[MUSIC] [SOUND] Okay guys, welcome to my introduction for the sculpt mode. As you've seen, we've talked about solid modeling, primitives, sketch construction, bodies and components, what I want to do now is talk about this purple button. And I know earlier I said please don't touch it yet and here's why. We know that we have our standard six modes this fusion gives you tool sets for but housed inside the model workspace is create form and what that does is actually gives you a seventh mode and it opens that seventh environment, which is the sculpt environment. All of your tools transfer over, they have this purple tint to them, if you go through the drop-down menus, you will see that there are some similarities. When I come to create, the first half is primitive, you have face construction. And you also have sketch-based construction. So I can extrude sculpted bodies, revolve them, sweep them, or loft them. Once you have a body in the sculpt environment, you can modify them. And this toolbar is very different than what you've seen before. I've got Edit Form, Insert Edge, Weld Vertices, Pole command, Thicken command, I've got Match. And as you go through these tools, you can stop and read the Fly Out menu and glance at the image and it'll help communicate what this tools job is. Next, the drop-down asymmetry and symmetry is new. But as I moved down to Sketch, exactly the same, constructions the same, inspections the same, insert, select all the same. At the end, you have a new tool called Finish Form. Whatever you've built in the sculpt environment, when you press this, drives back out in to the model mode and you get a marker in your timeline for that sculpted body. What this does is places the free form sculpted environment inside your parametric time framed base file. So what I'm going to do is, go back to into the sculpt environment. Right-click, edit, brings you back in. The Finish Form is over here, and a cue that you're always in the sculpt mode there. And I'm going to start off with a basic primitive. Create > Box. Turn the origins on. Go to my top plane. And drag out from there. It should seem a little familiar to the primitive box command inside model because it is similar in creation. I can pick the sizes, enter the numbers for dimensions and it gives me this form. What you have to remember is that in the sculpt mode, this is a T-spline body. What's different is that every face is tangent to its neighbor. It's smooth, and it's continuous. In my BOX toolbar, I can adjust the number of faces, I can change the dimension, I can say direction one-sided. I can turn my symmetry on directly in the tool. I've got three main planes to pick from, and the green line denotes the mirror plane. Although if this one for now, you can add or delete symmetry later. So by drive the handles is very similar to the box command and solid modeling. I can make it bigger or smaller. But it has this secondary set of handles here. And as I slide it towards the plus sign, it subdivides the faces. And this way, you can control the number of faces that your basic primitive has. A question that most people ask is well, how many do I add? And there's really no way to know for sure on your design. But keep in mind, less is more. And you can add and subdivide later, as well. You don't have to be exact now. You can always, as I mentioned, add more later. Let's just go with a couple each way for now. Okay, close it. And now I have my first primitive T-spline body ready to go. I can pick any face. I can pick any edge, point or using Ctrl or Shift any combination of those and because symmetry is on it will live select the other side as well. The power of the sculpt mode, using T-splines, is your ability to quickly create complex form and explore ideas. You can iterate in addition to that, I spent a lot of time getting good at complex form generation in other software. And every time I show at here in fusion it does hurt me a little bit to show how incredibly easy it is now. So under your modified drop-down tool the first one is Edit Form. It's also right here in the default toolbar. And if I right-click it's always at 2 o'clock when the Edit Form tool comes up, it gives you options on how you can select what you can do and what you're going to change. And so for right now, I'll pick a handful of faces, notice that the move triad popped up as well. What this allows me to do is move whatever I have selected. And I'll grab this arrow here which promotes linear movement. And what's selected will follow that movement. Notice that it's giving you a dimension if you chose to enter that. If I switch to the vertical arrow, and pull it up, then all four of those slide up as well. And we'll shoot for 20 millimeters. And if I go to this one, and I slide them all back 30 millimeters. And so now, in a handful of seconds, going slow so I can talk to you about the tools I've made a very complex form in a very short amount of time. And it has flowing tangency and it's compound surfaces. Let's go a little bit further with the modification. So these squares are planar movement. It allows me to move in two directions along this plane. And you could see that it is telling me dimensions as well. This one is planar in these two directions. And you can see live, how the form changes and it gives you direct feedback to what you're doing, this one is planar from a top view. And so to show you, guys, how powerful it really is. If I drag across here, and I violate each side, I've created self-intersecting geometry. And when you