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In this quick tip, use your new skills with T-splines to create a bike helmet concept in Fusion.
Type:
Tutorial
Length:
5 min.
Transcript
00:03
Starting off in fusion.
00:05
I have some imported data that I'll use as a reference and an underlay.
00:10
In this case, I have attached a canvas of my helmet sketch to design around
00:17
in the sculpt environment.
00:19
I'm going to use one of the primitives found under the create,
00:22
pull down to start the inner shell of my design
00:26
and I'll place a 7.5 inch quad ball on my origin plane.
00:32
Now, the first rule of T
00:33
blind primitives in fusion is made to be broken.
00:37
What I mean is T
00:39
blind primitives are made to be broken.
00:41
So the approach that I'll take here is to delete
00:44
the faces on the bottom of the quad ball.
00:46
And I'll use the technique I'll refer to as scale zero
00:50
which allows me to use the edit form tool,
00:53
select the edges and scale them flat by scaling them to a zero input.
00:60
When sculpting with tee blinds.
01:01
This is a great way to control and manage the topology of your faces and edges.
01:07
And this is definitely a great trick to master.
01:10
Alternately, you can use the flatten tool in the modify menu.
01:15
Next, let's start sculpting and capturing the overall form of the helmet.
01:20
If you've ever struggled making edits to geometry and
01:24
maintaining a smooth fall off of the changes.
01:27
Use the soft modification option in the edit form. Dialogue box,
01:32
soft modification allows you to feather out direct manipulations of the
01:37
edit form tool by using a number of inputs including circular,
01:41
rectangular and grow
01:43
and you can control the fall off as smooth,
01:46
linear and spherical.
01:50
Once I'm comfortable with the overall proportions of the inner shell of the helmet,
01:55
I'll add symmetry to ensure that the left
01:57
and right sides of my helmet are symmetrical
02:00
and I'll use the edit form tool to capture the feature line of my helmet.
02:08
I'm going to use this shape as the inside of my protective foam for the helmet.
02:14
So now I want to thicken the shell to build out the helmet.
02:18
I'll use the thicken tool in the modified menu to thicken a half
02:21
inch shell
02:22
and leave the corners as a sharp edge,
02:26
a tip and trick that I'll deploy here is to
02:29
use copy and paste to duplicate bodies in fusion.
02:33
I'll copy and paste the inner shell and use the
02:37
new copy as the starting point for my outer shell.
02:45
It's important to remember that the sculpt workspace is a direct modeling workflow
02:50
and I will commonly copy paste and turn off visibility of bodies when I
02:55
want to explore a form allowing me to recall a starting point later,
02:60
the best practice here is to leave some breadcrumbs.
03:02
If you wanna come back and start exploring again,
03:07
another selection tip to deploy is to select a face
03:10
and then hold shift and double click on the next face to select a face loop.
03:15
This makes it really easy to edit or in this case delete a continuous loop of faces.
03:36
Now let's start sculpting in the detail of the outer shell of the helmet.
03:40
I'm going to start by inserting an edge to add more detail in my helmet.
03:45
Inserting edges allows me to refine and capture detail and curvature in my design.
03:52
Once I add the edge,
03:53
I'll use edit form in conjunction with crease to add
03:57
the feature line on the back of the helmet.
03:60
You'll find the crease tool in the modify menu as well as in the right click menu.
04:04
When you select on an edge,
04:10
I'll use the crease tool again to add in some additional feature lines.
04:14
And then I'll use un
04:15
crease to create a creased curve around the front of my helmet.
04:23
Remember that a crease will fall off across two spans of faces,
04:28
which means that by the third face, the crease will completely disappear
04:36
in situations where you want to better control the fall off of a crease,
04:40
insert and delete edges to control the transition of your design intent.
04:46
Next, it's time for me to refine and control the topology of my faces.
04:52
I will switch into box mode which you can find under utilities display mode
04:57
or keyboard shortcut control one on a Mac
05:01
or alt one on a PC.
05:06
While in box mode, I can see the cage representation of my teeth,
05:10
blind body and better understand the curvature draft and nuance of my design.
05:18
While in box mode,
05:19
I'll use techniques like scale zero and edit form to clean up my design.
05:27
Another tip that I'll use while in box mode
05:29
is changing the orientation and direction of my pivot.
05:33
When you want to better control the direction or location of a manipulation,
05:38
press the pivot tool while in edit form,
05:41
reset the pivot
05:43
and be sure to click the green check mark.
05:45
When you're done to resume the edit form tool.
05:49
The combination of these techniques will allow me
05:51
to better refine and control the design.
05:53
So far,
05:59
let's spend some time applying all of the techniques we've talked
06:03
about so far to massage and sculpt our helmet concept.
06:32
Finally, I want to add a design to the top in front of my helmet
06:37
and I'll do so using the same techniques as before
06:40
I'll start by inserting an edge which will subdivide
06:44
the faces down the center of the helmet.
06:46
Once I do so I'll crease the new edge to create a hard
06:50
transition surface that I'm looking to create down the center of the helmet.
06:55
Then I'll spend some time modifying the geometry
06:58
to add the transition throughout my design.
07:01
Once again,
07:02
I'll switch into box mode to ensure that my
07:05
faces and edges are smooth and aligned properly.
07:55
I'll use the thicken tool to thicken the faces again.
07:58
But this time I'll use a soft condition
08:01
which will maintain a smooth transition between the inner
08:04
and outer faces that you're creating when you thicken.
