Making a Custom-Fit Ironman Suit with Fusion 360

CLIFF BROWN: Thanks for coming. We know it's the last day of AU, and we can leave that open if it's all right with you so that other people that are wandering-- all right, we'll close it. I think close it, it's better.

Thanks for coming out. We have well more than an hour's worth of material, but it will be very interesting for you to know that pretty much everything you're going to see here is almost in real time. So the idea of going from the concept to the actual Iron Man suit is really-- well, it's done in one business day kind of a project.

So just keep that in mind as we go through the presentation and the things that you're seeing. I'm Cliff Brown. I'm one of the presenters here, along with the team from SolidCAD-- Hung Nguyen and Sebastian. And we're going to walk you through this process of making a custom Iron Man suit.

This presentation is really all about two things. It's about taking a concept and getting all the way to the production. So what the Autodesk AU conference is really all about, this is really the future of making things, and you can even add a little caveat in there that in this session we're talking about the future of making anything you can dream up. And so that's what you're going to see in this presentation.

So I'm one of the executives over at ExactFlat. We're the partner with SolidCAD, and we provide the technology that helps translate the 3D design into the flat patterns that are used on the cutting cable-- so whenever you're working with fabrics or for clothing, furniture, automotive interiors. My experience is I'm a professional engineer. I've worked at Autodesk as a product designer, fusion product manager, for 17 years.

Basically, though, my real function, even when I was at Autodesk, is really helping people understand how to translate their ideas and their dreams into reality. So my role has always been about bridging the gap between concept and fabrication. Hung?

HUNG NGUYEN: Hey. I'm Hung. I'm really, really Hung.

[LAUGHTER]

[INAUDIBLE]. You will see a lot of [INAUDIBLE]. I do a lot of heavy-duty structures, moving structures, like gangway, [INAUDIBLE] San Diego [INAUDIBLE]. [INAUDIBLE] gangway [INAUDIBLE] airport. [INAUDIBLE]. So I do a lot of that. I also do a lot of [INAUDIBLE] and work with architects. Because too long-- well, 28 years using Autodesk products, [INAUDIBLE]. You have to.

And last May, one of my models was chosen to be-- I was called in May because I designed my kayak up there and [INAUDIBLE]. And by the way, you can download into 3D printer [INAUDIBLE]. So you can download them.

And of course, I am a big lover of the [INAUDIBLE]. And among other stuff, I do simulation for elevators, escalators, robot arms, stuff like that. And it's been a real pleasure to do the [INAUDIBLE] project. So that is my son, Sebastian. He's [INAUDIBLE].

[LAUGHTER]

Sebastian is a Comic-Con fanatic. He loves superheroes, and he also teaches in college [INAUDIBLE]. He came home one day and asked me, I want to go to Comic-Con and [INAUDIBLE]. And that's where that came from. So I'll jump straight in, and this is my [INAUDIBLE].

[VIDEO PLAYBACK]

[THEME MUSIC]

- Batman.

HUNG NGUYEN: It make you feel good every time you hear that.

[LAUGHTER]

- Batman. Batman. Batman, Batman, Batman.

[END PLAYBACK]

HUNG NGUYEN: I just love it. And I am from Vietnam. And during the Vietnam War, you don't have anything. So I knew it to run on Thursday night for [INAUDIBLE] with my cousin to have a black and white television in order to watch. Adam West, Batman-- it's just so beautiful.

And I actually end up make one when I was about eight. So I actually make an iron mask. And I come, and I show up. And I get in trouble with the boy from the neighbor. And he come, and then we fought. And for the first time ever, I cannot fight because he put a mask over on my eye. I completely blind.

So he beat me badly. I came home crying with my mom. [LAUGHS] But believe it or not, 50 years after that, I am doing the same thing for my son, doing a mask. So the past, it never go away. So anyway, anybody here Tony Stark?

[LAUGHTER]

No? How about Richard Browning? Anybody know who he is? He's the real live Iron Man. He actually built a suit, and he fly. And he landed vertically with the [INAUDIBLE], the jet engine that he actually planned.

