 Alright, take a look at this lamp. You think you can design it? This was actually a lamp at a hotel I was staying in while visiting Savannah, Georgia. I find myself doing this often, seeing an interesting design and having my mind go straight to Fusion 360 and thinking of a design strategy. I ended up designing it and then gave the challenge to my weekly online Fusion 360 class. And I thought I would share that challenge with you here as well. But instead of doing a separate video I thought I would simply share the life class with you because I think many of you would enjoy it. And so I got permission from my students to give you a sneak peek on what goes on in these life classes. I took an entire class recording and edited it down a bit for you since the entire class is about an hour and a half. But I kept enough of it in so that you can see the entire format of the class. If you want to jump straight to the design challenge, I have the timestamps below. But I think you should watch the entire thing. We usually start with some general discussion. Most times it has to do with some aspect of 3D printing. But we also discuss other forms of fabrication such as laser cutting and other CNC machines. Then we transition to specific Fusion 360 questions that students have on models they're working on. And I'll bring up their designs and help them get on stock. If there are no questions I'll either do a lesson or a design challenge. One thing I've started doing that students really enjoy is giving them a design challenge and then separating them into teams and different breakout rooms to solve the challenge. And after 15 minutes they come back and we get to see everyone's approach. Before I end up showing them the approach I would take. That's what you're going to see today. So when we get to the design challenge what I would like you to do is to pause the video when the students go into the breakout rooms and give the model an attempt yourself. Then continue the video to see if your design approach matched any of theirs or even my approach. After showing my design approach and answering any questions we always end with a show and tell. This is the part of the class where students get to show what they've been working on. I really love this part because you get to see the creativity of the group and be inspired by what everyone's making. Make sure to not skip this part. It's the last section and it's well worth it. If you like what you see here and are interested in joining my weekly live class I've left a link below with more details. I currently have 27 students enrolled and have room for a few more students. The group is small enough that you get personalized help and you'll see for yourself that it's just a really great community of wonderful creative people. We meet every Tuesday at 1 p.m. Eastern time. Alright let's jump right in. The resin is this picky stuff. We call it goop and it goes everywhere and it gets everywhere and it's very particular and gloves and napkins and everything are your best friend. And the details, the detail is really nice. Are you regressing going along that line? Only when I sit here and listen to all the film at discussion. But I'm getting a filament printer of my own and I have one at the makerspace that I work at. So it's not bad. The big thing about resin is the detail. The detail is really, really good. That's why John wants more people to join the resin team. Trevor is there anything particularly you're looking to design that you feel you've hit the limitation of FDM? Yeah, it was this thing here where the, where do we look? This thing here is the cage. Everything is dimensionally perfect. But if you look at the lattice things there, they're very jagged. And I thought, well, this won't be the end of my miniature making. Maybe I should be looking at the resin solution where there's no stress at all. Gotcha. Yeah. So the looks of that looks like you printed that up right. So when it did the X, I guess that's why it's a little bit jaggy. So let's jump into today. Today, let me see, let me start with, I want to do some highlights, just a few Facebook highlights from projects I want to show here. And then it seemed like the breakout rooms with the design challenges seem to you guys seem to enjoy that. So we're going to try that again today. I have a new design for you that we're going to do. And so we'll jump into that in a minute. But first, let me show. Okay, so I want to show some of this stuff. Like, have you guys seen some of Cheryl's work here in the group? Really amazing what she's doing. She does dollhouse miniatures. And she's using well, in this model here, she's using 3d printing for the lamps here. And the lights, which pretty amazing. So in this post, she kind of talks about the LEDs that she uses and has a link to it. One of the neat things I commented on the brick seems to be like the theme here, the of the month, but the brick wall. And I thought she just ordered these online. But turns out she she in the reply, she actually links to a little tutorial she did, where she uses egg crates. And that's how she gets the texture of the brick wall, which I thought was pretty cool. So I guess not everything has to be 3d printed. But it's really neat. If you want to follow the link there and see how she did that looks so realistic. And she has another one here. And you kind of see the amazing work she's doing there. All this I mean, some of you guys commented here that like you thought this was a rendering which, you know, could definitely see why the work she's doing here. So yeah, now she's incorporating 3d printing a lot into her dollhouse work. So really cool stuff