Organic Shapes the Easy Way: Direct Modeling in Fusion 360

ALEX LOBOS: Hello, everyone. Thank you very much for coming. Very excited to be here today. My name is Alex.

DAVID VILLARREAL: I'm Dave.

ALEX LOBOS: We are from Rochester Institute of Technology in New York. We are in the industrial design department. And today, we are going to talk about organic shapes in Fusion 360.

We use Fusion quite a bit in our department. And we use it in a very fluid way, meaning that pretty much in any studio class that we have, we use it and there is no dedicated [INAUDIBLE]. And I feel that, because of that, we are able to use that program in more flexible ways and connecting it in different ways.

So what we are going to talk about today is-- it was supposed to focus on scope environment. And don't leave the room yet, because we're still covering that. No worry. What happened is that, as we were developing the product that we were going to show to you today, we realized that we wanted to make it.

And as we started going into that, we saw some potential for talking about CAM and how does that translate into a conceptual and more organic design. So you will see some hopefully interesting tools for sculpting models, but you will also get to see some of the CAD side and how that influences designing them. Some good? Awesome. Cool.

So just to get a sense of the audience, who in here is a Fusion 360 user? Wow. OK. And who in here feels very confident with Fusion? Like you go in and you get what you want. OK. And the rest, you get what you get and you don't get upset? That's kind of a thing? OK. Cool.

So what we are going to focus on today is mostly the sculpt environment. So let me talk a little bit about that. So when you go into Fusion U, you have this in a workspace. And this is the parametric model, which is similar to Inventor or SolidWorks.

If you press on the magic purple box, you enter the T-Splines environment, the sculpt environment. Which is a lot more fluid, a lot more organic. And the base of I would say pretty much any design in this environment is this. You can create a primitive shape. And then, most of the time, at least is the case with me, you use edit form. And you have a different field dressing here.

So in this case, you can select some faces. And then you can start manipulating them. And that's what I think makes Fusion very interesting, because it gives you a lot of flexibility. You can expand these, you can scale them, et cetera, et cetera.

If you hold your Alt key before you manipulate any of this, then you will get additional geometry. So that's kind of the cool thing. I guess some of the drawback of this is that a lot of people feel that when you look at Fusion and sculpt environment, you can only design fluffy clouds.

So I guess that's part of this class, talking about how you can go beyond just those fluffy clouds. Here are a few examples from previous projects or classes that I covered. So if you are curious about them, in the handout, you will find links to those classes. And in the gallery you will also find them. This is a shoe that was developed in Scope environment, opening up a few faces.

Something interesting about this is that we took the bottom part of that main body, and we used that to create the midsole and the upper sole. So it was a very useful wave of moving beyond just the organic shape and adding more technical details to issue.

This is another example. This watch was made with-- out of a [INAUDIBLE]. So the shape that you saw me manipulating, in this case, would turn into this watch. And this is not a final design for manufacturing, let's say. But if you present this in a review meeting, it gives you a very good idea of designing [INAUDIBLE]. So it allows you to have very good conversations about where the design needs to go.

This is a project from last year. You know, the idea in here was, again, to push the limits of scope a little bit in order to create a more complex geometry. So you can see that in here there's a lot of showcasing of interesting shapes, also interesting rendering. All of these were modeled and rendered in Fusion 360. So it really helps you to communicate what you want to in a more compelling way.

So for this class, this is what we are going to work on. And we're actually very excited about that. David has been spending a lot of sleepless hours--

DAVID VILLARREAL: Sleepless nights.

ALEX LOBOS: --working. Yep, sleepless nights. But we are very excited about this process, because we feel that he really highlights this Sculpt environment.

Here are some details. You know, it's a lamp that you can scale in different dimensions. And the way that it will illuminate is that center portion, it has a ring where you can put the LED rings facing up and down, and that's how you create the light. But we really like the openness. You know, the fluidity between all of the different components.

