Master Fusion 360 Sculpt Modeling Technique

HOST: Welcome to you and thank you for attending this great, great course and class. My name is [? Ujie, ?] I will be hosting this class probably the next one hour. And I'm a Fusion 360 evangelist. And here, great master, Giichi Endo--

GIICHI ENDO: Hi.

HOST: --is the main presenter. And basically, I'll be sort of guiding him what to say also. So this class, as you see here, it's a Master Fusion 360 Sculpt Modeling Technique Method for Car Modeling. So I guess a lot of you are interested in how to use these display modeling and apply it to build a car. And to start off, start the introductions, introduce yourself to everyone.

GIICHI ENDO: OK good afternoon. I'm Giichi Endo from Japan. This is a two day agenda, so I'd like to show you how to make car modeling by Fusion 360. First of all, I want to show you my background. So the company that I'm working in the Nichinan Corporation. It's a modeling supplier and before I worked in the Nissan design center. And then from 1990 until 2015, about 25 years. Quite a long time working in the Nissan design.

And so, this picture is my design. The blue, the vehicle, it's not the same in the US market. And then this one is a first generation of the Rogue, maybe it's quite a big success in the US market. And the other one is the Infinity, the concept took off. So this is the Nichinan Groups, that we have several branches and then total employer almost 800 people.

And then this is our service. So my company did a development to support companies. That we carried from a design process. Design process, it's kind of to develop the walk through for their new software and then next to that design service and modeling. And then mechanic engineering, and the prototype, finish, and tooling and molding. We can support everything for the development.

OK, and this one is decorated by the SpeedForm. OK this one is not the Fusion 360. So the polygon modeling we carry is almost at eight years, that start from the Maya. And then next you're using the Alias SpeedForm. So when I work with the Nichinan Design and then we collaborated with the Autodesk to develop this software.

Maybe two years? This has been for two years. So developed before the SpeedForm. And then after launch this product, I leave Nichinan to start my private business. OK?

HOST: Can I ask you a quick question?

GIICHI ENDO: Yeah.

HOST: Do you see a big difference between Maya polygon modeling and T-Spline SpeedForm modeling?

GIICHI ENDO: That's a good question. The SpeedForm, also the Fusion 360 it's a kind of-- how can I say-- the Fusion worked for the surface modeling and the polygon modeling.

HOST: So, in Maya, basically it's a polygon modeler. Although it has a learning surface and stuff like that. But it doesn't really work together versus Fusion or SpeedForm with Alias. It's completely-- actually it's a good combination between polygon modeling compared to the ellipse surface. And then just to push the detail with the surface modeling in Maya, it was hard to do. But with the SpeedForm in Alias or Fusion by itself, is really a great way to mix polygon and a ellipse. Solid modeling or a surface modeling. Yeah.

GIICHI ENDO: Yes, so the current way they're in the business, mainly I'm using this SpeedForm for the car design. And then the Fusion is mostly they're using for the product design. OK, just click, go through. So our company is the model supplier. Very easy to make this kind of a model. After finish the modeling, they're sent to the laboratory. I can get this kind of model quickly.

HOST: For free? [LAUGHTER]

GIICHI ENDO: Of course.

HOST: This is Nilo, right?

GIICHI ENDO: This is Nilo. Like this. And then this is a rendering the [INAUDIBLE].

HOST: [INAUDIBLE], yes. Nice.

GIICHI ENDO: So I'll show you that the polygon in the softest [INAUDIBLE] very, how can I say, you can create this nice highlight. We can control that because it's very difficult to control the highlight because the poly modeling is, how can I say, very difficult to manage it's tension. So today, I will show you how to control the tension.

HOST: Would you like to make something like this? I guess so, yeah. Let's go for it, yeah?

GIICHI ENDO: So this, finally, is the SLA printing. The poly modeling is very, very convenient for the interior design. More than exterior. So this is my favorite version of the matte, slightly dark silver and then black how the top is. So if we have data that you can play this-- you can create this original. Easy.

HOST: Easy. [LAUGHTER]

GIICHI ENDO: This one is created by the Fusion 360. So, different type of vehicle. So it's a mixture there. Different from the low bar is a slightly longer wheelbase. Actually I want this kind of vehicle because my hobby is kayak fishing. OK.