she's doing there. Okay, Van, you posted on this documentary, the MakerBot that actually I've seen that I think was a few years ago, it's actually really interesting, especially when you see like a documentary of like, you know, what you like, you were there at that time, like, well, at least for me, like I was following all along. So it's actually pretty neat seeing, you know, MakerBot, because they were pretty much the first ones to kind of, you know, sort of lead the 3d printing movement that, you know, that spur out of the whole rep rap movement. A cupcake. Yeah, the cupcake, yes. A little kit that you'd build. Oh, I think the first was the Thingomatic. And I'm sure did the cupcake come as a kit? I can't remember. Yeah, it came as a kit. It only took us six months to put it together. Yeah, right. Okay, so let's jump into today's challenge. And let's see, I'm going to bring up my Fusion 360 here. And so today's challenge is actually it comes from a design and during my trip. And this was in the hotel that was lamp. It was a neat, just a neat shape to it. And I thought, ah, design challenge, you know, where you see something and you kind of do this a lot, well, I'll see something and say, I wonder, I wonder how it would be to design that or like, I'm pretty sure I could make that. So let me let me show you share my screen here. And I'll bring up the picture, but I also went ahead and designed it in Fusion. Just so because the picture is male, don't make it. It's not so obvious to see what it's doing. So let me go ahead and share my desktop here. So let me show this first here. So this is the this is the lamp. And you can see and go back. So this is like just a side profile here. See kind of got these triangles going to front. And then I did a top, which you've kind of got like this square top. So I went ahead and quickly just hopped into Fusion to create it. And then so here's the design. And I'll just kind of show it a little bit. And then I'll also do this. Let me go ahead and just I'm going to right click and share public link. I'm going to throw that in the chat for you. And that way you can kind of have it and move it around. And so when we break out into rooms, you'll be able to kind of move this around and see it. But let me see it so you don't have to design the whole thing. I just kind of me break me remove the lampshade. I'm mainly concerned about just this part here. I want you to go ahead and tackle this. Like how would you approach this? Okay, well, that Wow, that's that's like optical illusion. The hexagon on the bottom until you show it. And it's a square. Yeah, exactly. You can see the top here. And then if I rotate this. So yeah, take all your mental notes right now. And then let me throw that on the chat here. I'm just going to throw the link where you can grab it. But yeah, so go ahead, we're gonna do I'm going to give you guys 15 minutes today to go ahead and just tackle this. Like I said, this is this is the whole thing. But don't worry about the rest of it. Just do that base part of it. And yeah, any questions? All right. So let me break into rooms, we're gonna do the same thing. I'm gonna split you guys up into breakout rooms. I'll do four breakout rooms. We'll do 15 minutes and I'm gonna I'll happen between different breakout rooms just to see how everyone's doing. And then we'll come back and then look at the different approaches. Oh, what I want you to do to I'd say before like jumping right in to design it just take a minute or two to just kind of go around. There's gonna be between three and four participants per room. So just discuss a little bit on on the approach you would take. So get kind of everybody's input on the design approach. And then then, you know, pick one person to go ahead and design it. Well, everyone gives their feedback and or directions. And then, then we'll come back and meet again to look at your different approaches. And I'll show the approach I would take. So all right, I'm gonna create the rooms. Who don't tell me you did it in two steps. Oh, no, we're I'm still, I'm still messing around with it. I don't know what I'm doing here. It's not doing what I think it's supposed to be doing. Like we got it, but I don't know if this is the approach that he's going to show us. So All right, how'd it go? That was fun. Yeah, I think we did it. Did it. I think so too. Yeah. Awesome. Anyone else think they got it? I wanted to be on their team. It was all Larry. We got stuck. First and then then I had an epiphany. Yes, he did. Okay. So we've decided since you guys think you got it, I'm going to save you for last. You got it. I like it. All right. Let's let's go to let me see room two. We've got Frank, Brian, Dean and Kvan. You guys want to show us your your approach? Sure. I think we got it. But Oh, they think they have gone the easy way. I don't know. So that looks like it. You see our screen. Yep. Yeah. Yeah, that looks that looks it. Let's see. Expand your bodies there on your browser. Almost. You're almost there. You've got surfaces. You don't have a body. We did a patch panel. So we got to we got to bring it back. Well, you interrupted us. Sorry. I'm back in the solid. I don't know. Okay, we got surfaces. So I've forgotten that step. How we got you. Okay, no, that's that's good. You guys got you're pretty much there. Let's just do a quick run through your timeline to see how you approached it. All right. So there's a square sketch and then did a loft. I can't see it. Turn on your your construction. There you go. But that's just a offset plane. Okay. Yeah, with an offset plane. I'm sorry. We didn't do a lot. And then did another sketch on top. Rotated