So right now I'm going to show you the basics of modeling the lamp. Then David will take over, and he'll talk to you about how to make the lamp which is the real thing.

We are going to focus mainly on just three features. And that's something that we were very interested in doing. Instead of having a very complicated workflow, just highlighting some features and letting Fusion what it can do best.

So Edit Form is the feature that I showed you a while ago. You know, moving faces and analysis and scaling them. Bridge connects faces from different bodies. An Crease gives you a sharp edge, depending on where you choose it. And with those three tools, you hopefully will get to the lamp that you see.

So are you ready? Let's do it. Wish me luck. So let's get rid of this. So again, we start in an empty canvas and we go to the Sculpt environment. You know, that's T-Splines environment.

In this case, what we'll do is to create a thirst. So we select a plane. We put it in the origin. And then we can add a few details for this. So in this case, it's going to be 400 millimeters. Let me zoom out so that I can recenter the object. And then the thickness of this is going to be 80 millimeters.

So now I have this section, and it's divided in eight segments. If you saw the lamp, the lamp has three sides. So it will be very useful for me to create a three sided symmetry. That way, I only need to do the features once and then it copies them. And then the cool thing with that is that you maintain the symmetry.

Otherwise, if I manipulate one side first, that might not carry over in terms of making all the sides equal. The way that I will do this is this one. I will turn down the number of faces to three. And it doesn't look like a round profile anymore. But that's OK. I can add circular symmetry to this. It's set to 1, but if I change that to 3, it goes back to the round face.

So I will accept that. Let me pause just for one second and explain you why I had to do those multiple steps. I can create [INAUDIBLE] here, for example, with no symmetry. And let's say that I want 12 faces.

So [INAUDIBLE]. And I can always add internal symmetry. If I select one face, I get all of the possible symmetries that Fusion can do. So I can have 12 sides. I can have 6, 4.

Something that I noticed that can happen frequently is that if you go below four sides for your symmetry-- it is acting up, hold on-- Fusion will break this symmetry in a random way.

So in there, you see that the symmetry line, it's broken. It's not straight. So because of that, I set up, you know, these three sides with the three sided symmetry when I set up the [INAUDIBLE]. So kind of a long explanation, but I thought, you know, it will give you more context on why we are doing this.

So now that I have this, I want to do a few things. I want to insert edges, because I want to have more faces so that I can play with the geometry that I have. I go to Insert Edge. If I click once, I select one segment. If I click twice, I select the entire group of that section.

I change this to double, to both. So now I have symmetry projecting on either side. If I leave this as simple, Fusion will be deform the shape that I have. I will lose this circle.

If I change this to exact, it will maintain that. And I want this at 50%, which means right in the middle, so I hit OK. And now I have those sections. I need to do the same with this segment. So I right click. You know, that's a shortcut for using the same-- the last feature that you used. So I select Insert Edge.

And in this case, I only need single on that side. So now I have more segments. At this point, I'm going to start playing with the form. You know, this is going to be the base for my lamp. You know, the bottom portion. Then I will copy it for the mid portion and then for the top portion. The first thing that's happening is that I feel that this is too round right now. I want it to be more flat.

So if I select the filter to all, and I click on this bar, this will allow me to scale this vertically. So I can change that from 1, let's say, to 0.5. So that flattens it by 50%.

Now that I have that, I will change my filter to face-- sorry, to Edge. So I select this top portion. I go back to the bottom, hold my Shift key and select the bottom portion. And now I click on the center or the orbit. That will allow me to scale everything uniformly.

So in this case, I will bring this back 80%. What that is doing is that it's giving me more surface area in the front. That way, when I project the faces, there's more-- there's more geometry to play with. So I hit OK. I have these portion now. And now what I need to do is to copy it.

So I go to move a copy. I select this, and I press on the copy tab. So now this makes it very easy for me to pull this, to add this in here. So that will be the [INAUDIBLE] portion. Now, I will do the same for the top portion.