Video transcript
00:03
Starting off in fusion.
00:05
I have some imported data that I'll use as a reference and an underlay.
00:10
In this case, I have attached a canvas of my helmet sketch to design around
00:17
in the sculpt environment.
00:19
I'm going to use one of the primitives found under the create,
00:22
pull down to start the inner shell of my design
00:26
and I'll place a 7.5 inch quad ball on my origin plane.
00:32
Now, the first rule of T
00:33
blind primitives in fusion is made to be broken.
00:37
What I mean is T
00:39
blind primitives are made to be broken.
00:41
So the approach that I'll take here is to delete
00:44
the faces on the bottom of the quad ball.
00:46
And I'll use the technique I'll refer to as scale zero
00:50
which allows me to use the edit form tool,
00:53
select the edges and scale them flat by scaling them to a zero input.
00:60
When sculpting with tee blinds.
01:01
This is a great way to control and manage the topology of your faces and edges.
01:07
And this is definitely a great trick to master.
01:10
Alternately, you can use the flatten tool in the modify menu.
01:15
Next, let's start sculpting and capturing the overall form of the helmet.
01:20
If you've ever struggled making edits to geometry and
01:24
maintaining a smooth fall off of the changes.
01:27
Use the soft modification option in the edit form. Dialogue box,
01:32
soft modification allows you to feather out direct manipulations of the
01:37
edit form tool by using a number of inputs including circular,
01:41
rectangular and grow
01:43
and you can control the fall off as smooth,
01:46
linear and spherical.
01:50
Once I'm comfortable with the overall proportions of the inner shell of the helmet,
01:55
I'll add symmetry to ensure that the left
01:57
and right sides of my helmet are symmetrical
02:00
and I'll use the edit form tool to capture the feature line of my helmet.
02:08
I'm going to use this shape as the inside of my protective foam for the helmet.
02:14
So now I want to thicken the shell to build out the helmet.
02:18
I'll use the thicken tool in the modified menu to thicken a half
02:21
inch shell
02:22
and leave the corners as a sharp edge,
02:26
a tip and trick that I'll deploy here is to
02:29
use copy and paste to duplicate bodies in fusion.
02:33
I'll copy and paste the inner shell and use the
02:37
new copy as the starting point for my outer shell.
02:45
It's important to remember that the sculpt workspace is a direct modeling workflow
02:50
and I will commonly copy paste and turn off visibility of bodies when I
02:55
want to explore a form allowing me to recall a starting point later,
02:60
the best practice here is to leave some breadcrumbs.
03:02
If you wanna come back and start exploring again,
03:07
another selection tip to deploy is to select a face
03:10
and then hold shift and double click on the next face to select a face loop.
03:15
This makes it really easy to edit or in this case delete a continuous loop of faces.
03:36
Now let's start sculpting in the detail of the outer shell of the helmet.
03:40
I'm going to start by inserting an edge to add more detail in my helmet.
03:45
Inserting edges allows me to refine and capture detail and curvature in my design.
03:52
Once I add the edge,
03:53
I'll use edit form in conjunction with crease to add
03:57
the feature line on the back of the helmet.
03:60
You'll find the crease tool in the modify menu as well as in the right click menu.
04:04
When you select on an edge,
04:10
I'll use the crease tool again to add in some additional feature lines.
04:14
And then I'll use un
04:15
crease to create a creased curve around the front of my helmet.
04:23
Remember that a crease will fall off across two spans of faces,
04:28
which means that by the third face, the crease will completely disappear
04:36
in situations where you want to better control the fall off of a crease,
04:40
insert and delete edges to control the transition of your design intent.
04:46
Next, it's time for me to refine and control the topology of my faces.
04:52
I will switch into box mode which you can find under utilities display mode
04:57
or keyboard shortcut control one on a Mac
05:01
or alt one on a PC.
05:06
While in box mode, I can see the cage representation of my teeth,
05:10
blind body and better understand the curvature draft and nuance of my design.
05:18
While in box mode,
05:19
I'll use techniques like scale zero and edit form to clean up my design.
05:27
Another tip that I'll use while in box mode
05:29
is changing the orientation and direction of my pivot.
05:33
When you want to better control the direction or location of a manipulation,
05:38
press the pivot tool while in edit form,
05:41
reset the pivot
05:43
and be sure to click the green check mark.
05:45
When you're done to resume the edit form tool.
05:49
The combination of these techniques will allow me
05:51
to better refine and control the design.
05:53
So far,
05:59
let's spend some time applying all of the techniques we've talked
06:03
about so far to massage and sculpt our helmet concept.
06:32
Finally, I want to add a design to the top in front of my helmet
06:37
and I'll do so using the same techniques as before
06:40
I'll start by inserting an edge which will subdivide
06:44
the faces down the center of the helmet.
06:46
Once I do so I'll crease the new edge to create a hard
06:50
transition surface that I'm looking to create down the center of the helmet.
06:55
Then I'll spend some time modifying the geometry
06:58
to add the transition throughout my design.
07:01
Once again,
07:02
I'll switch into box mode to ensure that my
07:05
faces and edges are smooth and aligned properly.
07:55
I'll use the thicken tool to thicken the faces again.
07:58
But this time I'll use a soft condition
08:01
which will maintain a smooth transition between the inner
08:04
and outer faces that you're creating when you thicken.
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