 Hey, what's up, folks? Welcome back to another layer by layer. In today's tutorial, we're gonna take a little bit of an exercises in sketches and constraints. So let's jump into Fusion and see what we got today. All right. I got a blank canvas. It could be kind of daunting, but let's start off with a sketch, and I'm gonna draw the sketch here on the floor plane, so let's take it on the floor. All right. So I wanna start off with the two-point rectangle, it's my favorite tool. The hot key for that is R, and get familiar with the rectangle tool, that's one of my favorites. And the goal here is to kind of, let's just draw a rectangle, don't give it any dimensions, and then we'll just kind of inspect it. So by default, let's see what sketch constraints did we get to make this shape. We got two of them. Two of them are, one of them is present, the other one's kind of hiding, right? So these little blades here are the horizontal or vertically constrained sketch constraints. They're up here. The full list up here, and if you roll over one, it can give you a little tool tip and gives you an idea of what it is. So let's not read it, let me just tell you what it is. It basically, it applies a rule to a line that says you're either gonna be completely vertically straight or vertically straight, struggling with words. So we know it's always gonna be straight, these lines, no matter what. Next thing I wanna do is kind of talk about these lines versus points, right? So you ever click and drag a line, you notice that it's not snapping to the grid. You might want that, and it's important to kind of know that's the behavior of fusion. And then if you want it to snap to the grid, you actually drag these points, these corners around, and that'll always snap to your grid. And if you wanna change your grid units, you could always do that in your settings, but right now I think one is one millimeter. So let's see, let me drag these corners so they're perfectly lined up with our grid. And yes, if you scroll down here, you click on a line, it tells you the length of the line, and it's one millimeter big. All right, so that's cool to know. So the next thing I wanna do is let's click on a corner or roll over it, a dot, and you'll see that this little icon came up. This little icon is a coincident constraint. Basically it says I'm gonna connect a dot to a line or a dot to a dot and vice versa. So that's what's kind of keeping this shape together, all right? It's kind of like the glue to these points or to the line. So what happens when I click one and delete it? Well, it's no longer connecting to that. Let's do that to every single corner. Let's just delete those, just delete. It don't show up until you roll over, which is fine. And now we have these lines, they're no longer connected. If I try to make this a diagonal line, for example, you can't. Well, how come? Well, because they're horizontally constrained. You see the icons are present. So let's go ahead and delete those, those razor blades. Let's get rid of them. And now we should be able to make different angles. Cool, so now we have just four lines. They have no dimensions, they're completely free. They're bouncing around everywhere. And the point of this exercise is like, all right, let's put it back together. We've taken it apart, right? We can use those two constraints that we just learned about and kind of apply it. So let me connect some dots together, right? Now there's two ways to do that. You can say, let me just bring up my coincident, like tool or constraint, and you'll see my cursor kind of has that icon now. That just lets you know, okay, whatever I click on, we'll do that. So let's say I want to connect this corner or this dot, this point to this point. It'll just kind of do that. Let me undo that and say, what if we reverse that? What if we say I want this to go over here? It's actually backwards. So now when I click on this line, this line's actually gonna jump up to that because this is the dot that I clicked on first, right? Ready? There, I did it. Let me undo that and do it again. But this time I want to say this is the first one. I want this line to go here, so I have to click this one first. So that's number one, and that's number two. Number two goes to number one. Ready? Bam, that's just a little kind of a behavioral thing. If you know that and you kind of apply that, it'll get kind of like a muscle memory thing. So you'll kind of understand, right? All right, so I got two lines connected. If I double click on this line, it should have, whatever. I'll hold down the shift key to select both of these and I'll just move these out of the way a little bit. Remember, we're not clicking the dot because we want a free form. We don't want it to be snapped to the grid for now. And then you can just kind of click this around and the other way to do it is just to click one of the dots, and then if you roll over another dot, you'll get this kind of a little icon square. It lets you know that that's going to apply a coincident constraint. Now let me let go of my mouse button and roll over it and there's our coincident constraint. So now it is constrained, it's glued. So let's do it the other way. I'll bring up my coincident tool and I'll say I want this, whoa, whoa, whoa, what happened? Let me undo that, I don't know. I must have had something already selected and it just went to it. So coincident, I want to move this one to here, but I have to click here first, right? So I want, that's number one and that's number two. Cool, and it moved this around, but we'll deal with that later. So now we want to connect this one to this one. So I have to click this one first and then that one. All right, we're back to some sort of square. Not yet though. So you can see here that it's still free form. Nothing's really straight. So how do we do straight? Oh yeah, the horizontal slash vertically constraint. Let's click on that, our cursor