By the way, if you have any questions as I'm showing this, please let me know. So now I have my three portions. But if I connect them this way, I think the lamp is going to be very straight and boring. So I will adjust the scale of these sections.

Again, the point with this is, you see that right now pretty much everything that I'm doing is going back to the same feature, Edit form. So I'm able to do a lot of things with this. So in this case, I press the Center portion and scale this to 65%. And then this will be down to 85%. There we go.

So this is the base for my layout. What I need to do now is to connect the segments so that I can do-- decide sections that you saw. For that, I will use Bridge. I normally would use other tools. You could set up a line as a path, and then you can do a loft, or you could do a sweep or a rail depending on the software that you use.

Our feeling is that by doing that, you manipulate the surface too much. And you need to know very well what you are doing so that you end up with a nice looking shape. So in this case, we are going to let Fusion do a lot of that work. So I select these faces at the bottom. And I go to the middle section, and I select the corresponding faces.

When you are using bridge, it's important to select the same number of faces. If you select more or less phases on one side, what happens is that you have faces that have nowhere to go and your geometry will not complete.

So you see that I already got a preview of this. The one thing is, the less segments that you have-- let's say that I want to go from here to here. If I have a few segments, the curvature will be very white. If I want tighter radii, then I add more segments, and that will make everything more controlled. So in this case, I will increase this from 3 to 5. And I hit OK. And there we go.

So that was the bottom portion. I will do the same for the top. So again, shortcut to repeat bridge, I select this section. Go down here. And this top portion is shorter, so I don't need to divide it in five segments. Three should be enough. I hit OK. Now, there you have it.

So again, this is beginning to look very cool. Still kind of fluffy. But, you know, it's going in a good direction. And the whole point is that Fusion is doing this for-- you know, there's little manipulation that I'm doing. And that's what I want to showcase.

So now that I have this, I want to do a few things. First off, these segments help me to maintain this curvature in more control. But now, all of these segments at the top are not really necessary. And you know, a golden rule of thumb for CAD models is to keep this [INAUDIBLE] geometry as simple as you can.

So I select on this ring, this ring, this ring. And I will do the same here in the top. And the easiest way of deleting geometry infusion is hitting the delete key. There you go. And again, because of the three sided symmetry, I only needed to select one section. So it's saving me a lot of work, and I know that I'm maintaining symmetry all throughout.

I like where it's going. This feels a little bit too wide. So I can go back to Edit form and manipulate it a little bit. So I will change these to edge. Let me zoom in a little bit. Not that much. That's better. So I select this, double click so that I can have the entire section.

And then I can modify this and make it thinner. What's happening in here, you see that it made it thinner but it also made the sections go in a little bit. If I try to move this, what's happening is that it's rotating everything from that axis.

So you see that the lamp is actually different, right? So if that ever happens to you, a good tip is this. If I select this portion-- sorry. I need to zoom in a little bit. Wow. Sorry? Thank you. OK, let's try it again. It's not letting me. OK, there we go.

So right now, the orbit, it's in the center of that section of the geometry. If I hold my Shift key, and I start selecting extra geometry, you'll see that the orbit moves. So by doing that, I'm able to bring the orbit back to the center and then I can scale this the way that I really need to.

Yeah. I don't know what's going on with this. Let me try here. Maybe it's the position of the mouse. OK. There we go. So now this is in the center. So if I move this, it's scaling everything from the center. So that's allowing me to maintain the center position.

Now that I have this, what I want to do is to add the crease. So I'm interested in giving more definition to the outer edges. So if I go to modify and create, I start selecting these creases. And you'll see that the geometry starts to change.

Some tools, like fillet, will allow you to choose a chain of edges, and then everything will happen automatically. Right? Everything will be connected. Create doesn't work that way. You have to choose it manually. And actually, I think that's a very good thing. Sometimes you have details where you want a crease that disappears or that blends into something else. So this actually allows you to have more control.