So what's different in SpeedForm and the Fusion 360. Speedform walk through is the basic volume created by the SpeedForm quickly. And after finish the general volume they're sent to the Alias. And then to make some detail, but Fusion can be played just the one platform. After they fixed the general volume by the scalloped and changed to the work space to learn.

HOST: Model [INAUDIBLE].

GIICHI ENDO: A model and then patch.

HOST: Patch modeling.

GIICHI ENDO: This sort of modeling is, how can I say, very useful to create the detail. For example, they told me, or I'd say the grape [INAUDIBLE] and this kind of is distraught. And then [INAUDIBLE]. It's a very easy to do operation. Very, I really like Fusion. Then now we decide to use it model and the patch so bring to the Spee--

[LAUGHTER]

So this one is another one. This is by Fusion 360. Maybe it's that this one is safety to the model of the month of February.

HOST: Have you ever seen this car? I guess if you're a core Fusion member, you have seen the Galilee probably everyday and it was chosen model of the month. It's shiny, so yeah.

GIICHI ENDO: So, actually, this model is maybe spent about two days.

HOST: Two days?

GIICHI ENDO: Two days.

AUDIENCE: Two days to do this?

HOST: You can't do that in two days.

GIICHI ENDO: You can do this.

HOST: After this class.

GIICHI ENDO: And then some people are asking this, SpeedForm and the Fusion is the fastest quality compared to the Alias [INAUDIBLE]. I think it's, how can I say, my point of view, why not they use the polygon modeling? It's very easy to operate it, very quick, how can I say, easy to translate from the 2D to the 3D. Actually, this one is only the two days.

And then so many times, we use for the upstream the same pace. First of all, start from the hand sketch, and then not beautiful just this, like a [INAUDIBLE] then directly move on to the 3D. And then quickly you do to create the volume and then send to 3D print and then check the physical volume. And then so this process is you can find the a lot of the heat.

HOST: So when you start, let's say you just quickly make the thumbnail sketch and move it to the fusion, but you're not going to go through the detail too much.

GIICHI ENDO: Yes.

HOST: You just really play with the form and get the proportions right, I guess.

GIICHI ENDO: So first point is that the proportion wise, it's a very completely different to the soft modeling. Because polygon modeling has a very, very emotional movement so far our processes have to finish the sketch work and move on to the Alias. Now I always say that first in show data looks different compared to the sketch. The lack of the emotional.

HOST: Sometimes, it's too defined, right?

GIICHI ENDO: How can I say, too hard or too static. Yes, but polygon is quite, very very, very emotional more like a sketch feeling.

HOST: Sometimes you want to leave some areas kind of vague. You don't want to just decide, like, three millimeter radius right now. You just get it something like this. The sculpt modeling is really great for that.

GIICHI ENDO: Yeah, so our processes and the first really quickly the 3D modeling. And then check the 3D print, if we OK, directly it is sent to the meeting for the first game. And then that modified by Manyard, and then scan, and then switch to the Alias or some different CAD to a DOS. Yeah?

HOST: OK.

GIICHI ENDO: So this is my other output so if we want to see it, go to my page. OK, so this one is this meeting agenda. Yeah, this is my to show, to say experience. That start from 1997 the Indigo exchange was expensive. So at the time, I said my background is a designer, at that time is only for the digital model. The designer cannot use.

After five, I go to the digital and then they used to the new obtain Indigo. But at the time, I saw no difference how to make the car design, so I had many practice by myself. And I'm poly modeling the start from 2011 and then that time I'm working the mission of Europe 2006 until 2009.

At the time, we had many the contract to show modeler. Some model is coming from the entertainment world then I saw the [INAUDIBLE] that's great some character, not the car design. Very, very impressive thing so I have the interest in polygon modeling. And that starts polygon modeling.

And then the same time, when the Autodesk ask me so if we want an interest in the poly modeling. At that time, they are studying new software to find out the SpeedForm. Then we join to development the software it's the project to our end. It's a prototype of the SpeedForm.

HOST: Prototype of the SpeedForm. We acquired T-Spline Technologies about, like six years ago, seven years ago, ish. And then we spent two or three years developing the prototype of SpeedForm and he was heavily involved. Because he is from the automotive industry, he knows what he want, and that should be the software that come out in the market. So I got to know him around that period. Anyway.

