also gonna go ahead and leave creased edges on and the reason I'm doing that is because I just want to kind of stick with as closely as I can the kind of intended curves or the intended features that I I sketched out previously and if I were to turn that off fusion will automatically create a perfectly smooth g2 if you're familiar with that term blend between those surfaces it would look something like this which is kind of also a really nice blend that I might have there but that's not my goal at least at this point and I can always do it later so just so you know make sure you know you can always crease you can always on crease Fusion is so powerful it allows you to go back and forth and we can even have a combination of both and have a crease that blends and kind of disappears into a perfectly curvature continuous surface all right let's March on so the next thing we're going to do going to be the same workflow I'm going to grab just another edge because I want to maintain that kind of front profile I will extrude it this time we'll kind of go in the right direction I'll extrude it as five faces say okay and we'll weld one more time there's some other tools that might work here you could try like a merge edge but I'm a big fan of weld vertices because it allows me a lot of control you'll see I have a few options I can weld vertex to vertex which just as it sounds first selection moves to the second selection vertex the midpoint would take the two selections and kind of average them out or put them in space together and weld within a tolerance allows you to specify a tolerance to weld them within so as I mentioned I like this because I know this vertices in a good spot this one's not so I'm gonna purposely move the first selection to the second selection and there we go and say okay so now so far so good we're kind of moving along I like what we have so far but for one I've only been working on half of my object not a problem but something I might want to consider and there's some tools in in this space that will help you along the way so the symmetry tool if you're working on an object that's symmetrical is a great way to work on one half of a product one half a design and have fusion automatically mirror and do the same updates on the opposite side now as I was kind of alluding to I'm working on half I'm going to go ahead and use mirror duplicate which will take the geometry that I created and then duplicate it'll give me a second set of geometry on the other side and when I okay it's going to do a couple things first it's gonna well together the bodies on either side which whoops I already saw that I missed a step something that I wanted to show you but you'll also notice that when it welds them together especially on the front the front of this object it's kind of starting to pull it in right so if I hit undo you'll see I'm still kind of matching that curve but when I did that weld they kind of pulls it in and that's because fusion is always maintaining that perfect continuous surfaces between between faces unless you have a crease so again G to perfect G zero there's a crease there but also it's taking those two objects and they're within a tolerance and I had weld turn on so instead of putting them as a hard edge it's going to average them out and kind of make that a nice perfect surface right between the the blend so going back to our design I'm kind of okay with that one thing that I you know was I didn't really mention yet but I'll point out now is you'll see in some cases I'm using curves too I'm using curves to drive my design but also remember that the sculpt workspace is a direct manipulation environment and it's not what I mean by that is it's not parametric in parametric if you're familiar with kind of solid modeling again in the solid workspace even the surface workspace inside of fusion means that if you change those curves the surfaces or the solids or whatever you create off of them will update automatically now that doesn't happen here in the sculpt workspace but it doesn't mean that I can't continue to use those curves you know to craft and drive my design so going back to what we just did I'm gonna do mirror duplicate I'm gonna mirror our our design along this plane say okay you'll notice it kind of pulls it off of that sketch but that's alright because I'll just come back I'm gonna use match again I just want to you know be aware and continue to mane that feature profile in the front and there you have it now one thing that you might also see from time to time is when you use symmetry there might be times where you know fusion it'll give you a little warning and it'll tell you that you know it can't maintain symmetry you can always clear it and in most cases in some cases put it back on and maintain that you know now one selection the blue side is symmetric to the yellow side and if I were to make changes to one side the other side automatically will will update right it makes it super easy to work on a part like this that is symmetrical all right so let's keep moving on so the next thing that I want to do is you know maybe start to figure out the back half of our design and there's a few things that I might want to try so for one you'll see it's it's kind of open on the top and it's open in the back and there's a couple things that I might try the first one we'll use is a tool called bridge and what bridge allows you to do is but just like it sounds