If you go to MSN or-- Google him up. He did a big talk on TED Talk, and the iron suit is real. So I don't want him in my class, because it makes me look really bad. [LAUGHS]

Anyway, the objective of the class. You want to take over, Cliff?

CLIFF BROWN: Sure. And I think what we really want to talk about is, you just saw the images of Richard, and it should also remind you that we're in an age where we can actually make our dreams a reality. Where we can come up with anything and build it. This project, even though we're talking about costumes, we're really talking about turning something that we dream up into something that we can actually wear and show. And they talked about Sebastian taking the suit to Comic-Con I don't know how familiar all of you might be with Comic-Con, but it's the most discerning audience of comic or costume consumers, pretty much in the whole wide world. So you don't show up there with something that's half done. And that's what this project's really all about. It's not just about getting a costume done, it's about making sure that we deliver on perfection, in this case. And so again, it's also about combining all bits of the process.

So what you're going to see is the design aspects. So the design tools. You're also going to see the digital patterning or the manufacturing. And then at the end of the presentation, we're going to talk about validation or performance, because not only do we have to design something, not only do we have to make it, but we have to make sure that it performs properly. So you're going to get a chance to go through every aspect of it. All the way from the digital mannequin to the production materials. Again and what we're really going to be highlighting is the digital design process. The digital design through manufacturing process. Bringing all the bits and pieces together, and making them work. We'll talk a lot about the technology and the tools that are involved, and we'll talk about a little bit more right now. I'll back to Hung to talk about some of the inspiration for this process.

HUNG NGUYEN: About three years ago I was sent to audit at Pier 9. Anybody been there? It's an amazing place. I love it. So there that I met Anouk-- and I don't know if you know her-- dressing, for lady, is different now. You don't wear clothes like this anymore. You wear clothes with [? behavior. ?]

So she was there, and I watched her using Fusion and printed all of these out. She make the dress that it detect the chemistry. So if somebody approaching her with the right chemistry, its side it flowed out like that. But if you're approaching her with a wrong one, the spider web is standing up and points to you like this, to protect the lady. She's right in the middle there. She make the electrical dress that doesn't matter where she goes. She sent out tons of electricity just hanging around her. Or that smoke dress for the BMW show, when they run out the new-- so there were three of them, her model. Doesn't matter where they go, there's swirling up smoke surrounding them.

So doesn't matter they go, it just goes around them, covers them completely. And one of my favorite that-- when we talked to the cocktail dress. Very beautiful. Similar to the cos-play that you see for the last couple of day on party. But it different that wear. She walk around, she approaching a man and ask him a scientific question, take a square root of pi, for example, so if you do it right, the chest, it open. And the arm, put it out. And it makes your drink. A cocktail, or whatever. It hand out, pass you, if you answer the question right. I came home, my [INAUDIBLE]-- where I studied. I've been using Inventor for a long period of time, used to call Rubicon, but when I see something like that, I just devote for Fusion. And I just love Fusion 360. That is my toy at the moment. That's the trend at the moment. You design something wider.

On top of that, another trend is cos-play. It's everywhere. And people like to make their costume now at home with the 3D printer stuff like that. If you just go to GrabCAD, and you type in Elder Renan you can find his Batman model. And he gave you at an OBJ model you can download. And he make every single of it at home, include the bat signal in his backyard. So it's just amazing thing. That's the trend that we run into. The next trend right here-- Cliff, do you want?

CLIFF BROWN: Sure. So what you saw before was 3D printing. We're all familiar with 3D printing. What happens when your design, or your costume requires fabric? And these are all real examples of things that are coming onto the market right now based on customer demand, that are made out of fabric, or textiles and soft goods. So the next trend-- as everybody wants to make something super-- the next trend that we're tracking to are, how do you make it if it's made out of fabric? Things like dye-sublimation printing. New printers that allow you to not only design the pattern, but also to print that pattern and cut that out. So that you can now go from just simple customized t-shirts where, Eat at Joes, to you could have any type of print design, all of that stuff. And so those are some of the things we're going to talk about and show you.