it. Looks like you've got a 3D sketch there. Yes. Then we turned on 3D and connected all these points. And then went into the surface environment and did a patch. That's as far as we got. Okay. So one sketch at the bottom. And then you did a construction plane on top where you created a top sketch. You did another square. It looks like you rotated. Did you do rotate the top square? We did. We rotated this at 45 degrees. Okay. And then you turn on 3D sketch and connected the triangles. That's what we did. I'm pretty sure that's not the approach you're going to show us. But that was the easy approach. You're pretty much there. That's the way we started. Okay, good. Yeah. So the problem with that click untagled a few of those surface bodies there. Me turn them off. Yeah. And then just go ahead and then you kind of start to see how those are made up of surface patches. So yeah, so the next step was really to stitch all those together to get a body. But yeah, really, you're pretty much there. Good. Good job guys. Figure it out. So is that the part you got stuck on? Where were you going to do next? Well, I don't know. We should have used a stitch commander supposed to patch is that what you would have done? No, yeah, in addition, in addition. Okay. So we would have done the patch and then a stitch. Yeah, so you're trying to figure out at that point how to how to combine all those surface surface bodies into one solid body. Right? That's when the class ended. So yeah, sure. Okay, good. Good. Okay, so let's go to room three. We've got Brandon, Jackie, Trevor and us. Yeah, so we were we were close and actually kind of did the same thing created offset plane and rotated the sketch, the square 45 degrees and I went into sketch and connected all points. Then for some reason, we were talking about, well, first try to loft and that wasn't working. We ended up with something that was kind of, I don't know, just it just wasn't lining upright. And then we talked about surface and I was just when I just saw it there, for some reason, when I went into surface and tried to patch it, chaining was turned on. So when I selected everything, I couldn't get it, I couldn't get it to select and I just realized if I had to turn off chaining, I could have done it. So that probably would have been the, if I would have figured that out, we then we can create the patches here and get them. So yeah, right. And I made the model for Oh, cool. You want to share it? I'll, since you're done, I will cancel this. Hold on, hold on. And before you before you go, I just want to show you one issues you're having there. Go ahead and expand all your sketches on their browser. Okay. Okay, so because I'm not fully defined on this one. No, you got a profiler. So your first sketch, you've got a first sketch, and then you've got a construction plane, a second sketch, and then your third sketch there. Is that when you went to into 3d sketching? Yes. Okay, go ahead and open up that third sketch. Okay, you see I connected the corner, you know, the corners to each other to create the Yeah, take a line and, and, and redraw that line on that top square. That's closed one. Yeah, just go ahead and, and you see how it's a little lighter. No, no, not all draw redraw the square. Exactly. Yeah, Brian caught that right away and told us to do that. And that's how we fix ours. Yeah, so the issue there is you're not getting a close profile because you're missing. Oh, so I need to do it on both squares. It's not on the same sketch. Yeah, it's okay. And that's that's that's the part you needed there. Got it. So now I don't do a lot of 3d sketching. So it wasn't. Yeah. So now you're saying if I go to create the patch, even with chain selected, it should work. Oh, yeah, got it. It's a lot easier when you know what you're doing. There you go. Yeah. And sometimes it's just that you were just missing one, one key element there is that you didn't have a complete profile, you had two lines and not a closed off section. So those light gray profiles I was seeing from the other sketches is what threw me off that if I would have closed those off then right? Okay. Yeah, and the issue is you created those in separate sketches and then you went into 3d sketch. So when you go into 3d sketch, they don't come in to close like even if you're referencing part of other sketches, it doesn't consider it part of that sketch. It doesn't close the profile. Okay. Okay, good. But I see you were trying to loft approach there. So yeah, and loft wasn't working. I thought I could follow you all use these 3d sketch lines as rails. But it was still creating kind of a warp side instead of a flat one. Gotcha. Okay, good. Yeah. So you guys also you were just like close, almost there. Close. Okay, so now we will go to room for it. Let's go. This was just a three person group Buloid and kit. Okay, well, we were trying the same approach. And then I made mistake of thinking I had rotated the square at the top 45 degrees and I hadn't. So I was going we were in the middle of going back and fixing that up. So we really don't have anything to show you. But that was the same approach as everybody else was using at the two squares at the 45 degree angle and then connect the points. Okay, so you did the two sketches. Right. You just you didn't rotate the top one and you were trying to right, right? You did go to 3d sketch to try to make the or were you still sticking to different sketches? We hadn't we hadn't gotten beyond. We hadn't gotten the top one rotated yet when we when I realized it wasn't rotated. Okay, I thought I had and I hadn't. So gotcha. Okay, cool. I got it done during our little chat. We'll after was