GIICHI ENDO: Yes, that was a great experience for me. And then, OK, so this is the keyword. So you know Bruce Lee?

HOST: I guess so, I hope so.

[LAUGHTER]

GIICHI ENDO: It's a very famous line, oh the "Enter the Dragon" movies, don't think, feel. It's quite like this, don't think means the poly modeling feel like the physical create modeling. The idea is completely different than surface modeling. Of course, you need the logic, but the pray is more the emotional. Actually the UI and then the operation also, how can I say, just the use some comment, not so many. OK.

HOST: Yeah, sculpt modeling is like playing with clay, yeah basically.

GIICHI ENDO: So very difficult to how to explain the poly modeling because when I just started to study the poly modeling, and I searched the internet, but no information. There's some information, some get created, applauded the workflow, but it's not it's not design. Actually, just to translate from the actual car, bring 2D drawing, and then start from the modeling from each part.

It's flaw is it doesn't meet a process. So this one. OK so let's start modeling.

HOST: OK, it was playing before you guys come in.

[SPEAKING JAPANESE]

We will restart the PowerPoint presentation. It happens all the time. So from here, he has a series of videos, probably we have 10 videos. And some part, it's quick. And I'm sorry if you haven't touched T-Spline modeling at all. We will probably use some of the tools maybe without explanation. But we'll at the end, probably we do Q and A, so feel free to ask questions, which tool did you use, or play it again, or you know what I mean? So all right, here it begins.

GIICHI ENDO: OK let's start. And the first already brings some difference on the package. And then pick the [INAUDIBLE] and that automatically fits exactly to the size. And then the start point from my workflow, let's just start from just one line.

HOST: Spline. This is a spline curve, right?

GIICHI ENDO: This is spline curve.

[NON-ENGLISH]

OK. The first step to create one line, one key line by the spline curve.

HOST: This is very important, right?

GIICHI ENDO: This is very important.

HOST: So they should spend a lot of time adjusting the character probably.

GIICHI ENDO: Yeah. Actually, the start point is different. It depends on the design construction. So this is, kind of, it's basic the construction I explained today.

HOST: So, it's not always this. Sometimes you change.

GIICHI ENDO: So the focus on the core volume and then start from the core volume. For example, to created to two volume and then connecting. And then start from this volume and then this volume and then after, they're connecting.

[SPEAKING JAPANESE]

So this is a very, very, very important point.

HOST: So you would use the extrude command?

GIICHI ENDO: Extrude from the line. And then, so you can select so here is the curvature.

HOST: A curvature, yeah.

GIICHI ENDO: So you have to switch to the

[SPEAKING JAPANESE]

AUDIENCE: Uniform.

GIICHI ENDO: Uniform.

HOST: Uniform, yeah. Yeah, change it space to a uniform.

GIICHI ENDO: Uniform.

HOST: Face at 15.

GIICHI ENDO: So reason why not to choose the uniform, because this case is very easy to control the tension. The spline is always the same, the tension was also the same. And then, in case of the car design, I think maybe 14 or 15 dividing the first.

HOST: It's kind of, from your three, four, five years experience, it's always 14 or 15. Yeah. That's really--

GIICHI ENDO: Yeah poly modeling-- the cell or the poly modeling won't list their edge. But after you can create this detail, you should to insert itself with the age. At that time, the shape is completely the, how can I say, broken. Doesn't smooth, the surface.

HOST: OK.

GIICHI ENDO: OK.

HOST: I guess up to here, everybody is following 100%, right?

GIICHI ENDO: And then next, also very important.

[INTERPOSING VOICES]

So sorry. Here.

HOST: So please watch it carefully because this is very important.

GIICHI ENDO: So next, to create the how can I say, to project the line.

HOST: It's like insert point in left and right. And whichever the lines in between will get kind of split, top in half, and out of the bottom. But it's very important that you need to look at from sort of like 45 degree angle with other view. OK, because you are cutting line with view dependent. So you really have to see objects from 45 degree, make sure it's in line, and then you split. So that means, I think he's going to explain.

GIICHI ENDO: Yeah.