So the big trend that we were talking about here, just quickly, is in costumes. And you can see how much people have started to invest in costuming over the years. It's become over this last seven-year period, a $3.5 billion industry. So they're again--

HUNG NGUYEN: Cliff, $3.5 billion just this year on the Halloween night. That's how Americans spend. $3.5 billion. And with them $0.5 billion just to dress up their pet. Just to dress up their pet. Sorry.

CLIFF BROWN: Yeah. So just to dress up their pets. So as I believe--

HUNG NGUYEN: That's how I want him to go in business with me. So the day that I was searching the right, particular material. And that new comment, I admittedly drop everything, I pick a beer, I have to dress up my dog with Fusion 360. So I jump in, I just make a dog, and I just get a model quickly. The three-headed dog for my real-- and believe or not, everything here can be flat out-- can be make at home. OK. As you see, more than that. If you walk around for the last few days, you see that business is huge. Vegas alone, you see one of the incredible costume. There's a huge money in there. And it's everyday life dress. So that's a few things that I just want to give you. Realize that this business, it's no kidding. Even though we pick up a Iron Man and a symbol, but I meant to be really serious. Just to see if when you walk away from our section, maybe you turn into a fashion designer. Who knows? Cliff?

CLIFF BROWN: Which would be a good thing, a good chance for us to get a little insight. How many of you are involved in fashion or textiles?

HUNG NGUYEN: Just one.

CLIFF BROWN: So just one. How many of you are involved in furniture, or anything like that? Marine? So and then we'll go through-- also at the end, because we are going to run out of time, we will meet at the very end of the hall for any of you that have one-on-one questions about your specific application. We're happy to stay until your flights come to answer any questions. We're now going to try to really get into the bits and pieces of the process. The process is pretty similar to everything that you've done before. You start with a concept, you work through the design tools, you go through whatever the steps are to validate the production, and then you use the product, or validate the performance. So we're going to walk through all of this right now relatively quickly, just so you could actually see it.

The other thing is that, not only is the session recorded. You can go back to Autodesk University and pick up everything we've said. Hung has already made all of the handouts. So you'll be able to go online and get the handouts, and they're really kind of a step by step way to repeat the process. And even if you're not involved in fashion or furniture, it's the process steps, as we said, are the same regardless. We're going to talk about the specific tools that we use so that whatever you're making, you'll get a chance to understand how you can repeat the process. Is it you? Are you next?

HUNG NGUYEN: So the process we do here, we just laid out, and the software that get involved with the whole process. So we start with a ReCap, capture, get the point cloud, that's one of the way. Or you can use a software called MakeHuman. Anybody know a software called MakeHuman? Then you're happy. When I get to that section, I show you what's going on. And apparently very easy to do. So we do a mannequin using that software, and then we bring it into Fusion and I will show you two process how to model the elements using Fusion 360, or 3D Studio Max. And after that, I didn't know what to do with it. So I have to contact my friend, Cliff. I asked him to flat out everything for me, in order to nest it-- to give me a pattern, nest it, and I use laser cut to cut the pattern. Or you can use scissors if you want to. And finally you assemble together. And for use obviously, we take down to Comic-Con. But before that, we also test the material in a funny way. And I hope that you will see the whole process of it. OK.

So the first step here, is to make the start. How to start this one.

CLIFF BROWN: So this process that we're going to walk through is, again, this was for fashion, so we started with a mannequin. And again, the whole process is digital. So what you're going to see are all of the digital processes. Here's the digital process from going from the mannequin to the final 3D model that we're using for the production. And again, you can see these the OBJ files, the quad mesh, the B-rep-- these are things that you should be familiar with. We'll talk specifically about the tools involved in each step. We start with the mannequin is captured. And whether, again, this is a mannequin, so it's a person, but this capture process is 3D scanning. So many of you are familiar with the 3D scanning process. Hung's an expert. So as another thing SolidCAD, you can always ping Hung to get insight when you have your projects.