still. Oh, you got it there. All right. Oh, there it is. Cool. Okay, so let's go to room one, which is my curve Larry and john. Let's see how you guys did it. All right, let's see what we got. Come on. Look at that we even got. I have a lot to work after the class. I didn't I promise my hands never touch the keyboard or mouse. It's the parents is wood. The photo promises would because I do a lot of wood. So that's why I have to both appearances. So we started out with the thought of two sketches, two planes and 45 degree rotated and tried to do 3d sketching and quickly realized that I wasn't going to work as quickly as we wanted. And then Larry goes thinking like a machinist. And so we stepped back in a timeline. And basically, this is what we did. We created created a sketch. We extruded with a 10 degree taper angle. Then I created midpoints. After we created the midpoints, we created a plane through three points. We used that to cut the body. We applied a circular pattern, and then cut the main body. And voila. Wow, okay, whole different approach here. I like it. The whole the whole machinist mentality start with a block and trim it away. All right. Good. That's good. A lot of wood got wasted on throwing up. That is true. Luckily, we're working virtually. So it's a lot of issue. Okay, once concerned. Well, nice. Okay, so you guys took a completely different approach than everyone else. But I like it. I like to see the sort of different ways of thinking about it. Um, good. Anyone have has any questions on their approach here? Well, why did you need to taper that? I mean, could you have done it if you just, I guess I'm missing the step there where you, you actually extruded that and you put a taper on it, correct? Well, if you didn't taper it, the top would be smaller than the bottom. Oh, I see. Okay. So since you're just cutting it, okay, I got it now. Right. Okay. So we bring back that construction plane and I rotate it. And we look at it from completely the right side, or if we do it 45, uh, this, no, this, there. Did your top square end up equaling the size of the bottom square? I don't think so. We were gonna adjust that. Yeah. Cause that'd be the other thing I could see where you just want to make sure you figure out the angle or extrude it far enough. So Are they the same size or not? So this one ended up being 216 and this one ended up being 200. Yeah. So that up being a little bit larger on the top. Go back right before the circular pattern on the timeline. So and okay now go up one, go right, go right after the pattern. Yeah. And open up the pattern feature. Let me take a look at that. So you're taking, what is your object there? That's just that one side there. One body. Just one body. Yeah. So after the split, you take that one body and then you're doing a, and I'm using the axis that I drawn. Right. Original here. Interesting. So now, yeah, so you're adding on today. Right. Cool. I wondered whether we could rotate the split. I'm sure we could have done a feature this way possibly. It looks like it. Yeah, that looks like that's what I would have worked to. Yeah. Yeah. Okay. And then you combined everything. Yeah. Okay, nice. Cool. I was going to say it was genius, but since the top and bottom don't match. You almost didn't have all the time, you know, and have all the time in the world to figure out all the math, you know. Especially when we did it twice. Exactly. That was fun watching. It happened to the different rooms and it's like seeing everyone when you're like, oh, you're so, you're so close. You're so close. I was like, I'm muted, but I was like, I'm yelling at the, a little bit to the right. But cool. Yeah, well done. That was, that was good. We've got, you know, those who didn't quite get it done, but you pretty much were almost there. The technique I took was kind of more in line with the other three groups. I didn't approach this in the machinist mentality by starting with the block and chipping it away. But I'll share my screen and let me just, I'll go through, through my design. I'll just kind of go through it really quickly. If you have any questions along the way, just jump in. So, basically I came in, yeah, with a sketch here, center rectangle, and the dimensions didn't matter here. I'll just go with a hundred by a hundred, make that square, and then same approach you guys took with creating that offset plane. So I'm going to come in with that offset plane here, and then let's say go up around like 200, created that sketch right on that plane there. And again, we're going to come in with that rectangle, center rectangle, and same thing. But here's, you know, the difference here, which many of you again did do, which is I just rotated it. So right click, move, copy, and then I'm going to set the pivot here, this little pivot button right on the center. You have to remember to click this little check mark to lock it in place. And now I just can go ahead and take that 45 degrees, click OK. You will notice that it's not constrained, it's blue. In one way, if you want it fully defined, you can do that, just draw a line straight out. I'll make that a construction line and then set a horizontal constraint to that line. And that actually ends up constraining it. You can put an angle here to double check that that is 45 degrees. It's going to tell me it's over constrained now, but just the way of verifying that you have that constrained and at the right angle. So at this point, we've, yeah, right, we've got this, you know, this base and this top. And I feel like once you kind of gotten that, like if you can see that this is basically where it is, you start with this square bottom