update. So I want that to be straight, that to be straight, that one and that one. We're back to where we started folks. How awesome. Well, what happens if we want to make this a diamond? We want to rotate it. Well, we can't do that because they're horizontally constrained. If we wanted to be diagonal, that's not going to work. So let's go ahead and delete these. I'm holding down shift to do multi-select. Delete, now how do I kind of, this is where you could actually use move. So I double clicked one of these lines and it selects all four lines. That's nice. Or you could do a multi-select, whatever way you want to do it. I'm going to go back to my method of double click. Now if I hit the M key, I'm moving stuff. Fusion will just throw this manipulator wherever it sees fit. This is why I don't like it. You can move that. You can say set pivot. I want it to be somewhere else. Maybe I want it to be this corner. That's fine. You hit done here and now you can use this to rotate it. That's cool. We can do that. That's fine. Hit okay. But you'll notice if I move it around now, it's not, let's say we want some really nice 90 degree angles. Instead of using like a sketch dimension to do that, you can just use the perpendicular constraint. And that's just going to say, I need to be perpendicular with whatever line. So let me select that. This one to be perpendicular. And then you get this little icon here. This little T shape. That's a nice, I like that icon that really gives me an idea of like, oh yeah, perpendicular T square kind of shape. Cool. Let me do that here. And then here. And that's really it. We don't need to do one here. In fact, if we try to do one here, I think Fusion will freak out and be like, no. Yeah, it says no. Don't do that. It's over constrained. You don't need to. You only need three. Which is fine. So now it's like a diamond. These lines are perfectly 90 degree angles, as you can see and try to make a sketch dimension. That's cool. There's our diamond shape. And if we want to apply a length to one of these lines, let's say 12, that's cool. What if I want all of these to be the same? Well, we can use an equal constraint. I want all these lines to be equal with that line because that line has a dimension. And if I change that one dimension, all of them will change. So let's use the equal. It's right there, equal. I want equal here, equal. This is equal with that. Oh, it doesn't like it. All right, I don't really need it because that's the way shapes work. You only need two equals. And then because everything's perpendicular, it all has the same length. Cool. So now we got that. And if we ever want to change this to something bigger, the whole shape kind of changes, which is nice. Now I'm not really at a specific angle. Like I'm just all over the place. So we can straighten it out. If we want to make it exactly 45 degrees or something like that, we can use construction lines to do that. So let's, I guess, do that. One thing I really, really like to do when I have shapes is let's define a goal here. I want to have this rectangle to be perfectly in the middle of this center origin, this dot here. If we're doing a design that's very symmetrical, and we want to use mirrors, and we use circular patterns and stuff, it's really, really nice and important, I think, to make your shapes in the center of the origin, right? So how do we do that? I like to use construction lines to do that. So what I'm gonna do is I'm gonna grab my line tool and whenever you roll over using your line tool, another line, if you get to the middle of it, you get this little triangle. And that triangle is a little, it's just letting you know that, hey, if you click here, you're gonna get a midpoint constraint. Midpoint constraint will always be in the middle of a line or an object. So with that in mind, let's go ahead and click that. And as I'm moving, you'll see that I get this little, kind of two lines that kind of create a, what I would say, it's basically an icon to say your perpendicular with this line. So that right there, let's me know, I'm always gonna be perpendicular. All of our corners are perpendicular. Yeah, they're all perpendicular. So instead of making a T shape, it just looks like that. All right, so before I actually click anywhere, I'm gonna roll over this line and you see that, oh, I got a rectangle, I got a midpoint constraint there. As I start kind of moving, well, I guess it only works when I have something that's horizontally constrained. That's fine. So let's draw our line and we'll try to kind of be centered with that line there, but let's be aware of our perpendicular icon. So we're gonna make sure that that stays there when I click. So I click here and then you can see here a new line has showed up, or new icon has showed up that looks like it's perpendicular and that's gonna be perpendicular and that's fine. But what I wanna do is I wanna connect this line to the middle of that line and then we'll just apply a perpendicular constraint to those lines once I kind of close this off. So there we go. So now we have these two lines with those points, they're always gonna be in the middle of these. So now I can either apply a perpendicular constraint to these two lines or these two lines, whichever you prefer. I already have these two selects, so let's bring it up and then just apply it and now this corner is in the absolute center of our shape. I'm gonna multi-select these two and hit the X key on my keyboard and then that makes it a construction line. So now I can just select one kind of profile instead of it splitting it into two different shapes. So I got this unified shape and now we need to do to move this whole shape into the center is to not move it, don't do that. Let's just use a coincident constraint. Even though it already has a coincident constraint, we can still apply one to it. We can stack them if we like and we will. So let's bring up our coincident