But we start with a 3D scanning to create the basic concept, or to capture the basic concept that we're going to build our design on top of. So Hung, as an expert, can you talk a little bit about the 3D scanning process?

HUNG NGUYEN: In our process to make the mannequin we just base on the size of my son. Anybody know the FARO 3D scanning? Yeah. So I test it on myself and I have to stand like this to do. It's just like working out. If you just stand it for about 10 minutes. You can't. So it's so hard, so I did not use the FARO to do the body of Sebastian. But on my daily job I'm really sick and tired of doing the scanning, because it's at my work. So I'm dealing with the mining equipment, transportation equipment. So you have dozer, you have all of those big bucket and when you do that, it just keep wearing out. So there has to be a way to fix them. So that way I come out, I've been consultant to do and have to scan the model. And through this service, very similar to process that I use to make the Iron Man.

I flat one of those piece out in that fashion, in order for that. And send the DXF out to a cutter. All of these make out of three and a half inch thickness of sheet metal, so really heavy duty. So flat it out to fix [INAUDIBLE]. The second reason I didn't use the 3D scanner, just because you need to model something just like textile, clothes out of it. So if you're wearing clothes, you're standing there, you cannot make a dress out of it. So the person who's standing there for the scan has to be with the underwear on. So of course, I don't want to zap my boy with the underwear, with the laser. So that's why I skip that process. And also because last year was [? good. ?] There two person who actually teach a course of how to use Fusion to make one of their prototype clothing. It's just amazing. So if you just type in, integration Fusion with textile making, you're able to download the material. So it's awesomely presented. So that's just my excuse for not using it. So anyway, that is what you want to--

CLIFF BROWN: Sure. Again, we're exposing you to all the technologies. And the other thing is that everything you're seeing here is available in the product design manufacturing collection. So don't get overwhelmed by all the different tools. They're are all available to you in one packaging. AutoCAD, ReCap Pro, and ProPhoto is another way of turning the images that you scan into those 3D quad meshes that you would use as the foundation for sculpting. It has the advantages of that it is cloud-based, so that you can upload your geometry, and then let the system come back, and show you how it works. We convert that scanned data into quads, which are required for us to do the editing. So we're walking through a couple of the different types of solutions. We'll talk now specifically about what Hung used on his project.

HUNG NGUYEN: So MakeHuman is a free software, and you should download it. And by a group of architects and a Entertainment Group. So just simply type MakeHuman and you're able to download the software, a very tiny, little software to run. And then when you use it, the first thing it does, is it gives you a mannequin. And then it has on this sidebar that it use to simply measure the cell, and then you fool around with it. It also serve for medical purposes. So before you come in with the distorted body something, so they use it just to measure your body. So actually, I found it, and I took advantage of it to model my son. So this is the video that I actually want to just quickly share with you, how you are able to create a model very quickly.

So that is MakeHuman. When it runs, it has a mannequin going there. On the side bar, you can just move back and forth. Generate age, ethnic background, white, black, or Asian. And it works very much like an AutoCAD software with all of the power built in for the person. And then the beautiful part of this, you can export it out at a OBJ format that Fusion love it. So I export the model out, and now I just switch to Fusion. So from Fusion, all you need to do is insert that file that I just brought in. So Fusion just loves that mesh. So the moment you select them, you are able to turn into a T-spline by just convert them. And when just simply sit, hit OK. So just take just a second. It will turn that mesh, the triangulated mesh into a Fusion mesh that is really for to turn into a solid. A full solid that you can section.

You can do a lot more with it. In here, sometime you convert them, it has something that it allow you to, for example, detect that two fingers crossing each other. So the surface is thickened. So all you need to do is, in Fusion, you use some editing technique by move to the area where the surface crossing, and on the right mouse that you are able to edit the form, and just move away. As long as the two surface not touching. So Fusion also highlight where the error when the translation is. So the same on the other end. Yes, I will pause and answer your question. So here you just simply put it away, and when the video complete. I have a hand it raising there.

AUDIENCE: Could you do that inversion step [INAUDIBLE]?