HOST: [SPEAKING JAPANESE]

GIICHI ENDO: OK. Look at here, the line is very smooth. Sorry.

HOST: That second one.

GIICHI ENDO: Second one.

HOST: Go back, go back. So after you trim, the trimmed edge is on the single plane because you are cutting from 45 degree flat, right? It's the curve, but it's not-- it's 3D curve, but it's not going like this. It's still on a single plane. But angled.

AUDIENCE: So what you're doing when you grab the outside edge there, trimming, double-clicking the outside edge--

HOST: And then deleting.

AUDIENCE: --and then streaking back to the--

HOST: Yeah, delete.

AUDIENCE: --to the next [INAUDIBLE].

GIICHI ENDO: Yes. Yes.

AUDIENCE: Cool.

GIICHI ENDO: And next--

HOST: OK next one.

GIICHI ENDO: OK. So after fix this line, next to create the window surface from this edge.

HOST: By holding Alt key or option key, you can just extend out those edges with extra surfaces.

GIICHI ENDO: And to create the window line on the surface.

HOST: With insert point, too.

GIICHI ENDO: Use insert point. And here, the same thing as last time. The fix the view and project. [COUGH] Excuse me.

HOST: Yeah, only he can come up with this.

AUDIENCE: That's weird.

HOST: Turning and projecting. I believe you get used to it. And then click edit and delete.

GIICHI ENDO: The point is, don't move with each point. Because if we move the point, the angle change, the surface is bounding.

HOST: OK. That was great.

AUDIENCE: That's what 30 years of automotive design will do, that's amazing.

HOST: By the way, this is completely from his five plus 20 years of Alias, SpeedForm, and Fusion experience. It's so original. Yeah.

GIICHI ENDO: So this is one was the same idea to create for the body's extreme.

HOST: So you just cut it, right?

GIICHI ENDO: Just a project the one line, this is just a difference. If we want to change more round, more flat, you can create this. Change to the first point or last point.

HOST: So you see that the number of surface is not that much. He only just extend it twice, and cut it twice. But you start to see the volume here, right? And he's not doing it, but if you see with a smooth mode in display mode and if he sees that zebra stripes, it's super clean.

AUDIENCE: He's also running box mode, too.

HOST: Oh, yeah. Another hint is just keep on working with the box mode. That's another technique. You'll get used to it. Yeah.

AUDIENCE: Yeah, and that's why it's so fast.

HOST: True.

GIICHI ENDO: First of all, to fix just the broke, we start to surface new ones. Just broke.

HOST: And now you use the bridge, right?

GIICHI ENDO: Yeah. And then, look at this, now the tension is missing.

HOST: Maybe you play one more time.

GIICHI ENDO: You have to fix to go there.

HOST: So after--

GIICHI ENDO: Here?

HOST: Yeah. So you see the spacing sometimes get missed and [SPEAKING JAPANESE] and you need to use the tool-- well sometimes when you change the visual to smooth mode, it could be possible that the--

GIICHI ENDO: Uniform.

HOST: --spacing is different from box mode. Then don't forget to hit that blue selected icon there. You delete the uniform.

GIICHI ENDO: You delete the uniform.

HOST: And then every tension, or can I call it even.

GIICHI ENDO: Yeah. The Fusion 360, day you have to fix by manual in time. But SpeedForm automatically fixed.

HOST: Really?

GIICHI ENDO: Yeah, because the price is more than 10 times.

HOST: Thank you. [LAUGHTER]

GIICHI ENDO: More proficient.

HOST: It does it automatic in SpeedForm?

GIICHI ENDO: Automatic.

HOST: Really?

GIICHI ENDO: Yeah.

HOST: I didn't know that. It used to be manual too. All right, so he hit it, and what's going to happen is--

GIICHI ENDO: OK.

HOST: Yeah, now it's kind of even. OK.

GIICHI ENDO: OK. Let's go.

HOST: Let's go.

GIICHI ENDO: And next is volume control.

HOST: Volume control. So insert edge.

GIICHI ENDO: So this is to make a camber. From the front view. Make the inside line. Maybe--

HOST: Twice.

GIICHI ENDO: Twice. And then pick all the way center portion and then move up. Also, next--

HOST: You have to also be careful, pay attention, that whenever he moves line, edge, tensions, he's always making his view. Pure front view or side view, or top view.