constraint, click on our center and then we'll move it over here. And that is now perfectly in the center. And if we move it around, you can see here I can kind of rotate it and that's kind of fun. And if you're wanting to straighten out, all you need to do is apply one horizontal constraint to any one of these lines and it'll just flow out because perpendicular constraint is applied throughout the thing. But maybe we don't want to do that. Maybe we want it to be exactly 45 degrees. One thing, you could just kind of click and drag, but it's not gonna snap to that. So what I'll do is I'll make another line. I'll connect this center to one of these corners, probably this one. And then I'll say this one needs to be horizontally constrained and just by math it's now 45 degrees. You can see here. And then I can of course make that a construction line. But let's say you wanted this to be a different thing. Maybe it's saying I can't drive it because I need some other way. I need to get rid of this here. Oh, I see what's going on. Yeah, we need to get rid of this line. Let's just make a line that goes straight across like that. No dimension. We'll keep that constraint there, the horizontal constraint. Now I can say I want this to be 60 degrees or 50. And this line will always stay in place because I have a horizontal constrained and there's nice stacks here of a coincidence. Basically everything is just like connecting here and then the length of this doesn't matter at all. I'm just using this as a way to push, to give a dimension between these two lines and everything else flows. So we're stacking all of these constraints to do something pretty simple, but because you know about it, you have a little bit more control over because you know exactly what the rules are doing. So that's kind of the experiment that I wanted to, the exercise rather, is to kind of take a regular box of rectangle, take it apart, put it back together and then apply different constraints to kind of understand them a little bit better. Yeah, so let's say I wanna move this box away. I can delete this line and you can see, oh, a lot of the time you'll see folks like, I can't move anything, why is it stuck? Well, it's because it's coincidentally constrained to the center of our thing. So if I click on that, you can see when I click on this first icon of the coincident, it highlights these two lines in blue and that lets me know, okay, those two are connecting and then this one here doesn't really select anything because that's the center origin, it's kind of hard to kind of see that. So let me delete that and I should be able to just drag this away from the center and that's all. Very nice. And now there's no constraints here to kind of define a degree or anything. So let's supply a horizontal constraint to any one of these lines and then bam, it's back to being a perfect square. And then you can say, let's say I want it to be back in the center, I'll use a coincident constraint, I'll say this corner goes to the center origin and that's it. So from here, let me add some more features just to kind of close it off. Let's do some circles. So I want a circle on each one of these corners. I can just make one. Let's make it an M3 hole, because that's my favorite. And then instead of drawing it four times, let's just use the mirror or even the circular pattern. So you have the option to either do circular pattern or not because these lines are equal, circular pattern would work well, but if this was more of a rectangle where this edge had a different dimension than that edge, then you would want to use mirror. But because this is all symmetrically the same, I can use a circular pattern. So let's use the circular pattern. So I'll bring that up, click on that, select that. And then for my center point, it's right here in the center origin. You'll want to change the quantity from three to four because that's what we want and hit enter and there you go. So now if I ever change this to a different dimension, it'll always be symmetrical. But let's change it, let's make it a rectangle. Delete that dimension. And then all I need to do to break the relationship, to break the rule from being equal is to select the equal icon in whatever line and just delete it. And now they're not equal. And you can see that our circular pattern has broken. So now we're gonna have to delete these circles. You'll get a little warning saying, hey, that was a part of a pattern, but I don't think there was a better way to delete it than deleting the individual entities. So now I'm gonna use the mirror. So let's bring up our mirror and we'll say I want this circle to be our object that we want a mirror and this line to be our mirror line. You'll get a little preview there, hit okay. In order to do this bottom, we'll need to apply another mirror. So let's do that, select both of these circles and then our line. Instead of this line there, we want this line because that's the way the math is working out. So hit okay. And there you go, you have one circle. Let's say I wanna make this an M5, it's bigger. And now as I move this, it's being very symmetrical, which is nice. And I think that's about where I wanna end it there. We covered a lot of sketch constraints. Midpoint, coincident, horizontal, vertical and perpendicular, right? This is like the main constraints that will take you very, very far. And I think it's important to kind of do a deep dive every now and then to figure out what exactly are these rules doing? So I hope that's insightful. I hope you guys learned something. Let me know if you did, that'd be fun. I wanna do more like this where I kind of do back to the basics and really deep dives into these sketch constraints because I believe that those are the most powerful bits about Fusion 360. That's gonna do it for me, folks. I hope you enjoyed it. I'll see you in the next one, but until then, remember to make a great day. Bye, folks.