bridge one side or one selection of faces or edges to the other side and it also will work with as long as you make multiples long as your selections are multiples of each other so you'll see two faces can bridge two one four could bridge two two two can't bridge two three and you'll get a little warning down here that tells you exactly that they must be equal to or multiples of each other so keep that in mind I'll just unselect the edge that we did here I get a quick preview I'll say okay and now I've kind of started the the bridge across the top which does not have a creased edge which I'm trying to maintain along my product so we'll just right click crease and then same workflow that we did before we'll use weld and I'm gonna weld this vertice to that vertice and there we go so working with again the same tools that we've been before I might also want to come in and match that top edge it's something that I wasn't really worried about prior but feels like it's feels like it's time for us to do so so I'm gonna grab that edge and match it to this sketch profile and say ok you'll see looks like maybe something went awry with my symmetry fusion wants to remove it which is fine I'll clear it and then what I'm gonna do is just put it back on and say that these two edges are those two phases are symmetrical and then we can keep kind of driving our driving our design alright so now now the underside or kind of the bottom that we were working on here a few different ways we could do this we could extrude we could build faces what I'm gonna do is I'll just stick with the same kind of workflow that we started with earlier and I'm gonna build a surface from the curve that I created this time I'll make it symmetric and just kind of drag it out in space and then I'll use the same tool we did before let's go with weld vertices and whoops you'll see I missed click there but that's ok so as I go to weld you'll notice I used eight faces again right stuck with the kind of default and wasn't paying enough attention now there's a couple things I could do I could undo and delete this I could also come through and grab edges and delete them all right and then fusion will rebuild the rebuild the surface making it maybe the five or you know the selection that I was looking for before but what I'm gonna try to do is we'll just undo this because I want to maintain that that extrusion I'll just because I caught it at the right time we'll go ahead make sure that I hit five we'll extrude this symmetric in space say okay and then again we'll weld those vertices back together all right so now we're kind of really starting to to get this get this put together oops I want to weld one two - one two - just kind of stitching this back up you'll see fusion automatically turn that red because it's not able to figure out the symmetry because I only did one side right so now we'll come and do the other side and within just a couple seconds here we should have the back part of this design kind of stitched up and just make sure I get the right selections say ok and there we go it looks like I got one more and I know this because I've done it a time or two before that actually looks good right looks like everything's fine but why do I have this crazy kind of pinch in the corner so one thing that's really helpful if you grab on any of your objects and under utilities you'll find there's different display modes and one that I'll use frequently probably 50% of the time when I'm designing is box display and what box display does is takes your object in this case it it has fusions stop calculating the smooth representation of the surfaces and just gives you kind of the caged representation and a lot of times that will show you imperfections or you know maybe topology that you didn't expect and it's a really great tool when you know you can't kind of figure out why maybe your surfaces or not as you expect it now what I know happened here is I missed a weld right here on the center which will continue calculate that smooth curvature along that edge and there we go so let's go back let's look at what we've created so far I like what I've got I have to do one more quick match so what I'll do is just clear that symmetry and then I will put it back in I know that seems a little tedious but it's just something that might happen from time to time but once I come back in and match that edge together oops double-click it selected the entire edge loop which is kind of not what I want now that that's all stitched together it's gonna continue all the way around I'll remove that selection and then just be a little bit more purposeful with the selections here and match that to that selection there and I will say okay all right so let's see how we're doing on time good we're about 40 minutes in hopefully this is really helpful I know there's been some questions coming in Brad's been you know kind of answering them as best he can along the way and I'd be happy to you know kind of look through some of those and in answer any other questions that you know kind of still out there but what I want to do with the time that we have left is you know continue to take this a little bit further but also talk about how this comes together outside of the sculpt workspace so you'll notice I still have an open edge down here at the bottom so I'll use the bridge tool just as we did before Bridge is a great tool to work in this scenario sometimes I