GIICHI ENDO: So after fix the front of your camber, next we move on to the front view. Have to fix each view.

HOST: This is almost like making a drawing, sort of. Yeah.

GIICHI ENDO: OK. Tuck, tuck, tuck, tuck, tuck, tuck. And then, so this one is a little turning.

HOST: So you're trying to follow these under sketching, kind of, proportion, right?

GIICHI ENDO: OK.

HOST: OK.

GIICHI ENDO: OK, go next.

HOST: To number five.

GIICHI ENDO: So next, also very important. How to create the wheel arch.

HOST: Oh, that's very important.

GIICHI ENDO: Many people ask me how to create the wheel arch.

HOST: And you're not going to tell us, right?

GIICHI ENDO: Very easy.

HOST: All right, so did you see that he was using the first curve that he drew with the spline curve? Very first. And a little adjustment here. OK.

GIICHI ENDO: OK.

HOST: So insert point, right?

GIICHI ENDO: So insert the point at the end of the wheel, how I can say--

HOST: When the wheel arch goes in margin to the body, imagine that the maximum size of the wheel arch, he's writing it with insert point and trim off hold a wheel arch volume. You'll see why, you will see why. So also, here he's selecting-- before he selects, you need to adjust, right?

GIICHI ENDO: Yes. And then the first of all to create the line and then inside the face and then next to adjust it on this, kind of the line. Here?

HOST: This is not square anymore, right? Sometimes hexagon, octagon.

AUDIENCE: It's not a four sided piece anymore.

HOST: Yeah, it's five sided, six sided. So just so you know, I'm letting you know that it's always best with a square. OK, yeah.

GIICHI ENDO: So best construction would be the wheel arch. So all the edge is going to the center of the tire. And also the same page of the article.

HOST: You know what he means, when you create the wheel arch, it has to be kind of radial like this, so each edges has to kind of come together and focus into the wheel center, yeah? So you need to adjust these edges.

GIICHI ENDO: On the soft edge, and they use a scale.

HOST: A scale or an alt key or option key. So the extended surface will come out as a u scale in towards inward.

GIICHI ENDO: So first they adjusted the horizontal way scale, and

HOST: And used the pivot.

GIICHI ENDO: Like this, and the move. Fit to the guide line and then change view and then scale, make straight.

HOST: Now move the spine curve you draw. And make these edges--

GIICHI ENDO: This is the special the command.

HOST: This is a command from here?

GIICHI ENDO: This is command format the disk. Pull. Pull command.

AUDIENCE: That's not necessary.

HOST: So you select all these points, select the spline curve, and the points will get pulled to the curve. And this the same thing in this, right?

GIICHI ENDO: Still the same thing. So the country I'm used I'm very, very strongly dedicated to the Autodesk I need the history. After the snap, the edge, and then changed the line automatically the four of the bodies is always snapped to the car.

HOST: An even distance, probably.

GIICHI ENDO: It's, how can I say, this is a pull command but the recovery leading the motor is, I think, the best way.

AUDIENCE: Curvature.

GIICHI ENDO: The front, also, the same thing. OK.

HOST: So before you use pull command, it's better that you manually, kind of put the points somewhat nearby curved so the gap will be minimal, you know? All right, tension control.

GIICHI ENDO: Next, tension control.

HOST: So what do you mean by tension control?

GIICHI ENDO: Tension is that some part it's not the constant cap pitch. Some part is very tiny, some part is very big, it's not good. Because, in this case, the tension is this way is very strong. This way is going to hit this thin pitch is tension is keen to not--

HOST: Kind of uniform?

GIICHI ENDO: Uniform.

HOST: You know when you use T-Spline, when two edges are kind of close together, it will create harder edge. So at this moment, he's saying that in some area there's an area that's edges are kind of closer than the other. So a manual adjustment a little by little. As you can see, he's doing the insert edge insert point, and delete the other. And do not delete the edges first, right?

GIICHI ENDO: Yeah.

HOST: Always insert edge first, then delete the lines you don't want to.

AUDIENCE: So parts that are close together will create hybrid curvature.

HOST: Right.

AUDIENCE: And if they're further apart, they'll create tension and pull.