and you also have a square top. And the difference is that the square top is rotated so that if you look at it, the point is going to line up with this straight edge here with that midpoint of that. And I can see sort of the temptation here to go with loft because you're kind of going from one shape to another. However, the approach I took here is, you know, I've heard some of you guys mentioned that it kind of resembles, I believe it was a dodecahedron model that I did. So if you recall that where we kind of created a shape and then jumped into 3D sketch. Now, there's ways you can do this without 3D sketching, but I felt like this was really the best way here. So, or one of, you know, an efficient way, I should say. So I'm going to create a sketch and because I'm going to go into 3D sketching, you can go ahead and just choose any sketch plane. It doesn't matter because we're just going to come here and click the 3D sketch button. And at this point, we can just now start connecting lines, right? So what you want to do is make these triangles. So from edge to edge back here. And this is the point, you know, that you kind of needed to also realize is you have to then retrace this line here to give you that profile. And all I'm going to do here, I'm actually, I'm just going to make two of these because then I'm just going to rely on that my circular pattern to do the rest. But at this point, I've got these three profiles or four, I should say, the top, the two sides here in the bottom, pretty much have everything I need. And I'm going to go into my surface environment and go to create and bound to patch. And I can simply select on each of these profiles. As long as you have a closed profile, you can patch it. And that creates a surface body. It's like almost like a sheet of paper, right? It's just, there's no thickness to it. It's called a surface. And now I can come in and create a circular pattern here. And I can do these both at the same time. Let me just do them separately just to kind of, because it'll make it easier to see what I'm doing. I'll choose this triangle here. My axis is going to be the center here, which I can choose because I chose a center rectangle there. And then I'm just going to make four of these. And you'll see I've got these, you know, these triangles here, four of these that point upwards. And now I just need to make the bottom ones here. The ones that point to the bottom. And I'll just repeat that circular pattern. Select it here. Actually make sure I got only one selection. My axis again, same thing here. And make four of those. And then click OK. And there's that. But like I said, I could have just made that, instead of doing it twice, I could have gone objects and just chose both of them. I just wanted to do a separate there. All right. And now you have these surface patches, right? So they're not about yet. And at this point, all you have to do is go to modify and go down to stitch. And when you go to skits to stitch, it's a lot easier if you just select them here on your browser. So click on one, hold shift, click on the last one. You'll see everything sort of get this green outline. Click OK. And now you've turned all those surface patches into a 3D body. So if I go into back to my solid and I do an inspection section analysis here, you know, I can kind of make sure that that's a solid body. And I feel like if you do a shell, you kind of get a better idea of what's happening here. Let me show the top and bottom. And click OK. And you kind of see that shape. I didn't have you do this. It was a solid piece, but just kind of felt it kind of showed that interior geometry of what's happening. So yeah, so that's the approach I took. You know, at least the three out of the four group, those who besides our machinist group, you kind of, you know, this is the approach basically you went with. You figured out it was two squares. One rotated the other way. You did the offset plane. You know, then just some of you got stuck on how to approach the 3D sketch. Make sure you close those profiles. And we don't use the patch, the surface workspace, so I could see why I can get a little sort of blurry there and what to do with patch and stitching. But that's the approach. Any questions? We kind of started off that way, Vladimir. But I think what happened is when Michael had the top, once we had the top one, we tried the 3D sketching. I don't think we had it constrained, so it wasn't, it wasn't sticking to anything. I think that was the issue that we had. Yep, that sounds pretty much right. Was it turning on you? You didn't, you might have accidentally turned it. Because you could still. The lines, the lines just seemed to keep going on its own path. Oh, yeah. So that's the thing. Let me go back right here. When you're doing that, you're doing the 3D sketch here. You do have to be careful. So I've got 3D sketch on. You want to make sure you actually snap to these corners. And you can, you notice here when I put the cursor over, I get this little, you know, this little square above it showing me that it's snapping to that. You can also probably might be a good idea to do, let's see, snap to grid off so you don't get confused. Because notice how it'll still give me, like on each grid here, it'll snap. But in my, in that case, if you do it here, you might think you've, you're snapping to a corner and you might be snapping to a grid. But yeah, so that's the main thing you have to be careful with. Because if I do something like this, let me say I want, I want to continue the rest of this. And I grab this corner here. And then, let's say I want to come here. But if I don't quite get there and