might want to try something like you know just building the faces manually you'll also notice you know I'm doing this as two faces and I kind of already have the foresight of knowing that if I did this as three I'd have a funny and have a funny topology at the bottom right I've got two faces down here two faces on the front side so I want to maintain one two three four and a nice continuous kind of smooth transition right even though those are unwelded you'll see that 1 2 3 4 1 2 3 4 faces will continue to kind of flow together across the bottom part of my design so we'll just weld this back together keep that curvature in the front I'll weld together I might have to come in here real tight to make sure I'm picking the right points will weld that together and say okay I can also tell you know there might be I might want to look at what's the surface continuity down here at the bottom I'm just gonna make a quick edit to it so that it doesn't kind of dip and have a you know have like a reverse draft or like a weird pitch on the bottom but in just a couple of minutes I have something that I'm kind of happy with right again I might want to take a look up here at this top part same you know same rule applies I think this point in space is you know potentially oops not without symmetry at this point in space is potentially not you know as aligned with my sketch as it was previously so you'll see as I pull that out it'll kind of fly in that out and I'd like to think if I turn back on my my canvas is here yes that's much closer to the intended design than it was second go so now I have something created right I've got a nice continuous body that will take over to the solid workspace mind you there's a lot of other things that I can do here I've been working with creased edges purposely all along I kind of mentioned before but if we take this and on crease it well now we'll take a look at what would this look like with you know kind of a G to blend across that edge you know maybe what I might start to think about is doing a copy and paste right I've gotten so far but now I've got you know design one and designed to write so I can start to you know start to look at alternates or you know design alternatives right here very quickly and easily in the the form workspace and certainly take these to be you know printed or rendered or whatever I want to do next so let's do that I notice there's one more thing that I missed down here I'm missing a crease on the bottom so I'm gonna go ahead and crease that so that my so that my my crease runs all the way around the part and I think I have to there we go I've got two of the same bodies on top of each other so we'll delete one that was just a kind of miss click on a quick copy paste from a second ago all right so now with that created we're gonna hit the green button finish form and voila everything that we just did in the sculpt workspace this is my favorite part this is truly the magic of working in fusion 360 everything I just did in that form workspace moves over into the solid workspace and in this case it automatically a solid body because I had a kind of continuous watertight solid in the forum workspace and fusion will automatically convert that over into a solid if it wasn't if I created an open-ended surface if I jump over here you know I think you'll see an old example of something I created previously fusion will create a surface and that's a surface that you could take into the surface workspace and build a patch or you know fill or slice dice whatever you want to do with it so just remember that the the form workspace is not intended to be the only tool in your toolbox the beauty of Fusion is that you have all of these workflows working together that allow you to really easily you know work in the right workspace with the right tools at the right time so the last thing I wanted to do is let's kind of work with some more traditional solid modeling features on on the design that we worked on so I left these creased and I left them creased again for a reason maybe I know that you know we have a specific Filat that we want to put on that edge right unknown you know kind of unknown dimension maybe that's you know it's an eighth of an inch or it could be a sixteenth of an inch or you know three millimeters or whatever that might be you know for your design so I'll add that in there I call it could also come in make sure that it's at g2 fill it I might want to change it from a constant radius to a variable radius which you know would give me the ability to have a you know maybe a really tight radius at the top but a kind of thicker radius along along the intersection so there's just lots of lots of options that you have here you know I'll make this an eighth of an inch and I'm just kind of winging it now because I'm having fun I hope you guys are too so we'll just go and I'll go point six to five top and bottom and you'll see that you know my blend is kind of going from a tighter Filat to a thicker phillyd and then back to a tighter fill along the way but that wasn't my intention we'll just go back to constant we'll leave it at a sixteenth of an inch I can check it out right I went started off with that creased edge now I've got a nice you know kind of blend that is right on that feature line and then the last thing that I want to do is let's go ahead and I want to split this part maybe split it and shell it because you know I'm gonna