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Let's dive
into your project with a strong start.
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First and foremost, I recommend
saving your project immediately.
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This simple habit keeps your work
organized
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and safeguards
against any unexpected data loss.
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Now let's get into creating
your components.
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For this project you'll be working with
two essential parts, a hexnut and a bolt.
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Right
click in your browser to create them.
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Since this isn't a sheet metal project,
choose the standard type.
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We'll be using a top down
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modeling approach,
so selecting internal is the way to go.
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Naming your components clearly is crucial.
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It makes everything easier to manage.
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Your top level component
will act as the parent,
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which is perfect for our setup.
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Typically, you'd leave
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the activate option checked to start
working on your new component immediately.
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However, since you're creating
both components right from the start,
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you can leave activate unchecked for now.
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This keeps you in the main component,
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making it easier
to manage your initial setup.
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Once you click OK, your bolt component
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will appear in your browser,
ready for you to start building.
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This organized approach sets a solid
foundation for the rest of your project.
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Imagine the small anchor symbol as a sign
that this component is firmly attached
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to the parent component,
much like a rigid joint.
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While you won't need to worry about this
for our project,
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I thought it would be useful to mention
in case you were curious.
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Every action you
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take is recorded
in the timeline of the active component.
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This handy feature allows you to easily
navigate through your model's history.
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Just ensure
you're working in the correct component
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to keep everything
organized and aligned with your plan.
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We'll start building our 3D model
from a sketch.
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I'm creating a bolt
that will stand upright,
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so using the horizontal construction
plane is ideal.
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You have several polygon options,
but I suggest using the top two
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since they let you create a polygon
from a central point.
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Using the origin as your center point is
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particularly helpful because it provides
a consistent reference,
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which you will see in action later
in our project.
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You can size your polygon
any way you like,
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but it's important to understand
what the measurement represents,
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the distance from the center
of the polygon to its side.
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Notice the blue infill?
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That means our sketch is closed
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and a polygon
constraint has been automatically applied.
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Change the length to one side
and all sides will adjust accordingly.
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Now here's a time saving tip.
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Instead of exiting the sketch before
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making your next move,
go straight to the next step.
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For instance,
if you press the “E” key, you will exit
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the sketch environment and jump directly
into the extrude command.
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For this example,
I'll set the height to ten millimeters,
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but feel free to experiment
with different dimensions.
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We need a closed profile
that starts from the profile
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plane extending ten millimeters
without the taper angle.
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This setup is
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perfect for creating a new body
within our active component.
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You've built the foundation
for your first component.
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Great job.
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Before we move forward,
it's a good idea to save your work.
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This way you can always return
to this version if needed.
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When I hit save,
it still says V1, version one.
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But as soon as we start
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the next step, which is sketching,
the file will update to version two.
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Let's dive back
into sketching our bolt component.
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This time we'll use the face of the
component instead of a construction plane.
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This approach lets us sketch
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exactly where we want
the next part of our design.
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For this part of the design,
we need to create a circle.
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It's a good habit to use keyboard
shortcuts to speed things up.
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By pressing the “C” key,
the circle command becomes active,
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which you'll notice by the blue highlight
behind the circle icon in the toolbar.
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Remember, I asked you to center
your polygon above the origin.
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This is the second time
we're using the central point over the
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origin, ensuring
that both our circle and polygon
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are perfectly positioned
relative to each other.
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I'll give the circle a diameter of 20mm,
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but feel free to experiment
with other dimensions.
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You can always right click your sketch
in the timeline to edit it later.
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Any changes you
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make will update all subsequent actions
in the timeline.
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To save some time, press the “E” key
to activate the extrude command.
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For the extent type, we'll type a distance
since we're not extruding through
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or to another object.
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We'll start at the profile plane
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where we made our sketch
with the direction being one sided.
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The taper angle
isn't relevant for our design here.
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Lastly, don't forget the operation
drop down menu.
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Autodesk Fusion suggests a join operation
which works for us
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since we want everything we've modeled
so far to be included in the same body.
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But remember, there will be times
when you'll need other options
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from this menu, so keep an eye on it.
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Your bolt needs a thread, which you'll
find in the create drop down menu.