HUNG NGUYEN: Could you rephrase that?

CLIFF BROWN: Sure. I'm sorry, what's the question? How did you convert? The original mesh, it comes from the mannequin tool. It's a triangular mesh. And then-- I'm sorry? Just convert, believe it or not.

[INTERPOSING VOICES]

CLIFF BROWN: --utilities, in Fusion, in utilities. I don't know if I read.

HUNG NGUYEN: On the limited back out through there.

CLIFF BROWN: Yeah, the button just says convert. If you're in model mode, or I'm sorry, I think it's you have to be in patch. I had it wrong, totally.

HUNG NGUYEN: Right here, under scope and utility.

CLIFF BROWN: Yeah, so scoped mode, and utilities. Then the next button it should show you is the convert. And it automatically converted that quad mesh into a T-spline. We got to pick it up.

HUNG NGUYEN: Yeah, we have to speed up. So anyway, so now I have the form of my son that measured to the right of his side. So the next step is to do the model behind. So let me just jump straight to there now. So there's three different ways in here. I've been teaching 3D Studio Max for a long period of time. So I know a lot of techniques to do in 3ds Max. And believe it or not, if you know that, you use the same in Fusion. Same technique. So I used two of that, and also not an option that if never used Fusion, and you want to play with Fusion, just simply download the model from anywhere, and convert that into Fusion model.

So let me just illustrate quickly the three steps for you. OK. On the first step right here is very much like-- in here, actually I want to quickly talk about textile designer clothes. So from MakeHuman, I create this mesh, I bring into Fusion just like the previous step that we just seen. But now, just for the sake of one hour, I want to share with you a lot of things, but we have limited time. So you want to make the clothes out of the person. Then I'm actually using the body of the person. And after I turn into a b-spline, I just simply dissect the body based on the weight line subdividing in half. And you do have a b-spline already on the side. So in here let me just quickly carry on.

CLIFF BROWN: Let it run.

HUNG NGUYEN: So just subdivide the head, the pan, and keep one side of the other side-- let me just stop here for a second. This is the project Big Jim. So you know, Jim used to work out a lot, but now he's getting old, right. So everything's just sagging down. So I have on the left hand side is where the clothes are going to come from. So that his body but I just removed the chest part. I also removed his belly button, and you bridge in. You know, there this stuff called bridge, and also hold fill, in Fusion it allow you to gap all of that up. So that is the two point that you want to see the difference.

And how did I actually subdivide? You've just moved to the edge. Double-click on it, and you're just able to un-weld the edge. So that's where I design the seam along. Right now it's still his body. But after I turned that into a b-rep, with it a patch, now I just go and I will do a offset of that surface. In here I'm going to offset that surface out about one centimeter. And now you will have two layers on this clothes. You see, one that actually Big Jim's body, the outside actually is clothes. So I just turn the inside off, and name the front and name it back so I can track on it. So now to define those slip right here. You know those seams, when you have to remove them. All I have to do it just draw a spline. The spline in Fusion is just amazing. And I use the spline, I cut the spline straight into a surface, using a split surface. So that's what you see.

So the spline now, it disappear, but it's still there and it's parametric. It's married to the model. So I repeat exactly the same process for the back of it. And now if you need to adjust this seam based on the body, if you manipulate this spline you see the surface, it also update accordingly right away. So it's governed by a spline that it cut the seam around. So whatever clothing you want to design, that is what you need to do. Now the surface can be selected to a piece with exact flat. We can actually flatten that exactly the way it's supposed to be. So in here you see that from Big Jim's body, using the offset, I'm able to quickly design half of this suit already. Any questions based on this so far?

So that is one technique. OK, so on the second technique, because we designed an Iron Man. So the Iron Man cannot come from the body. So taking the helmet, for example. This helmet, for example. So you have to use different techniques. You have to measure the face. So what you need is the front face, and the side photo. That's about it. So let me just quickly run this one over. So I take Sebastian's model, I remove the rest of the body, and I just use his head. So I bring it here. I also look for two sketches of the front face and the left face of an iron man mask. Basically with modern type, if you have something like this, you just simply take your phone, you take the front, and the side, and that's where you're able to reproduce exactly the same.