I go like right here, you know, and then I try to do something here, like you start to see how that line where it ends up, it becomes really unpredictable where it's going to go while playing it, as it going to go into. So that's why you want to make sure, and it can, that can be, you know, can easily happen. So if I'm coming in and you want to make sure you're actually snapping right on those endpoints. So another way I could have approached this is I could have just drawn this whole thing out here, right? Like I could have just connected all the rest of these. And as long as I'm being careful, then I'm snapping right to those, to those points here referencing the actual design, you know, it'll work out fine. And then I can just come in and I can retrace that bottom square. So Vladimir, do you need a third intermediate plane or can you do it in one? You could do it in one, actually. It was just easier in this case to create that bottom plane, do an offset plane and create this. So you have two squares and then rotate the square and then, but you could have, at that point, I could have gone straight into 3D sketching. I didn't need to stop the sketch and then create another. Oh, okay. Thank you. So I have a question. So when you showed us the first method where you did the circular pattern on the face, the two faces, you did not sketch the top and bottom square profiles, but you were still able to patch them. But you told me when, on ours, the reason I couldn't patch it was because I didn't redraw those squares. So I'm a little confused. I think he drew the triangles, which inherently drew, redrew the squares. Yeah. So when I, at that point, Ed, what I did was, let me go back. See, when I did these triangles, yeah, I actually went back over the bottom line and the top line. Right. But then when you, when you patched it, you were able to select the full square on the top and bottom planes and the two sides of the square was still gray. That's what I, that's what I was wondering about. Let me try to go back. Okay, let's go back here. So I'm here. I created this and then I finished the sketch. Oh, okay. I get what you're saying because this is its own, that was its own sketch. So that's already a profile. Does that make sense? Like that. This bottom was its own sketch. This top here was its own sketch. The problem occurs when I went into 3D sketch. So now I'm in a whole new sketch. And if I just take this line and go down here, like this, and I finished that sketch. Yeah. I haven't closed that profile there. Right. So this isn't. This was created as its own and so was this one. Okay. Yeah. I'm less confused now. Okay. Cool. All right. Anyone else? Any other questions? All right. Good. Is there any reason you just couldn't have started in 3D sketch? And then you wouldn't have had to worry about having any standalone sketches like what Ed had. Yeah. You could approach it. I mean, you could like make a square and make. I could have done a line straight up. Or you could have even just made a an isosceles triangle at an angle. Right. And then. Yeah. I made one triangle pattern it. Yeah. I didn't do the circle. So, yeah, you could definitely do it. This is sort of originally just how my mind kind of thought about it because as I'm approaching, I'm thinking, okay, we've got two squares on one on the top, one on the bottom. They're just kind of face different way. One's rotated. But yeah, if I was to go back, I could attempt this all in one 3D sketch. I think that's doable. I guess the important lesson here, I mean, you just have to remember when you do go into 3D sketch, it doesn't really remember the other sketches that you have. It sounds like you have to. Right. Unless you create those all in that same sketch in that 3D sketch. Yeah. Because once you go into a new sketch and you start 3D sketching, it doesn't bring in those sketch lines to be part of that profile. Oh, okay. So, actually, if he hadn't finished those sketches, but we just stayed in. Right. That thing, okay. Okay, that makes more sense to me. Yeah. Thinking of maybe there is one more approach, sort of combination of these two. What if you extruded each square from top, from the bottom to the top and the top one to the bottom. Then you basically get the same thing as the woodworking group had, and then we could just chop the corners as a pattern. Let me try to see if I understand what you're saying, Kevin. So, if I create a rectangle here, and then you're saying go ahead and create another. So, follow the same way, do an offset point. Yeah, the same way. All right. So, we'll go up 200, create that sketch here. Rectangle. Same thing. And I'll just go ahead and rotate this. Yes. Let's put this here. 45. And I'll just leave that as is. I won't worry about constraining it. Okay, so now I've got these two. You're saying go ahead and extrude this one up. All the way. All the way to the top one to object. No, I won't go to object. Let's go to 100, because it's a sketch. And then take this one and go down. And am I doing this as a... Just a guess. Join, maybe, I don't know. Okay, so let's do... negative 200 here. What if we do... This is interesting. Okay, I'm just kind of... So, join. Yes. Chop the corners. Will we get the same results? If I chop, like... Take a corner here. I guess it won't do that, no. No, sorry. I guess I'm missing the genius genes at this point. That's cool. I mean, sometimes you just got to sketch it out to see where it can go. Yeah, this will give you this shape. Looks like you got the start of a really good cookie cutter. Yeah. You shell that out and make some nice cookies. This is how good ideas are formed. Just keep following