GIICHI ENDO: So this part is very important, now it's adjusted the pitch also the direction with the edge. If we wanted, how can I say, to feel like this same as clay modeling. Clay modeling is to somehow make this, the highlight that goes through, to make it like this. But we want to make more go up, like this way, in that case, these lines change to here. The tension is more, how can I say, maybe spring here. Not here. The shape is different.

HOST: So the advice is just become like or feel like a clay modeler. You know you pull faces to the direction of where you want to go, probably, you know?

[SPEAKING JAPANESE]

GIICHI ENDO: OK, go next.

HOST: Cabin detail.

GIICHI ENDO: Cabin detail.

HOST: So insert point.

GIICHI ENDO: Insert point.

HOST: And you kind of follow the pillar. You're trying to make the glasses, right?

GIICHI ENDO: And the insert is right here.

HOST: Yeah, again it's always either insert edge or insert point to get the ideal streak, or lines, or edges that you want to make your edges going. So there will be a lot of insert edge and delete the old one. Insert edge, delete old one. And then that's how you adjust little by little. You know? Delections and tensions.

GIICHI ENDO: OK.

HOST: OK. That's detail retouching, right?

GIICHI ENDO: And next one is to divide the window.

HOST: Window. So you selected the whole top surface with Alt key, right? Hold Alt key and going down.

GIICHI ENDO: Going down, and then make little step all the way. And then circle the edge and then make crease.

HOST: Crease. A crease edges.

GIICHI ENDO: Crease edge. Crease edge. So you're actually using the crease tool for just indicating the edge to the right?

HOST: Well to just explain the whole process, he said that the top faces, you know Alt or option and just drag it down just a little bit. Insert edge towards the all around edges. And then select the one edge and apply crease all around. So that the whole surface would not be melted, it would be like 90 degrees sharp edges.

AUDIENCE: Your box command already looks like it's there, but it's not, technically, when he goes to smooth, it'll look like a--

[INTERPOSING VOICES]

AUDIENCE: --the crease won't need to be there.

AUDIENCE: Is he increasing the bottom or the top of that--

AUDIENCE: When he pulls the window down, is he increasing the outer edge, or the bottom edge?

HOST: Bottom, well, used to be the top face.

AUDIENCE: Used to be the top face.

HOST: But now it's going down, so the bottom and then select the one and get it closer to the edge. He can play one more time.

AUDIENCE: I think when he goes to smooth, we'll see. But I think it's the bottom, though.

HOST: Remote, now go on auto start the edge.

AUDIENCE: Oh, it's the outside. It's the top.

HOST: The crease one is--

AUDIENCE: Yeah, that's the crease too.

HOST: That's where he creased.

AUDIENCE: And both it looks like.

GIICHI ENDO: Both.

HOST: Oh, both. All right, good to know. Good question.

GIICHI ENDO: Both.

AUDIENCE: Yeah. To make the ledge.

GIICHI ENDO: If you want more turning, so especially an APR is a very complicated shape, and then divide it surface, window and the body.

AUDIENCE: Oh, yeah, yeah. Separated.

GIICHI ENDO: Disconnected the edge. And then you can the turning is free.

AUDIENCE: Yeah.

GIICHI ENDO: If you make it one object, it's very difficult to just say the fine control.

HOST: Oops. This is so hard to control.

[SPEAKING JAPANESE]

So I want you to see that red star--

[LAUGHTER]

GIICHI ENDO: That's bad.

HOST: Stop it, stop it. So sometimes you have a little feeling that something is wrong. Something is not working. Or you cannot change this display mode to smooth mode. You have to know that there is automatic-- what is the full name.

AUDIENCE: Repair body.

HOST: Repair body?

AUDIENCE: Yeah.

HOST: Yeah. And if you apply repair body, it will automatically tell you where it has the issues. In this case, although you didn't see it at all, there is issue. This is not star point. This is just four faces, so it should be normal edges, corners, but now the software recognized somehow as a star point. So that's error. And by keeping auto repair problem, the second one from the top, it will solve automatically. So if you feel something is not working, just hit the uniform and auto repair. And will solve probably 70% of your problem. That's serious.

GIICHI ENDO: OK. Go through. OK.

HOST: OK. Change construction.

