Freeform modeling and sculpting

00:04

To create a free form surface in solid works.

00:06

You would typically be used to sketching a set of two D or 3D blinds or profiles

00:11

then creating or splitting a surface with these

00:13

profiles using tools such as lofted or boundary surface

00:17

fusion also has the same surfacing capabilities located under the surfaces tab.

00:21

Although we call the soli works field surface commander patch

00:24

and knitting and stitching,

00:26

you can also enable 3d sketches in the pop up dialogue box.

00:30

Then use the control points to put these into position.

00:34

Fusion's added benefit is that it also utilizes T

00:37

blind surfacing technology.

00:39

A more organic approach to help speed up and simplify your surface modeling process

00:42

which you will find under the solid tab using to create form of command

00:47

wind surface modeling.

00:49

The first thing you may do is attach an

00:50

image or reference photo to base the design off of

00:55

in solid works.

00:55

You would have used a drop down menu to find the sketch picture command.

00:58

Then followed the process from there.

00:60

In fusion,

01:01

you go to the insert, drop down and select canvas,

01:06

choose a plane or face and select your image.

01:12

Once here we can manipulate the size to fit our pre-existing dot Components.

01:18

Notice you have the option to set the opacity or select see through which lets you

01:22

work on the solid model and have visibility of your image at the same time.

01:28

Once we press OK,

01:29

our reference image is in position which you can also see in the browser tree.

01:36

I'll show you how we would make this

01:37

lamp using more traditional surface modeling techniques.

01:40

Then again,

01:40

using teeth flying technology to emphasize

01:42

the differences and benefits between each method

01:48

with surface modeling.

01:49

One example would be to create your two D or 3D sketches,

01:52

make a use of constraints at the same time,

01:54

then make a surface profile using any number of surface modeling features.

01:57

As I'm doing so here with the main body,

02:01

then I might create a construction plane and sketch another profile.

02:04

Then lo the two being sure to set my curvature and its strength and any guard rails.

02:08

If applicable,

02:11

I would repeat the above process and edit the

02:14

design is necessary until we have our general form

02:16

and stitch your services together allowing me to further remove

02:19

any unwanted surfaces until we're happy with the result.

02:23

As you can see

02:24

all actions are captured in the timeline,

02:25

meaning we can go back and edit any features.

02:27

Should we wish

02:30

I'll undo this and now show you the power

02:31

behind teeth blinds by creating the same model.

02:34

And I'll start by bringing in a primitive from

02:36

the toolbar to start to form our base design.

02:40

Here,

02:40

I'm gonna select a cylinder as I think this will be best suited to shape into our lamp

02:45

to edit your vertices, edges or faces,

02:49

select those you wish to amend and near the right click and select edit form

02:53

or click on edit form from the toolbar.

02:56

Then you can start to drag to match your

02:57

canvas image until you have your basic outline.

03:01

First,

03:02

I'll apply symmetry or mirror in solid works between two phases from the drop down.

03:06

Meaning I can work on one half of the design and the change will be equally reflected.

03:12

There's one quick tip here where if you double click on an edge,

03:14

it will select all connected loops, something I use frequently,

03:19

I'll finish creating the base of our design while showing

03:21

you the options that appear in the edit form.

03:23

Pop up dialogue box.

03:26

The first is where you select the T spy and entity,

03:28

how you want to transform the entity,

03:30

the coordinate space you want to refer to.

03:32

And if you want to select specific entities ie vertex edge face or all

03:39

the next section is where you can apply soft modifications

03:42

which allow you to select and control vertices near the selection,

03:46

the influence they are subjected to

03:48

and the shape of the affected region.

03:51

Your selection options helps you to easily make a specific selection.

03:54

For instance, a loop or ring selection.

03:58

If you hover over these commands. You can also see their respective shortcut key

04:03

here. You can also see the display mode.

04:06

This is something I use frequently as it helps you

04:08

easily establish its base form before subdivisions are applied.

04:12

Meaning you can quickly see if there are

04:13

any irregularities or discrepancies in your design.

04:17

Another quick tip here is you can extend the face by selecting it,

04:20

then press alt and dragging away

04:24

here. I've deleted some faces from our handle.

04:26

And now I want to use the bridge command to fill the

04:28

gaps available in the drop down menu or via the shortcut key.

04:37

Then

04:38

I can select the respective faces and use the edit form command to amend as necessary

04:44

at the very top of the light handle.

04:46

I used a fill hole command in the modified drop down menu.

04:50

When filling a hole, you have three options.

04:53

The first reduced star creates a face using a minimum amount of star points,

04:58

collapsing places all vertices to a central point.

05:01

And in this case, a film star creates a single face with star points at each vertex,

05:05

which is most suited for when you want minimal distortion.

05:09

I'll do this again at the bottom.

05:10

However, this time,

05:11

I'll use the maintain crease edge option which avoids a smooth transition.

05:16

We can then carry on editing our form.

05:19

I also want to tighten up the base here.

05:21

So in this case, I'll insert an edge to create more control points

05:25

then edit the design to suit.

05:30

I can even add a solid modeling feature to a

05:32

sculpted body as shown here with a fillet command,

05:35

meaning you're not limited to surfacing commands in your design.

05:39

These solid features are also captured in the timeline,

05:41

meaning I can revisit them at a later date.

05:43

Should I need to make any changes?

05:46

Finally,

05:47

I'll show you how you can use sketches in the split

05:49

body command to create separate bodies using non destructive techniques.

05:54

I prepared a couple of sketches.

05:56

So I'll open the split body command,

05:58

select our sculptors of body

05:60

and the sketch is a splitting tool.

06:03

When I press OK, you can now see a split line has been created.

06:07

And if I go back to edit the sketch, these changes are reflected in the skull body.

06:12

I'll repeat this for the lower shell handle

06:15

and rubber strip to create separate bodies.

06:22

I'll then convert these into their own

06:23

respective components by right clicking and selecting,

06:26

create components from body

06:27

and continue modeling.

06:31

Fusion,

06:32

surface modeling and t supplying technologies provide a quick and

06:34

efficient process for creating and refining any number of conceptual ideas

06:40

by having a unified workspace environment.

06:42

Products can be developed in tangy with solid modeling processes,

06:45

giving you complete cohesion in your development process.