go ahead and 3d print it and I want to use that I want to use that geometry to you know eventually create something that's manufacturable something we might make a mold from or you know in this case just 3d print for my design meeting that's in 11 more minutes so let's cut back into fusion and we'll talk about what else we can do so with the geometry that we created I'm gonna go ahead and first I'm gonna create a patch and I'm gonna go into the surface workspace again from solid to surface I'm just gonna grab that kind of hard edge here and create a patch and you might wonder you know why I guess all right why am i creating a patch I'm doing that just so I could you know basically extract oops that kind of parting line or that you know that hard edge that I left in my in my design there we go actually let's grab it one more time I think I've I've got like fat finger itis today and I'm grabbing the the wrong selection so we're gonna chain select this around our part and there we go now we've got it so I'll say okay to that and if I were to turn off my solid you'll see alls I did which is basically build back in a surface that is that that hard edge and I'm gonna use that surface to go back in the solid workspace and split my part so underneath the modify menu you'll see split body and I'm gonna go ahead and split our our remote control and I'm gonna split it with that face and extend the split tool just so that you can see it's going to run all the way the rest of the way around the part and split that solid into now to solids so down at the bottom you'll see you know 37 and 35 are the two sides of my of my controller and I'll turn off one side and what we'll do now is use the shell command to shell this too you know I don't know maybe sixteenth of an inch and say okay now one thing that I know you know you might be very familiar with if you've used solid modeling tools in the past and you know I was its happen to me and just kind of prepping and working through this example previously is sometimes you might find an example where I tried to shell this but it creates a really tight or you know it almost overlaps itself in that bottom corner because I made that almost too tight I think here's the great part about Fusion even though the form tools are not parametric they are parametric in the sense of the timelines so I can jump back into the the form environment and you know maybe as I mentioned that is too tight of a of an exchange I could me pull this out you know make that not so pinchy down at the bottom hit okay hit finish form and then it's going to go through and recalculate right back through and right through the shell and the split of course the other side of my body updated automatically as well and I'll do a shell on this side and in just a short amount of time and has promised to my friend Brad who's been patiently answering the questions over there in chat in you know less than maybe an hour in this case we were able to create a controller right and again this is just a quick concept I might have to take it a little bit further add in ribs and bosses or you know cut out the holes for the buttons but you know you'll see how quick and easy it was for me using the form tools but also not just using the form tools as you know a wild push-pull way to make lumpy mashed potatoes right I want to make sure that I'm using the power of the t-spline tools too you know to manipulate geometry easily but also the power of sculpt sorry of solid and surface and curve geometry to define and make sure that I'm creating high quality surfaces with this tool set so just jumping back over really quickly you know I think I started off and I actually don't even remember if it was turned on originally now here's an example of you know something that you know would be kind of taking this a little bit further and starting to add in some some more features buttons but you know again in in just a short amount of time you'll see how we were able to kind of define and create that create that geometry and and it's only gonna be a little bit more effort to take this through to something that's you know gonna be a great example of a high quality consumer product that we might take to manufacturing or you know we might be pitching in our design meeting later today so as I mentioned you know Brad's been answering questions if there's any other questions please keep them in their comments down in the field we're always watching we're looking for your suggestions so if there's a session that you want to see us you know kind of take a stab at in the future or something else that you're you know kind of curious a workflow that you want to learn more about please feel free to reach us through this channel it's been a pleasure to get back on here it's been a while since I've had a chance to do a live stream so hope this was helpful again hope to see you soon and have a great rest of your day take care [Music]

Channel: Autodesk Fusion 360

Views: 27,383

Keywords: fusion 360, autodesk, design, engineering, mechanical design, mechanical engineering, industrial design, product design, software, CAD, CAD software, Computer Aided Design, Modeling, Rendering, 3D software, Autodesk fusion 360, cloud based CAD, CAD in the cloud, cloud, Free CAD, Free CAD Software, Autodesk CAD, cloud manufacturing, free CAD program, 3D CAD solution

Id: 5hRV1nnhAQI

Length: 58min 15sec (3495 seconds)

Published: Thu Sep 12 2019