So I bring in the front face, and I need to scale the face based on his model. So I take the test measurement, I measure Sebastian from here to the top, and it's about 26 centimeters. So you're able to scale the image exactly 26 centimeters. So now I'm going to bring in the second, the left side of the image. So when it's in, we don't know exactly what the scale is and what measurements from. So I need to simply draw a line from that bottom to around there, and adjust the line. Go across. And use Fusion to trim that two line, and then I'm able to use that geometry to scale the side view. So from that point, because the mask we draw at an angle. Now I could just match them to exactly the same scale with a 26 centimeter from that. And by the way, all of the step by step model is actually on my Fusion gallery. You can download them, and to fool around with it if you'd like to learn Fusion.

So after scaling them, I just simply lay out, adjust the image together with the mannequin to make sure that it's right in the center. And now I'm ready to model the--

CLIFF BROWN: So in the interest of time, let's just talk through. Let it keep running, but so you understand what you're seeing in the two different techniques. On the first one, we started with a mannequin, so a 3D model. And then we were able use the convert tools in Fusion to bring in that 3D model, and then start to edit it. In many cases, you'll have the situation-- it's still running. Go ahead and let it run. In many cases, you'll have the situation where you have sketches. So a lot of times we do start projects from sketches. And what Hung was showing you is how we can start with the sketch, and then capture that sketch detail very easily in Fusion, and then do sculpting.

HUNG NGUYEN: Yeah. So here's the process of sculpting the Iron Man. And you'll be surprised how fast you can do. In the actual front mask, I did in 15 minutes, but because we don't have time, so I fast it up to make it about 10 minutes so we can talk about. So basically what I did is I make the canvas to be dimmer. And I start with sculpting, and only need to be start with a patch. A rectangular patch. You don't need fancy edge it at all. And then when the left-hand side and the right-hand side. Now I'm going to move that little rectangular patch to the front, and I on the left-hand side, every vertex, you can slide them, and move back and forth. OK. So now if I need to go up, if you hold out the R key with Fusion, you can multiply it. And quickly I can have four patches. So now between the front and a side view I just move the vertices to match to the line that it needs to be.

But right here it's difficult for you to do, because Fusion-- when you create a surface in Fusion, it's really smooth. Right now we don't want it to be really smooth yet. I can turn into a box mode so that I can play that into the reference line properly. So in this step right here, you'll see that I turn the patch a little dimmer, so I can see the background. And now you just lay them along the way. But you see it's really smooth when you put them in, because now it turns to box line. So 1S, you move to there, to the reference, and you try to make the RAS of the rectangular patch, and form color plate. A little parallel line based on it.

If you download the video that I upload in step two to that with a little talk, you can manipulate very quickly. So that is how you manipulate on the point. And in order to spread out to the eyes, now I will do the same technique. I select the line in the middle, and it move it down a bit, and I'll hold out the R key and add an S to it, and laid it out that much. So from that S, I press down the R key, I keep pressing across. What it will do, it add more patch along the way. So now you just have to fool around with OS. Move S roughly to about where the surface of the photo is, and played it along the reference line of the front and the background image. We're doing well.

CLIFF BROWN: [INAUDIBLE]

HUNG NGUYEN: We have three. It's 1:39, so, 20 minutes?

CLIFF BROWN: Yeah.

HUNG NGUYEN: So we're good. Sorry, I really want to go through this step with you, and really want you to learn the technique, but let me just fast forward a little bit. They're going to kick us out if we just run over time. So let me just pause and--

[INTERPOSING VOICES]

CLIFF BROWN: How about you let it run, because they you want them to see it, but what you really want to understand is the simplicity and the access, right? So you can start with this sketch, it's very easy. You can see Hung just pulling any. And as he said, this is only showed at 2X. It's not like this is running at 100-times speed. He finished his project in about 15 minutes. We don't really have the 10 minutes to show you the whole video, but the video is available for you to look at. And what he's really showing you is how you can start with any sketch. Very simply capture that sketch, because when this project finishes, you've got a 3D model, which is actually the content. So you're starting to see all the pieces come together whether it's moving faces. There's another one where you can use a bridge tool to combine two sets of faces when they're not the same. Filling in holes.