create self-intersecting geometry, fusion is going to raise the warning sign. The math used to create the self-intersecting geometry will not create a solid body. My approach when I'm using sculpt is great power, great responsibility, be conscious of what your doing and keep an eye on self intersecting geometry. So let's go a little further with the manipulator. These edges here are scaled. If I grab this one and drag up and down it extends and squishes what you have selected. If I grab this one, it's going to do it in a horizontal manner, stretch or extend. If I grab the corner. It's both of those at once. These circles here are rotation and there are graphical indication of what they do, so if I grab it, and move it, it's going to rotate whatever I have selected. That's nice. Let's go to one of the other axis, grab this one, rotate a little. Great, I'm happy. All right, let's twist this one a little bit. Okay, all right, cool. I hope you guys see how fast that is, how powerful that is, and how quickly you can iterate and come up with ideas faster than almost any other methodology. As I mentioned, you can also grab points or lines. And I'll grab these two here and slide them up. And now, I'm experimenting and iterating with this form even more. But what's even more powerful is if you double-click on a line it gives you the entire profile. So now if I grab this arrow and move it back I'm moving the entire profile in a linear manner. Let's push it up a little bit. And let's experiment, we'll rotate it a little bit. And then the last part I didn't show you yet is universal scale. And it will scale your entire selection in a universal format. Don't forget, we basically started with a bar of soap here and now we're in a very complex organic shape. Okay, so let's talk about selecting, if I drag and marquee select from left to right. It only selects what's completely contained in the selection box. So you notice it grabbed all of those faces on the front. If I click and drag from right to left, it selects everything it touches. Those are two valuable ways to quickly select a lot of data. Now that I have all of this selected, let's move this in a planar fashion. I'll push them out forward and extend that shape a little bit. Maybe I'll squish them a little bit. Maybe a little rotation, a little more planar. Now I've extended and pushed the form further. So a quick question for you guys. Is this form airtight? Or will it hold water, what's inside of it? The answer should be yes, but you may not know that yet. And here's how and why. Well, let me grab this face, let's finish that tool. So I'll grab this face and delete it. Is that airtight? Obviously no, there's two big wholes in the side. Now, that you've seen the inside, I've Ctrl+Z it back. The critical point to know here is when you finish and form in fusion it goes two directions. If it's airtight, you will be given a solid body of this sculpted form. If it's not airtight and you finish form, you get a surface representation of this sculpted body. Both are valuable and can be utilized. Being able to predict what your yield is from your sculpt is important to note. And I want a solid body, so I'll say Finish Form. It finishes my sculpt. You'll notice that I have my marker here for my sculpt in the timeline, and you'll notice that I'm back into Model Mode. And for educational purposes, let's move this a little bit further and play. Make sure my origins are on, do a sketch. Right view, and I'll just do a quick spline, and I'll quickly build one out. I'll move this point here, adjust the handle. That's about where I want it. I'm not going to dimension it right now. I've got my sketch, I'll stop that sketch, I’ll say split body, body to split, my spooling tool as a sketch, I say OK, it splits my body, I now have body 1 and body 2. Now this should look a little similar to our last exercise about bodies and component. The same principle is obvious here. I'm not worrying about mass production right now. Injection molding is not my goal. Same principle if I grab press/pull, I can grab that face, and I'll push it up 3 millimeters. Now I have a separation with my two bodies. I could shell these as well. Shell, 3 millimeters, OK. Switch which one's shown, repeat that process. 3 millimeters, OK, turn it back on, and now I have a relationship between a sculpted body and solid constructed bodies. If I come back in time and right-click, then edit my sculpt, and I'm back in the sculpt environment. And let's just do a quick adjustment. We'll grab this edge. And I'm going to slide it up. Great, I want this bulge. I'm going to rotate it a little bit to adjust the appearance. Maybe I'll shift it back to a planar move. Great, I like that. Let's take this edge in the front and planar moving forward. Now my spaceship here has a cockpit. Okay, finish my form. The events in history follows through. My split and my two shells update and the sculpted body leads the solid features down stream. What I want you guys to do is practice. Go into the sculpt mode and I want you to play with primitives. I want you to go to box, build a cylinder, build a spear, torris, quad ball, pike. Plane is okay but not as important right now. Don't worry about the sketch based construction for right now, will touch on that later. Play with the primitives, move it around, turn into a solid or a patch. Cut it, adjust it, your goal is to play in sculpt so you can start to anticipate how it reacts. Okay, when you come back, we'll move on to the next level on sculpt. [MUSIC] [SOUND]