GIICHI ENDO: So that is the basic volume to [INAUDIBLE] and next one, is more advanced technique.

AUDIENCE: [LAUGHTER]

HOST: That was a basic.

AUDIENCE: That was the easy stuff.

GIICHI ENDO: So to change the construction from the basic volume. So if you want to make a different design, to bring to the basic volume, it's kind of the template. You can make it more fast.

HOST: Maybe you should explain it from the beginning.

GIICHI ENDO: OK.

HOST: What you did. So you used the spline curve.

GIICHI ENDO: First of all, so I want to change this, how can I say, more complicate, complex surface?

[INTERPOSING VOICES]

AUDIENCE: --line of the side of the car.

HOST: Yeah, basically you decide to--

GIICHI ENDO: More, how can I say, it's kind of the Infinity, the surface run and the negative, positive, negative, positive is the lines that disconnect is this piece. Everything changes it. The very emotional, the design. First of all,

HOST: Spline curve.

GIICHI ENDO: Spline curve.

HOST: Snap it to two point, insert point in the middle.

AUDIENCE: So you're creating a 3D spline and you know where the start of your influence is in the end.

GIICHI ENDO: Yes.

AUDIENCE: And then you're creating fit points on the spline to move it to use the spline for the line you use.

HOST: And then use pull.

GIICHI ENDO: Use pull. Use pull.

AUDIENCE: And then use pull. Stop being so smart. You're finding your rough sketch.

GIICHI ENDO: Yes.

HOST: This is why I wanted you to really see it. He pulled one point on purpose. And then he's using the curve to snap the rest.

GIICHI ENDO: The point is the faster will move the most moved point. And then snap the curve.

AUDIENCE: Oh.

HOST: So you need to fix two edges or most--

GIICHI ENDO: And the front is also easy.

HOST: Everybody wants to know this. AUDIENCE: Is there a set of project notes with the class online for Autodesk University or is there a YouTube video?

GIICHI ENDO: Would you like to?

AUDIENCE: Yes, please.

[LAUGHTER]

GIICHI ENDO: He is my agent.

[LAUGHTER]

HOST: Well this is just letting you know, he already uploaded two video on YouTube. Yeah, and it's probably like Fusion 360 car modeling with his name. You know, it's already out there. That's a little bit easier version--

GIICHI ENDO: Yeah.

HOST: --than this one. And for today's, this 3D complex curve pulling thingy, we'll discuss with him.

GIICHI ENDO: So the workflow they always said it improved that the kind to the YouTube video, it's a bit old. This one is brand new.

HOST: Don't say that. [LAUGHTER]

AUDIENCE: Still easier.

HOST: Yeah.

GIICHI ENDO: It changes the front construction, make them more longer.

AUDIENCE: And this fender, is the fender on the opposite side of the model as well? Or are you going to mirror it later on?

HOST: What, what, what?

GIICHI ENDO: Mirror?

AUDIENCE: Is it mirrored or is it going to be there after?

HOST: Well it doesn't really matter, because you just delete the half made mirror again later.

AUDIENCE: And it box molded so fast, you could leave mirror on, but instead it being smooth, it would be--

HOST: Yeah.

GIICHI ENDO: [SPEAKING JAPANESE]

OK.

HOST: OK. That's super. So he's fast forwarding a little bit.

GIICHI ENDO: The after fix is basic-- block volume to put insert line and then pull and then make section.

HOST: OK.

GIICHI ENDO: And so next one is-- OK. To make a logo design, the first we would create some different drawing to make a highlight this. Go kick up to rear.

HOST: It's almost like a drawing a car.

GIICHI ENDO: Yes. OK. This is the image of the graphic and delete--

HOST: How did you delete that?

GIICHI ENDO: --delete. The vehicle is highlighted, I needed the nice highlight, the angle always have to be the keep angle.

HOST: To maintain the highlight to be horizontally going like this, I think you don't want to just break this--

GIICHI ENDO: Yeah.

HOST: --this line in a horizontal way, you have to carry it through, almost like copy, pasted.

GIICHI ENDO: So this flow is bring from the, actually, the clay model workflow.

HOST: Oh.

AUDIENCE: So I noticed you doing most of your moves with the global coordinate system. Do you ever use the surface coordinate system for your pull directions, or do you always use the global?