So now, I have the bottom section in here. And I can move to the top section. And again, this is where the symmetry is very useful, because I only need to select a few of them. You know, in this case, 14 inches instead of 14 times 3. So I hit OK. And now you see how the shape really transforms.

So at this point, let's say that this is my main concept. I'm happy with it. I can finish form. And what that does is basically two things. First, it checks for errors. If I went too far into fluffy cloud land, then it will let me know that I have intersecting geometry or something else.

And then the second one is that it will convert the model from T-Splines surface model into a solid model in parametric environment. So at this point, I remember going to David and saying, hey, there is a lamp, so what do we do now.

DAVID VILLARREAL: And my reaction would be, boss, it's a great looking lamp, but with our CNC setup-- because that's how we were going to mail this out, we weren't going to do any additive stuff-- maybe if we had like a 6 or 12 axe in CNC we could do that. But we're working with a [INAUDIBLE] CNC environment.

So I asked him to go back through and maybe split it up into different geometries or different bodies, into different parts that we can then CNC that way and throw in the cam environment. And also, how is the light going to fit? How is the picture going to actually fit inside the model? All these things to consider.

ALEX LOBOS: So once we got that part and we realized what we needed to do, we needed to go back into the model. And this is a very common question. If you can go back to T-Splines body, and maybe you can manipulate it. The short answer is, heck yes. The long answer is, with a few caveats.

So you can go back at any time and edit a T-Splines body. T-Splines doesn't have memory. It doesn't have history. So when you go back into that environment, you can edit whatever is in there. But you can not say, oh, I remember when I had more faces on this side, or I remember when this used to be rounder or more-- or longer. That you cannot do.

But whatever you see in there, you can go in, you can manipulate it. I mean, the good thing is that any feature that you added in the model environment-- maybe opening holes or maybe slicing components or adding some of the mechanical details, those will get updated when you are done editing your model.

So let me show you what I mean. So let's say that this lamp, now we realize that the center portion is too wide. We need to make it smaller so that it has better proportions, but also let's say that we need to house the lighting ring, the LED ring that I was talking about.

If I go here to the history, and I right click, I can go to it. And you'll see that now I'm back in Sculpt mode. So I can edit pretty much anything that I want in here. I go to Edit Form. I select Faces, for example. And then I can edit this. So I can bring this in a little bit.

So that is looking more interesting in terms of the curvature of the lamp. But if I zoom in and I check this out in here, there's very little material in here to fix an LED light.

So I will do two things. One is Insert Edge. So if I select that part, and I change to both, now I'm adding more geometry in that part. I hit OK. So now that part was updated. And now, if I go back to Edit form, I change to Edges. I can start bringing these sections in.

And you see that now I'm beginning to have more of a wall area [INAUDIBLE]. Yes?

AUDIENCE: [INAUDIBLE]

ALEX LOBOS: Right. That is an option in the model environment. So let me show you that in a second. So now that I have this, I can increase the height too, for example. And I can do the same here. But I'm going down. So now I'm adding that thickness. If I hold all three components in here, then I can scale them uniformly. And now you see that I have more material in there so that I can house this.

So I hit OK. If I have more things to work on this, I would. If this is all that I needed to do then I can go back to model and then the model has been obeyed. So in this case, let's say that we want to make-- you know, a quote out for the light that will have that 90 degree break.

We can create an offset plain. So for example I take this plane. Now I have a plane in there. And then from there, I can create a cylinder. So the cylinder will go in. Let's say that it's 120 millimeters. You know, 12 centimeters. Maybe that's what the specs said for the light.

I start pulling these down. And when I get to that geometry, these will change into-- from a new body into cut. I can also join the bodies if I want to. But in this case, I want a cut, because I actually want that cut out so that the lighting can be housed in there.

Another thing that you could do to this is, let's say that you like the crease but you don't want it to be that sharp. You actually want to add some material thickness to it.

So we could do something like maybe adding a fillet in here. The cool thing with this is that, because of the way that we sculpted the lamp, in this case, all the creases happened to be the same edge. So I only clicked that once. And then if I to feel it, it's going in the entire lamp. Which I guess, for us, it kind of talks about how organic and interesting the lamp is.