it and you'll hit genius in no time. Lucky mistakes, yeah. Yeah, cool. All right, let me stop that share. Yeah, feel free if anyone wants to try doing the whole thing in one sketch. Go ahead and experiment with that. Yeah, I'll get right back to you. Nice. All right. Good. What did you guys think of that challenge? It was a good one. We learned some stuff. I like working in surface and at some point I'd like to maybe learn a little more about the sheet metal environment as well. Yeah. Because I think there's some, you know, some of the ways you can fold and unfold things would be useful. As I tried last week, it's a challenge in the sheet metal environment. That was fun. All right. With that, let's jump into show and tell. Let's see some of the designs this week. What have we got? Not all at once. Ed's got to have to have something. There he goes. So I do have one thing. So this, you've seen this before, that spool holder that's behind my shoulder you're asking about. I've been spending the last, most of the last week actually trying to model something like this to be more parametrically driven. And actually Prusa just had a, their latest contest that just ended was for wall hooks or wall mounted stuff. And unfortunately my parametric design, although it was close, wasn't quite there. So I didn't get it submitted in time. But the one thing I was going to point out, I had mentioned that Superlube oil that I used on the threads. Sorry if this is cameras funky, it's focusing. But you can see how shiny that still is. And it was all rough. Like I actually hit it with a little sandpaper because it was a little too big. But I put that lube on there and it spins really great. But anyway, I will be posting this fairly soon. I think I've got my parametric modeling down. So when you change parameters, it doesn't break the timeline. So I will share a link when I get that up. But this is actually pretty handy if you ever need to hang a spool on the wall and or you want to use it either to distribute filament or hang a garden hose over it. It works pretty good. So and the threads are back way back, you know, last year when we were I was screwing around with room handle threads. They learned a lot about threads and it works good. And how are you connecting the other part to the wall? So I've actually, this is part of what I was working on this week too. So I made these little wall mount brackets with a little angle. All right. And then I modeled. I don't have one in front of me, but I modeled a piece. This is for a coat hook, but I have a similar piece that then this will screw into with nuts to hold it, which is what you see on the wall behind me. If I can stop moving and keep that focus. So and is that is that based off from the the slat design that you were making? Because you had the similar like, yeah, it's it's all part of the same ecosystem. I guess I'm trying to come up with different ways to use this mounting system. Yeah, I definitely like the spool holder approach because I've been trying to think of ways, especially in our makerspace to have them. Because I feel like, you know, rather than just in boxes or somewhere to have them displayed because you can even do like some cool patterns with that and make it more like a wall art, like a functional wall art. Well, I was thinking I actually I just picked up the hundred dollar end or three at Micro Center a few days ago. And, you know, I know that's a Bowden setup like my CR 10 was before I changed it to direct drive. And I'm going to I think I'm going to like having the spool mounted, you know, on the wall so I can feed it sideways into the printer. Yeah, it's my direct drive. I tend to come more from the top down. Yeah, that's a good idea. And changing it is so easy. You're just unscrewing it and putting another filament and so nice. Because it's a lot better than sort of another approach I had was like take a was like a piece of pipe and then have it on two hooks because then trying to remove one filament, just like you got to take the whole thing apart. Right. Cool. Yeah. Post that too. Yeah. When you get that all done. Hopefully this week I should put a little more spit and polish on it and then it'll be ready to post. Nice. What was that substance you used to smooth the thread? It is this. I can hold it still. It's called Super Lube and this is their synthetic oil. They also make a grease that I've used for like lubricating the ball screws and stuff on my printer. But this is really viscous and it only takes a couple of drops and it works really well. And I can't remember it was under 10 bucks for the bottle and I think it's going to last a long time. Brilliant. Many thanks. Yeah, actually I ordered one of those after you posted that. Cool. Okay, Michael looks like you had something. It's a board game, Tetris game that topples. So you play and you build and you try to make sure that it doesn't topple over. Are you holding it just like that as you're playing? No, no, no. So you put it flat on the table but I can't believe that. And then you would you would have two different colors so two players and you can and it will sort of as you're adding more weight to one side it will of course go like that and eventually it will fall. There's just something Center is the one place the moles without toppling it. Yep, that's the game. So I thought that was kind of cool. It's like Jenga but you're adding pieces instead of pulling them out. Yes. I thought that was cute. Did you come up with that game or is that like a I saw it online somewhere and and then I have to say though printing these with zero supports worked out really well. Yeah, it looked good. It looked