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The image shows an internal thread,
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but this tool works
just as well for external threads.
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Our entire bolt will be threaded,
but you can easily uncheck the full length
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option
if you want to set a custom start distance
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and thread length.
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This thread
is just a visual representation.
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If you want to 3D model the thread,
which you might need to do
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if you're planning to 3D to print it,
you can check the modeled box.
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Keep in mind that modeling the thread
makes your design more complex.
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While this won't be an issue
for a small project like ours,
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it can slow you down on larger projects.
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So unless you need
the fully detailed thread for printing
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or other purposes,
you can leave modeled unchecked.
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Regarding thread type,
size, designation, class, and direction.
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We'll just note that standardized options
exist for these settings.
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However, we won't dive
deep into those details for this project.
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By using the default settings,
you'll still get
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a functional and visually accurate thread
for your bolt.
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This approach keeps things
straightforward and efficient,
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allowing you
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to focus on the overall design
without getting bogged down
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in complexities
that aren't necessary for this tutorial.
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Every action you take
is recorded in the timeline below.
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This timeline is specific
to the bolt component.
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When you move on to the hexnut component,
a fresh timeline
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starts capturing your actions
there as well.
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Now, as you begin sketching, it's
important to utilize the bolt component.
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While we could create a new polygon,
that would be a mistake and add
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unnecessary work since we want the hexnut
to match the size of the bolt exactly.
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Instead, let's
make use of your original bolt sketch,
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which is conveniently located
within the bolt component.
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To do this,
go to the create menu and select Project.
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The selection filter allows you to choose
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whether you want to project
from the sketch or the body
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By using the projection link
you are ensuring that any changes made
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to the original sketch or body
will automatically update the projection.
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This is especially useful
if you ever decide
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to adjust the bolt size,
as the hexnut will adjust accordingly.
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Now you'll see a polygon
sketch on top of the bolt.
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The purple color
and the projection symbol indicate
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that this is a linked projection.
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Next, activate the extrude command
by pressing E
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and create the extrusion.
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I'll measure the bolt
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to ensure the hexnut
matches perfectly in size.
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If you get an incorrect measurement,
no worries,
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just right click and select
Repeat Measure to correct it.
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We obviously need a hole in our hexnut.
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Instead of just drawing a circle
and cutting it out,
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we're going to use the hole command, which
you'll find in the create dropdown menu.
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It's a good habit to use
keyboard shortcuts whenever you can,
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so I'll go ahead and activate
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Design Shortcuts
by pressing S and searching for hole.
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Now, while the quickest way
would be to press H for the Hole command,
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searching is a great backup
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if you ever forget the shortcut
or haven't learned it yet.
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We need to position this hole correctly
and once again
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will align it
with the central point at the origin.
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It can be tricky to spot the origin
behind all the other components,
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but here's a tip.
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Press and hold the left mouse button
to reveal a menu.
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Then select O
to move your hole to the origin.
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For quality assurance, it's
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always a good idea
to check your work from different angles.
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While the hole command might look perfect
from the top view,
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a different perspective could reveal
some issues, like accidentally
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cutting into parts of the design
that you want to keep intact.
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We certainly don't
want to cut through our red parts.
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To fix this
you can adjust the hole settings.
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Changing the extent type to all
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isn't helpful here, because it would drill
through the entire bolt component.
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Instead, I'll set the depth
to match the thickness of the hexnut,
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In some cases, you might prefer
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to link the depth to another object
so it updates automatically,
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but that's more advanced than we need
for this basic
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tutorial.
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As for the hole type,
let's go with the threaded hole
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matching the settings
of your external bolt thread.
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Everything's looking
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good so far,
so let's continue refining the design.
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In the Modify drop dropdown menu,
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you'll find a wide range of commands
to tweak and refine your design.
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As you might expect, the Create dropdown
is where you build your components
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and the modify menu is where you fine
tune them.
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One useful tool here is the chamfer tool,
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which lets you remove material
from your edges.
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To get started, select the edges
you want to chamfer.
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If the distance value window
gets in your way, no problem,
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just press and hold your mouse button
until a small hand appears,
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allowing you to pan around your workspace
and get a better view.
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As you select more edges, keep an eye
on the bottom right corner of the canvas.