So that will be the basis for modeling the lamp and going back and forth and adjusting some technical details he found if you need to.

DAVID VILLARREAL: All right. I guess I'm up. So I'll just give you guys a brief overview of the CAM environment and kind of our process for how we went through with prototyping this lamp, the now edgy cloud. So who in here has experience with Fusion's CAM? That's a good amount. And who knows what CAM is in general? Good. OK. So I won't belabor you with the details of all that.

So the three basics, so I'll go over CAM basics. Understanding this for the Fusion CAM environment and adapting the T-Splines model for this. Generating tool paths, designing a stock set up and tool paths for a double sided part. So that's how we're going to do this with the CNC that we have at our disposal. It's a fairly modest machine. This is the approach that we're going to take in order to achieve the geometries on both sides as we mill it out.

And then again, I'll go over like the iterative process using materials-- the use of different materials at different stages for rapid prototyping. So this is just a preview of one of the phases. We're using MDF. That's a pocket clear.

So overview. So what is CAM? CAM is Computer Aided Manufacture, super great in our industry. It can be very esoteric, it can be very basic, depending on the software you're using. Fusion is really great because it makes it intuitive, and there's a lot of help along the way, especially if you are someone like a beginner or someone like me initially when I first learned this, who needs that guidance along the way and doesn't have someone to talk to about it.

And so then, again, knowledge of methods will enhance your approach. So in our case, we're doing a-- we're doing a double sided part. I know lots of different techniques for this. You can use a PIN method. You can clamp it to the table if you have the money. Vaccuum to the table for, in our case, double sided tape. Yeah, double sided pressure tape.

So in the CAM environment, you have lots of different tools at your disposal. You can use this for plasma cutting, lathing, six axis and up, CNC mills, pretty much anything drilling. So it's just, you know, they leave you a lot at your disposal. So pick and choose and have fun with it.

So again, two sided milling with the CNC. We're going to use double sided tape. I know it's a little janky. It's not as professional as it could be. But for our circumstance, it works pretty well for our application. It gets the job done.

And again, I went over all of that. But just to hammer this home in the beginning, the size of the stock not only determined in the software. But the actual stock that you're going to mill out needs to be exact, and that's critical. Table setup and then part orientation are key.

If you mess up any of those up, you're not going to get the part you want, and you're not going to have accuracy. So I will go into the video, kind of pre-recorded this. So where Alex left off, this is one of our models. This is one of our versions. He created-- and we had a couple back and forths on this. We created the general body and asked him to split it up into multiple bodies. Started at like 8 or 10, and we were able to get it down to five different bodies.

So from here, we have three distinct components because of the symmetry of the object. So that's going to help us with different templates and overall milling. Right? OK.

So what I'm doing here is just splitting it up into different components and then saving those as separate component files to be used in the CAM environment for the CAM. And I'm setting up a nice file hierarchy here to [INAUDIBLE].

OK. So once you do that for all of your components, you jump in there. I'll go to my demos. I'm going to start with the bottom ring. And for me, this is-- I'll just kind of tell you how I like to do it. So it's in there, and this is the orientation it was in when it left Alex's original model, or a scaled down model. And Alex said, for me, I like to get it down on the z plane or level on the z plane. Kind of get it as close to how it will be with the origin when I actually go into the CAM environment. Because we haven't entered the CAM tab yet.

So I'll just get that ready, get that prepared, get it how I like it. And then I'll create a duplicate file of this. Because with Fusion and our machine-- and we're using a [INAUDIBLE] buddy-- it doesn't like to have multiple setups for cutting and for milling in one file. So we create two separate files with different setups. And so I have my first side and I'll have my second side as we go along.

So I've done that for the bottom ring. And you do this for all of your parts. But here I'll start in with the leg. I'll show you I'll take you through the setup and through the actual tooling cap generation that I use for this. So I go into my-- I'm actually going to open my second side first.