really good. So there you go. Cool, cool game. So you just start by balancing that on the arc at the bottom on a table. Take that in. Just balance right there. If I don't even have anything to have my phone here. Yeah, I do have my phone. Nope. That's not going to work. Well, there you go. There you go. Okay, cool. And then there you go. Steady hands. Nice. It's going to fall now. Yeah. And then when you put them over you seem to assign something that make anything what I forget his name what's his name Ed? Devon. He did that. It seems like something Devon would call it. Yeah, typically. Cool. All right. Anyone else? I just end up making my wife a birthday card. Here it is here. Except when she turns this here where it pops open and a little back opens up and all some confetti also. It's got a little saying on there. Wow. Sitting on that all this time. Sorry. Really cool. They're hiding that. Blow it all out of the water with that. There's not much to it. Not much to it. The gears are pretty simple. I mean it's not again not much to it. So wait, let's look at that mechanism again. So you turn the gear and does it like release a latch that opens up the top? Yeah, a little latch there. But wait, it's sprung up though to release the confetti. So is there a spring there? There's two springs. There you go. Okay. Cool. You're downplaying that but we sure love to see exactly how it all works. Two springs that are just there. They just stay in. And then the little latch. Not much to it. That's very cool. Did you give it to her yet? Yeah, I gave it to her. Yeah. She like it? No, she thought it was horrible. She threw it back at you? Well, it wasn't at our house. So the confetti going all over the place didn't work out. Nice. Oh, that's cool. That's a fun one. Although now it started me. She wants me for a friend. She wants me to build a puzzle box. So now I'm looking into puzzle boxes. There are some pretty cool puzzle boxes out there. All right. They're pretty amazing. Yeah. Yeah. That's a whole world in itself. Cool. Anyways, that's it. Nice. Very cool. All right. Who wants to top that? Trevor, how's the telescope coming? All right. You're muted. There you go. That's the first apply with version. I spent too much time with the NHS this week but that's going to be made in their critic and everything will be hunky-dory. He says. Nice. Okay. It's getting on. And you just glued the plywood there into place. Can you see there's like a snap fits into the rings? Yeah. Hold that up again. The plywood. I want to see the construction of it. Yeah. There you go. Okay. So you've got the holes there where it looks like it snap fits but are you also using glue? Yes. The proper version is using a solvent and this is what I was saying a couple of weeks ago trying to administer the solvent in a metered way is a nightmare. Right. Oh, I thought you were only using that with acrylics so you're also using that same solvent with plywood? No, no, no. This is a plywood version a cheap way of testing things or working. Oh, okay. You're just testing it. Well, this is going to get thrown away. Gotcha. I made this. This was let me spotlight myself here. So I did a YouTube video on this. This kind of reminds me actually of the like the bottle opener thing that's to get a better grip. So this is one of the filters we have in our faucet and I replace these every few months but the way you open it is you you just basically have to twist this off and after a few months it gets really tight in there. So I had a really hard time trying to get it off. So I just, whoops, got that. So I 3D printed this thing. Basically, if those of you haven't seen the video, yeah, I just do a quick fusion 360 designed to kind of follow this this pattern here. It's a triangle but it's got a little arc to it on each side. So where this just fits right over that just to give me more leverage and was able to then come in and just unscrew this off. So one of those quick 3D printed issues. Those are great because it's like, oh, I have a problem to solve. Of course, my mind goes straight to 3D printing and it's like, yeah, I mean, let me, you know, go ahead and make a video out of it. So it's like kill two birds with one stone. I thought the approach you took to figure out the curve was really interesting because I wouldn't have thought of the way you did it. That was actually pretty cool. I forgot already how I did that. You did a spline like a three-point arc and then you measured from the center down and then you lowered it to that spot, which is pretty cool. Using a pair of calipers, I measured how deep that the measurement's dark. Anyone else have any projects? There he has the Model T coming. Kind of slow since I was on, kind of medical leave here for the past few weeks, but I'm back to it. Now I'm just struggling with, I've got a lot of finishing to do, painting and spar urethane and it's too cold. It won't, it doesn't work right. So I did get some parts sandblasted and it's coming along. I bought a new stapler so I can do the upholstery better. All right. Turns out most staplers you buy at local box stores are junk. So you got to get a good stapler. All right. Keto upholstery, get a good stapler. A good sewing machine, good stapler and a steamer. Yeah, steamer. Okay, cool. Well, all right guys, that's, it looks like that's it. So you guys enjoyed the week. Hopefully the warm weather will be coming pretty soon. So you don't have to put back that snow blower there. And start painting. It's a risk putting it away early. Yeah, there you go. All right guys, we'll see you next week. Keep those projects coming. Yeah, take care. Thank you. Thank you. Bye. Bye. Bye.