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You'll see the number of selected edges
update in real time,
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so you can be sure
you're working on the right parts.
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Once you've made your selections,
go ahead and add a distance,
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but don't stop there.
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There's more to the chamfer tool
than just setting a distance.
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For example, you can experiment
with the blend corner type,
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which I think will give our hexnut
a nice smooth finish.
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If you prefer a different
look like a sharper edge, try
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the chamfer or miter corner types.
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The key takeaway isn’t to memorize every corner type, but to stay curious
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and explore the different options
available in various command environments.
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Once you're happy with the settings, press
OK.
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Personally, I think the hexnut is looking
even better than the bolt, so let's apply
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the same chamfer to your bolt
and keep that sleek finish consistent.
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Before you dive into any work,
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make sure to activate the component
you intend to work with.
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This is crucial,
especially if you're planning
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to tackle more complex
projects down the line.
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We're going to keep reinforcing
the use of shortcuts.
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Instead of going through the modify
drop down menu this time,
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I’ll simply right click and choose
Repeat chamfer.
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This saves time and keeps the workflow
smooth.
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Now go ahead and select all your edges.
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There should be 18 in total, which
you'll see confirmed in the chamfer menu.
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We're
going to stick with the same settings
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a one millimeter chamfer
with an equal distance type,
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and the blend corner type
to give it that smooth, polished
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look.
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You can bring your components
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to life by working with either materials
or appearances.
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Think of appearances as purely cosmetic.
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They're all about the look.
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Materials, on the other hand,
not only change the look,
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but also add physical attributes
like weight and strength.
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In simpler terms, appearances
handle the color, while materials
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bring in both the color
and the engineering properties.
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Now, in this project, we're not diving
into the engineering side of things,
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but let's apply a material
just to get familiar with the process.
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Materials are organized in folders,
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and all you have to do is drag
and drop them onto your component.
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You'll notice
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that many commands and workflows in Fusion
are designed to be intuitive,
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so even if you haven't used them before,
you can often guess your way through.
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Let's switch over to the hexnut component
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and repeat the process
with the physical materials command.
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I'm going to choose a sleek red metal,
but you're welcome to explore the Fusion
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Material library and pick
whatever color and material you like best.
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It's time to bring your components
together.
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To do that, head over to the joint command
or simply press the keyboard shortcut J.
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Whenever a command has a shortcut,
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you'll see it listed
right there in the dropdown menu.
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Before selecting your components,
make sure to choose
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the correct joint type.
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For this project,
we want our hexnut to both slide and rotate
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around the vertical axis, making
the cylindrical joint the perfect choice.
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When you start selecting components,
remember that the first one you pick
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will move first, so we'll select
the hexnut component first.
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As you can see,
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I made a mistake trying to place the joint
exactly centered above the hole.
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Here's a pro tip to make it easier.
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Hover your mouse over the face while
holding down control if you're on a PC.
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This trick helps
you snap right to the center with ease.
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You can use the same method
when snapping to the bolt.
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Now your hexnut will reposition itself
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according to your joint and you'll see
the joint appear in the model.
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Next, let's talk about motion limits.
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You have two options
here. Rotate and slide.
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We'll start with the slide.
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You can set limits
for how far the hexnut can move.
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For instance I'm setting the maximum slide
distance to 50mm.
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And you will immediately
see a demonstration of that limit.
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The rest position is
where the joint will naturally settle.
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Since I set the slide limit to 50mm,
it rests there.
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But if I had set it to 25mm,
the joint would rest at 25mm.
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The hexnut moves deep into the model.
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So let's set the minimum slide
limit to 0 mm.
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This is where we initially set
the joint snap.
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Meaning
any positive value moves above that spot
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and any negative value below it.
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You can preview
how both rotating and sliding
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limits will look by selecting
those options.
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It will be more realistic
and frankly, more impressive
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if the joint rotated back
once it reached the top.
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Let's make that happen.
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Find your joint in the browser and model,
right click it and choose Edit Joint.
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In the
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Joint Motion Limits options,
go to the rotate section.
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Once you activate the limits
and set some degrees, you'll see
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an illustration of your settings
right around the joint in the model.