It will be very easy to extrude or extend it so that you get a full solid model. But what the whole point of this is, the simplicity and the power. The fact that you can capture a model of any kind of geometry. So what usually happens is we start these projects and it looks overwhelming. And the intent here was to show you that even though Hung is an expert, that this is not really that difficult. In fact, that's a technique we use. But you should be able to copy this technique. So I'm not sure how much more, because you have so many other things that we really want to at least touch on in our 20 minutes.

HUNG NGUYEN: That's exactly what I've been doing. I just ask along the way. And move the point when the two front and side image. Keep repeating that, and up to the point, now I need the side with it actually from the front and it bends out. So you see the line up here. So you have to actually manipulate it. So if you double click on the edge of a Fusion patch, the same thing-- you hold out the R key, just drag it out, and you play with the angle on the left-hand side. Because it goes this way, and now you go to the left side. You move the point to match. That's it. Just only need two image.

I almost finish it here, so let me to talk more on how to finish just the front mask. So you move them in. They size them based on the image, and it's about good time for me to actually take half of it and mirrors over to the other side, and merge them together. So adjust it. Now it take 15 minutes, and two beers for this one. So up to this point, where you're can have half. And Fusion really smooth for you when you convert them. So now when I do it, I just basically make sure that the line, right here, it matched to the work plane. And when it's there, I want all of that to line up correctly to the mid plane right there. And now it just mirrors over, and when I finish, it turns into a T-spline, the B-rep that is ready to go. And it's not hard at all.

And believe it or not, the entire body of the Iron Man could also be done exactly. The Iron Man was done way before Fusion, because I was teaching 3D students math back then. So this the very same technique, but in Fusion it make it easier, because if you see on the left hand side where those yellow point is, you have to move back and forth with the vertex here, the edge, and the polygon to manipulate. With Fusion, you don't have to. You just point them out, pick that point, and move around. So they entire Iron Man body was built exactly the same way. It took me about, with 3D Max a couple of days to actually finish them all.

AUDIENCE: How many beers?

HUNG NGUYEN: I drank two beers in 15 minutes, so you do the math. So this is what I mean is, that is exactly the same stuff. You split them out, you move them back together, you break, and you just need two images-- the front and the side, and that's about it. So here I finished up with the Iron Man underwear. Yeah I think that's what.

The next thing that you could do, basically everybody now can just build Iron Man very quickly. Trust me, if you go to Google, you type, Iron Man suit, chances are you'll find my model, or thousands, thousands of model out there. All you need is to learn how to convert to Fusion, because the model in triangulated mesh, it was tough. You cannot unfold them, you cannot flatten out to cut, or it's hard to 3D print in. Because sometime for 3D printer you need a solid in it to turn into an STL. So to convert them, the stuff in your hand out, if you download them-- by the way, you can also download my entire Iron Man model from the AU's one. I actually posted there. So the stuff involved, it lays it out.

Let me just quickly show you the video how I convert. So you see the triangulate mesh is on top. It's compounded by, like, three point. But the bottom of it is called the poly-mesh. That is where you need to convert using 3D Studio Max. One is convert to 3D Studio Max. All you have to do is select the piece. You don't have to do all of them in one, because you need to adjust them in Fusion. So you select them. You export it out. And here, I just basically export out an ABC, just for a demo. And now you make sure that you have to kick them out at quad model. And a lightweight, because it's coming cleaner in Fusion. So with Fusion, you insert the model in, and if it's a quad model, you see it's come exactly the same. Now all you need to do is select that model, and turn that into a T-spline conversion. And with a T-spline conversion, you hit Enter, and there you go.

And you do the next step, you can assign material, it can be flat now, and so on. You good to move on?

CLIFF BROWN: Yes.