And what I'm doing here is just, again, opening the setup, checking it out. That's what it will look like later. So you open a new setup. And you're playing around, and you'll see that this transparent box comes up with a little-- a new origin point that has nothing to do with the one over there on the side or on the bottom corner.

So what I need to do is set the origin. And this is critical, because it has to be the same on this one as it is on the other one but in reverse. And I'm also going to go in and set my stock size. And this, again, has to be the same as on the next part that I mill out, or the next part that I design.

So for us, since we're using double sided tape, I can't be too tight on this. And I have to leave a good amount of room on either end, because that's where we're going to leave the stock with the part on the table. So we need that surface area for the tape to hold. Otherwise, the CMC is going to-- the bit is going to knock it right off the table and I'll have to do another setup.

So then we roll into the actual clearing environment. I decided to go with a pocket clearing. It works really well in our machine. I'm just setting it here for you with those numbers. And then what's really great about Fusion is, you can really be super detailed about the constraints of your bit. So you can actually customize it in there. They have pre-set bits-- everything you need from carbide bits, high carbide steel, anything like that, aluminum.

And then be sure to save it after you do that. Because if you don't, and you just x out of it, you'll lose all of that information that you just entered and you'll have to do it again and again. So make sure you hit OK after you set your tool, your bit.

So now I'm going to go in and design the geometry for which the tool bit is going to follow, or the bit's going to follow, the tool path. And I want to do it outside of this line. If I did just a box geometry, it would end up-- yes, if I did a box geometry, it would just end up milling out all that stock on top, and I would be left with nothing to flip. So I need to make sure that I have some meat left on the sock or the material that I'm using when I do flip it for the tape. And then I just set the heights. Whoops, sorry about that in terms of the preview there. OK.

So once I set the height, that's all well and good. That's as far as it's going to go. I won't bore you with more of these details. But you get a general idea of how easy the setup is. So now that I have my tool pack generated, it looks pretty good. You'll see a yellow caution sign up there next to the T4 pocket three. And what Fusion is telling me is that it can't machine a certain section of that material or of that design. Which is fine in my case, because I'll just do some hand finishing later.

So I'm not worried about that caution. I'm going to run the simulation. And supposedly real time. But what I've found with our machine is that it does give you a time of machining, but it's double what that is when we actually translate it. But still, it's very, very accurate to what we perceive and-- or what we actually get when we actually-- what the part looks like when we actually mill it.

So it looks pretty good to me. And again, we've done this a few times. I think I have enough stock on either end. Again, paying attention to that. Yeah, so it's good to go. So now I'm ready to post process. And again, with this, this is just how I do it. What the object is, the size of the bit. Especially if you're going to start changing out bits and you don't have an automatic bit changer.

And I set it and I save it. And so now I'm ready to do the other side. So now this is the other critical step regarding this. Again, I create the stock. The stock needs to be the same on this model as it was in the other one. If you don't have it the same, then it's not going to come out right. It's not going to translate.

And then the origin, since I'm flipping it over-- since I'm flipping it over-- sorry about that. Since I am flipping the part over, the origin needs to be in the same corner. But it's inversed essentially.

Again, setting the stock. I'm not going to run through all of this again. And you'll see the warnings. So it's telling me that there's probably going to be a rapid collision with the stock, because it's milling. Don't worry about that. Or, in this case, I'm not worried about it because I've run it in multiple kinds of materials.

So yeah, rapid collision with stock. And the first one was foam, so it's not really a big deal. Foam is cheap, and it won't destroy the bit. Now if it goes in the table, that's another story. OK. So that's all.

So now that part is ready to cut when you post process it. And so then I'll just give you some other examples. Again, I won't belabor you with this. But all the different paths you can run in one setup. And again, Fusion makes it easy. It's quick. It's dirty. Run the simulation.