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For this basic tutorial,
I'll set the minimum rotation
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to zero degrees
and the maximum to 180 degrees.
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Make sure to check all limits before
previewing.
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Now the hexnut rotates
180 degrees, pauses,
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and then returns another 180 degrees
backward.
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It's pretty mesmerizing to watch,
but let's keep moving forward
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with our project.
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When it comes to renderings,
you've got options.
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You can do them locally or in the cloud,
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and some are free,
while others might cost you.
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For this tutorial, we'll keep it
simple and create an In-canvas rendering.
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First, switch your workspace
to render in the top left corner.
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You'll be rendering
exactly what you see on the screen,
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so it's a good idea to hide any elements,
like joints,
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that you don't want to include
in the final image.
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You can easily do this in the project
browser by toggling visibility.
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To get started,
right click and open the scene settings.
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You'll notice that many of the settings
and shortcuts feel familiar
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if you have used other computer programs
before,
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like right click contextual menus
and various keyboard shortcuts.
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Rendering in Autodesk
Fusion is straightforward.
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One of the basic settings
you'll need to decide on
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is whether to use a solid color background
or an environment.
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Simply drag and drop your preferred
environment into the scene, and don't
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forget to change the background setting
from solid color to environment to match.
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Adjusting the brightness, positioning,
and other settings
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like shadows and reflections is intuitive
and easy to grasp.
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If your chosen environment has lamps,
you can easily position them in relation
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to your object using the rotation
command under the position settings.
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There are,
of course more advanced settings
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you can explore later, but for now we're
focusing on building a broad skill set.
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We'll get into the more specialized
features of Autodesk Fusion
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once you've got the basics down.
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You can start your render directly
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in your Fusion canvas
using the In-Canvas Render feature.
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It's straightforward.
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Just press the in Canvas
Render Play button to begin.
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As the rendering process unfolds,
you'll see the elapsed time and iteration
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number appear in the bottom right corner
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while your image gradually
takes shape on the canvas.
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If you want to increase the number of
rendering iterations for a sharper result,
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just drag the little icon
that looks like a cat ear to the right.
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When you're happy with how everything
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looks, simply press the capture
image button to save your rendering.
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Once you're happy with the settings,
validate the first menu by clicking OK.
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If you'd like to rename your image,
now's the time
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to change the image name and select
your preferred file type.
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I'm going to save this project
to my local computer, but remember, you
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also have the option to save your image
directly to a project in the cloud.
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Our image turned out fantastic,
especially considering this was a free
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rendering done with standard settings
and completed in just a few minutes.
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00:19:20,520 --> 00:19:21,880
And there you have it.
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You've successfully completed your hexnut
project using a top down design approach.
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You probably recognized
many of the commands from earlier,
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but we also introduced
some new ones along the way.
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I believe the three key takeaways
from this project are.
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First. Stay organized.
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Think of it as an investment.
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Taking a little extra time
at the beginning to set up your components
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00:19:44,600 --> 00:19:49,720
properly, name them clearly and switch
between them as needed, will save you time
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00:19:49,720 --> 00:19:54,040
and open up more possibilities
as your designs become more complex.
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Second, make
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00:19:56,640 --> 00:19:59,880
the most of symmetry
and preset design resources.
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In this project,
we frequently returned to the origin,
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00:20:03,680 --> 00:20:07,480
which allowed us to work quickly
and maintain high quality throughout.
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00:20:08,720 --> 00:20:11,520
And third, make smart choices.
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00:20:11,520 --> 00:20:15,240
Instead of manually sketching out
a polygon with lines and angles,
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00:20:15,400 --> 00:20:18,520
we used the polygon
command to speed up the process.
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00:20:19,440 --> 00:20:22,280
If you ever find yourself
needing a particular command,
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00:20:22,280 --> 00:20:25,280
chances are
that others have needed it too,
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00:20:25,320 --> 00:20:28,320
so it's likely available
within the software.
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00:20:28,480 --> 00:20:30,760
Next time you're unsure
if a command exists.
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00:20:30,760 --> 00:20:32,560
Take a moment to search for it.
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00:20:32,560 --> 00:20:36,080
You can activate Design Shortcuts
with the S key and see what's available.