HUNG NGUYEN: So with that free technique, this is actually how the model looked complete. And so in here the top part, the helmet was done in Fusion. Because I have the model built in 3ds Max, so I convert them into tedious 3ds Max, to Fusion, and use them instead of the-- remodel the whole thing.

CLIFF BROWN: And this gives you a good example of the entire process. You started with a mannequin, a digital mannequin. You built the sculpted geometry. You are able to convert that from triangle mesh-- which is what most of the sculpting tools start with-- into a quad mesh, which is what's required to bridge the gap between the design tools and the manufacturing tools. And so then you'll end up here with the project. What Hung did was he showed you two or three ways to build your actual product on top of the mannequin in those examples. Either creating it directly in 3D Studio Max or Fusion, or reading in the geometry if you have sketches, and building it using the sketching technique. So the intent was to show you there's a variety of techniques. In the handout, we walk through that specific one of building it on top of the existing geometry. I think we want to go onto the next one, Hung?

HUNG NGUYEN: Yes.

CLIFF BROWN: Because we want to show you--

[INTERPOSING VOICES]

HUNG NGUYEN: So now that is the drawing of that completely in solid format. You can generate build material. I have the harlequin of my son in there to show, is it [INAUDIBLE], if it's good enough for making. And, by the way, this is where you can download the whole model. When you check in, you download the handout, the presentation, and also have a file called Iron Man Suit Model with Sebastian. That's the one that I've been using. So our next step, here, making. I don't know what to do. I have to call my buddy, and that is where he can help me. Take it over.

CLIFF BROWN: So in this particular project, again, we're showing you Iron Man, but the steps are the same no matter what you're making. You'll start with the design and then you'll prepare the design, because as you saw in the CAD tool, you'll end up with lots of faces, which may not line up with the way you want the material cut. So I think Hung showed you that originally with the Big Jim model, how he was able to combine those faces into pieces so that they look like the pieces you're going to make. So that's the same whether you're making a car interior, or a piece of furniture, or a Bimini cover for a boat. You start with whatever you get from your design model, then you'll do the prepare step. And then we'll go through the flattened steps.

This is included in your thing-- in your handouts for a AU 2017. This is the model that Hung sent me when he asked, how do I actually make it? What we used in Fusion, we use the publisher tool to kind of go through and combine the faces. So I've already done a couple, I'm just using this one example. These are the design faces that you saw one building in that process. I'm just saying all of these, I'm going to combine them together, and I'm going to call that one piece. Because that's the way I'm going to want to cut it. So now this project has three pieces-- that top part, the middle, and the bottom. So I've got those three pieces, even though it's 27 different faces. I put all the faces together, and now I'm going to publish that over into the flattening tool.

Flattening, always we're probably decreasing the size of the mesh so that we can take advantage of the complete cycles. These tools are all running as cloud-based tools. So that again, reduces the requirement for you to have a lot of heavy hardware. So we've made the mesh. We can see that our surface deviation is nominal. So we pretty much have exactly the same mesh, but we have a much smaller-- we have same geometry, much smaller mesh. Now we've selected all these pieces. We think they look good. So now we're going to come over, it's a 2-step process just like in any other cutting. You get an original rough cut, and that color is the strain. Now there are a variety of tools to help you eliminate the strain, because that's the thing that kills you when you actually go for production. You have pieces that are highly strained, or that there's sag or bulge.

So this tool will now allow you to eliminate the strain based on the surface type. There's a tool if it was relatively flat, there's a tool if it was a complex curve, there's a tool if it's wavy. And as you can see, this one's running in real time. So you can play around with it until you get pieces that have close to no strain. Once you have your pieces with no strain, you'll use the optimization tool, and it'll clean it up. And when it cleans it up, you have perfect patterns that fit on the first cut. And that's really the objective. You don't want to do a lot of iteration, you don't want to spend a lot of money on material that you have to cut and throw away. Again, regardless of which type of industry you are in, the process is the same. You finish your design, you to find the pieces, you optimize the pieces for no strain, and then you send it to your cutting table.