HOST: [SPEAKING JAPANESE]

GIICHI ENDO: Sometime.

AUDIENCE: Sometimes, but not very often.

GIICHI ENDO: Because the pull is a completely different surface. The pull cannot make the extend. So if we make, how can I say, the surface here, I want to extend this way. But pull is doesn't work.

HOST: There's no extension of following existing curve and going like this.

GIICHI ENDO: It was in [INAUDIBLE]. OK.

HOST: OK. Final shape image.

GIICHI ENDO: This one.

AUDIENCE: Maybe you could do that in a week with [INAUDIBLE].

GIICHI ENDO: Scream it, bounding it. Actually, the dip is very smooth.

AUDIENCE: Right.

GIICHI ENDO: So actually, around here is really the problem. It doesn't matter the beginning of the--

HOST: Yeah, at the beginning it's conceptual. And yeah, this is not perfection anyway.

GIICHI ENDO: This is a concept model. After I fix the design, move to the physical create. After the meeting, the modeler said [SOUND]. Just fix.

AUDIENCE: 3D print.

HOST: Great.

[SPEAKING JAPANESE]

Fix the side window.

GIICHI ENDO: [SPEAKING JAPANESE]

HOST: Five minutes in then please do not forget that.

GIICHI ENDO: Time of the night.

HOST: Yeah.

GIICHI ENDO: Oh, finally it's over.

AUDIENCE: [APPLAUSE]

GIICHI ENDO: So this is my book.

HOST: Who wants this one? Anybody want this book?

GIICHI ENDO: Only two.

HOST: $300 per book?

AUDIENCE: [LAUGHTER]

HOST: It's written in Japanese, but it's very inspiring just watching it.

GIICHI ENDO: So you can download this on video.

HOST: Yeah probably download setting written in Japanese.

GIICHI ENDO: Just for the Beamer.

AUDIENCE: Google translate, it'll be fine.

HOST: If you have any question, post it on the Facebook Fusion 360 users channel. Jeremy will answer.

GIICHI ENDO: OK.

HOST: So who wants it again? Yeah. All right, both. All right, then how do we decide when situation like this in US? Rock, paper, scissors? Are you ready for it?

[INTERPOSING VOICES]

AUDIENCE: Ask a question about the presentation and whoever can answer it.

HOST: OK. That's going to be interesting. All right, so who has a question?

AUDIENCE: What car company did he start his career with?

HOST: Oh, those quiz? That's easy.

AUDIENCE: [INAUDIBLE]

HOST: [SPEAKING JAPANESE]

GIICHI ENDO: Yeah, yeah. He knows everybody in the automotive business. Anyway, we are just probably two minutes, so let's do this. You know this rule right?

AUDIENCE: No.

HOST: Which one is winning? This one, right? OK.

GIICHI ENDO: Yeah.

HOST: [SPEAKING JAPANESE]

GIICHI ENDO: OK.

HOST: So it goes, like three, two, one, right? OK. Three, two, one. So only stone wins. All right, how many? One, two, three, four, five, something, all right? You're adult, OK? All right, three, two, one. Only scissors, only scissors, only scissors. OK, there are three scissors. OK, one more time. Three, two, one. All right, he got it.

[APPLAUSE]

GIICHI ENDO: There you go.

AUDIENCE: Right on, thank you.

HOST: OK, then who was the the remaining two of the last one? To the two of you. You play it together. [LAUGHTER]

AUDIENCE: One, two, three. Oh. One, two, three. One, two, three.

GIICHI ENDO: Oh, congratulations.

HOST: So I believe all of you are Fusion user, right?

AUDIENCE: Yeah.

HOST: No? Who's here in Fusion user? Who loves Fusion?

AUDIENCE: Just one person. [LAUGHTER]

HOST: Who loves Fusion? Let me know. All right, although I wore this already, [LAUGHTER] but this is a--

AUDIENCE: It's vintage.

HOST: --official printed Fusion sweat. If you want this, let's play. All right, three, two, one. Did I beat anybody? Almost.

AUDIENCE: Any papers?

HOST: Any papers? No. Who is a stone? Stone, stone? Were you a stone? Not this, that's gone.

[LAUGHTER]

So she's the only one?

[APPLAUSE]