All right. So once you have all your parts made, you can start actually machining it. So this is our set up in school. The stock has to be cut exactly to what it was in the CAM environment. You need to make sure that everything's perfect. And we have to check and double check. Especially with, in our case, we're not using-- the constraints of our machine is pretty modest.

So once it's all zeroed, hopefully I don't blow your ears out with it. So there's the first side. There you go. Looks good. So there it is, the first side of one of our iterations. This is probably the first one that we did actually. And then flip it over, attached it to the table, rip that other tape off. Make sure you hear it again, run it. OK.

[INAUDIBLE] do that, you will [INAUDIBLE] rip it off the table like it usually does or can do. So it comes out. And pretty centered. We're pretty comfortable with it. And again, it's an organic shape. It's a edgy cloud. So it doesn't have to be spot on. And so this was our first test. So once you've finished with foam, you can move into other materials, like MDF. Really start to play with different tooling paths-- parallel, pocket, contouring, all that kind of cool stuff. Get really cool patterns with it. We were considering leaving it.

So then it's ready to jump into wood. We're ready to jump into wood at some points, so we use maple. And maple's a hardwood, so we do adjust our tooling for that as well. And the amount of maple that we use, it's probably about $40 worth of maple that we use.

And I know part of all of this is how much waste you produce when you actually go to manufacture your component. But this is-- keep doing that. OK. Sorry. So then, lay it out a little bit. Get it milled out. [INAUDIBLE]. That's how it comes out. This is rough. This is what it was roughed and finished with the bits, the finishing pass, just minimal hand standing at this point on both sides. So you run it.

So it's kind of-- you know, it's OK, mocked up, looks OK. But I've already shown you this a million times? But this is the end result with some good hand sanding and hand finishing, we turn that edge of that fluffy cloud into an edgy cloud into an actual lamp-like structure.

ALEX LOBOS: Something that I want to point out too is that in order that we went from foam, then MDF, and finally wood, that was very helpful for us. Because the softer the material, the faster that it went and the cheaper that it was. So it was good for us to experiment. And we actually went back a few times with different versions of the model, because we realized, oh, this section is too thin, or maybe it doesn't look right. You look, it looked nice on the computer, but maybe it didn't come out too well on the actual model.

Yeah. So I mean, that's-- you know, that's basically it. We're excited about this process that went from concept-- basic, in terms of modeling, but we think they're very interesting in terms of the geometry that you create. And then being able to move that into the real world.

So thank you very much for your time. We're happy to answer any questions that you might have.

DAVID VILLARREAL: Thank you.

[APPLAUSE]

ALEX LOBOS: Yes?

AUDIENCE: [INAUDIBLE]

DAVID VILLARREAL: Yeah. That's what's great. You can go right back into the tool path and exchange a couple of numbers, and it's done. So it's really enabling for-- especially for people with like a modest or hobbyist setup, it's just quick and fast. So it's really great.

ALEX LOBOS: One thing that we do in terms of modifying the tool paths was that, for the first versions, we only did rough passes. Because we just wanted to get a general sense of the geometry.

Once we started getting into the MDF, and especially the wood, then we changed for finer tools.

DAVID VILLARREAL: And what's great is you can either run the full setup, so you can run all the passes, or you can just post process some of the tool paths that you've set up inside that setup. So that's great. That's also really interesting.

ALEX LOBOS: Right.

DAVID VILLARREAL: So let's say you're running your part, and you ran the full setup, and you've done the finish and you've done the roughing pass, and now it's time to do the [INAUDIBLE] setting up to do the finishing pass, and it messes things up, and it goes crazy, and you want to keep rewriting the file. You don't want to spend all that time going through the first roughing pass cutting error. You can just go back in the Fusion, select the finishing pass, pull it right in and run it and you're good to go. So it'll save you a little bit of time.

And when you bring it into your-- whatever software you're using on your CNC device.

ALEX LOBOS: Any other questions? OK. Well, thank you very much. We'll be around if you want to connect with us. Thank you for coming.

[APPLAUSE]