Join Taylor Hokanson for an in-depth discussion in this video Begin the sketch, part of Learning Autodesk Fusion 360.
- [Voiceover] All right, we're finally ready to get started with some actual modeling in Fusion 360. And the first thing I want to do is open up my data panel, and open any previously created work. So here, you can see, is the first version of the project. It has nothing in it in our Projects area, so I'll double-click that to get it loaded. Here we are, getting started version one. And I love this, that it keeps tracks of the versions for us. As we make more versions I'll show you how to navigate through those. Okay, now down here in my Projects area, I also see this image that I added from Wikipedia, with the Strandbeest_Leg_Proportions.
If I double-click on that, it'll bring it up in a 360, which I already have pre-loaded right here. And there's a couple things you need to know about this drawing, as we enter into this design. So first of all, this area right here, this member, is gonna rotate around this diameter, and that's what drives the entire leg, causing the tip of the leg to move in this fashion. l and a will be the first things that we'll illustrate, because it gives us the distance between these two fixed points. So here's the drive, but this is also a fixed point. You should also know that these areas, e, d, b, and h, g, i, are rigid triangles, so the members connect together these rigid triangles.
And altogether, when m turns, that's when we get the appearance of a walking type motion. So a and l are the first things we're gonna create. l is a little tiny one, that's 7.8. I'm going to do this in millimeters, just for convenience. And then a is 38.0. So let's get that stuck into Fusion. Okay, so I can hide my data panel, and now we're going to start working on the toolbar, which is really where all the goodies are in Fusion. You can see that the workspaces are listed right here, MODEL, PATCH, RENDER, and so forth.
But there's many different tools that, when you click on them in Fusion, it takes you into the equivalent of a workspace, where you get extra things you're allowed to do. And then there's also a lot of limitations, because of the area you're working in. So I think of SKETCH, really, as a workspace, although it might not be technically so. If I click SKETCH, and then say Create, the first thing I'm prompt to do is to select the plane I'm working on, because there's no geometry to tag this to yet. So I want to be on XY, looking down from the top. The view cube automatically pops into place.
And then I start to get all these options from the SKETCH palette. So we'll come back to this in just a second. When I'm all done, you'll see I click to get out of SKETCH mode right here. Okay, so I'm going to grab the line tool, and because I have my grid snap set to on, this should be nice and easy. Click here once on zero, and I start to stretch this down. And the first time out, I'm just going to make it sort of an estimate. I want these two lines, and then I'll hit the check mark, I think esc may work, too, which tells me that the command is at an end. And I'll hit esc again, so that, not about to make a new line.
So as you start to make drawings in the SKETCH palette, you'll see that there are a number of glyphs, so called glyphs, these little icons that start to appear. And those will let you know of constraints that have been added to the drawing. So this is a 90 degree angle, so I get that little indication right there. This one, it took me a while to figure out, but it's horizontal and vertical, so that relationship to the canvas is completely orthogonal. Now if I want to make sure these lengths are correct, I can hit the letter D on the keyboard, and then if I click at the origin, and at the end of that first line, it will tell me what it currently is, which is 20 millimeters, and I click to edit.
Although we know that we actually want this to be 7.8, this is member l, so when I click that, the cool thing here, you'll see, is that this piece updated. It got sucked up as member l got shorter, because of this parametric approach to drawing. I can also just carry straight through and make another dimension, and this one's actually supposed to be 38. So I hit enter, and both of those two are looking great. Now if I hit esc to get out of that dimension tool, I can come back and double-click these, and change them any time I want.
Now because these aren't going to be actual, in-motion pieces of our drawing, we're just using them as a reference, I'm going to select this whole area and right-click, and then tell it to Fix/Unfix. So when I fix these in place, it'll all turn green, and then I can no longer move them. I'm just curious, though. And it looks like, indeed, Fix will also prevent me from changing these things in dimension. So that's what we want, because we want these things to not change, so that we can hang other options on them. Now if I go up here to hit STOP SKETCH, you can see that they're still fixed, they're still green.
And now I have this new area in the browser, where I've got my sketches that I can turn on and off. And I probably want to be careful here, and start naming this stuff. So I can say that this is A/L, so that we can keep things nice and organized.
This course is an overview of the interface and the modeling, sculpting, and rendering workflows in Fusion 360. Taylor Hokanson shows how to import reference images, use the sketching tools, extrude 3D shapes, combine components into assemblies, and render animations that show your designs in action. Plus, learn how to sculpt organic shapes by editing T-Spline forms. This course has everything you need to use Fusion 360 to translate your ideas into elegant CAD drawings and fabrication-ready designs.
- Navigating the Fusion 360 interface
- Sketching triangles and struts
- Geometric modeling
- Organic sculpting
- Combining geometry
Skill Level Appropriate for all
Q: This course was updated on 10/30/2017. What changed?
A: The following topics were updated: drawing struts, copying the master strut sketch, and using the T-Spline box.