How to Design a Twisted 3D Printed Vase in Autodesk Fusion (formerly Fusion 360)
Updated July 14, 2026
Surface modeling can seem intimidating at first, but it's one of the most powerful ways to create organic, professional-looking 3D printable designs. In this tutorial, you'll combine surface and solid modeling techniques in Autodesk Fusion (formerly Fusion 360) to create a decorative vase while keeping the workflow fully editable and optimized for additive manufacturing.
What You'll Learn
- How to create a controlled 1/8 section of a vase for efficient modeling
- Why surface lofts are ideal for open profiles
- How to build editable spline-based patterns
- How to use Emboss to create raised decorative features
- Why thickening inward preserves your outer dimensions
- How to prepare the model for circular patterning
- Practical 3D printing considerations including wall thickness, print orientation, and watertight design
- Pros and cons of this hybrid surface/solid modeling workflow
Watch the Workflow — or Read It Step by Step
You can follow this guide in two ways:
- Read the steps below if you want quick written instructions, reference images, and modeling notes.
- Watch the full video at the end of this post to see the workflow in real time — including extra tips, camera angles, and shortcuts that don’t fit neatly into text.
Both formats build on each other.
Reading helps you understand why each step matters, while watching shows how to move faster in Fusion.
Step 1 — Create a New Component and Sketch the Base Circle
Start by creating a new component, following one of Fusion's most important best practices. Keeping bodies organized inside components makes larger projects easier to edit later.
Starting with a dedicated component keeps sketches, bodies, construction geometry, and future features organized in the timeline. Activating the component before modeling ensures every new feature is created in the correct location, making larger or multi-part projects easier to edit later.
Create a sketch on the horizontal construction plane.
Draw a Center Diameter Circle at the origin.
Dimensions
- Circle diameter: 100 mm
Using a circle instead of a more complex shape gives you predictable geometry that will simplify later operations, especially when creating circular patterns.
The vase begins with a 100 mm Center Diameter Circle positioned at the origin. Placing the sketch at the origin creates a stable reference for later operations such as offset planes, lofts, and circular patterns while keeping the model fully parametric.
Step 2 — Define a 45° Segment
Rather than modeling the entire vase, you'll only create one repeating section.
Create lines that define:
- Total circle: 360°
- Pattern quantity: 8
- Each segment: 45°
- Each construction angle: 22.5°
Lines divide the circle into an editable 45° segment, representing one-eighth of the finished vase. Defining the pattern mathematically before modeling ensures the final circular pattern closes cleanly with eight identical instances.
The sketch should represent exactly one-eighth of the vase.
Fully constrain the sketch until all geometry turns black.
This ensures the sketch behaves predictably when edited later.
Trim away the unused portions of the circle so only the required open profile remains.
Only the required portion of the circle is trimmed away, leaving an open profile for the upcoming surface loft. Keeping necessary construction geometry while removing unused profile segments maintains flexibility for future edits without affecting downstream features.
Why this matters
Modeling only a single segment dramatically reduces editing time. Any improvements made now will automatically repeat around the vase later.
Step 3 — Create the Upper Profile
Create an Offset Plane:
- Distance: 200 mm
An offset construction plane is positioned 200 mm above the base sketch to define the upper profile of the vase. Separating sketches onto different planes creates the vertical distance needed for a controlled loft while preserving independent editing of each profile.
Create a sketch on the new plane.
A second sketch is created on the offset plane to build the top profile of the vase. Keeping profiles on separate sketches simplifies modifications and prevents unrelated geometry from becoming mixed together.
Use Project to create a linked copy of the original sketch.
The Project command creates a linked copy of the original sketch on the upper plane. Keeping Projection Link enabled means changes made to the base sketch automatically update the projected geometry, reducing manual rework throughout the design process.
Offset the projected geometry:
- Offset distance: 30 mm
The projected profile is offset outward by 30 mm to define the vase's upper diameter while preserving the original segment angle. Because the offset originates from linked geometry, future dimensional changes remain synchronized throughout the loft.
Because the projected sketch remains linked, any future edits to the original profile automatically update the upper profile as well.
Before continuing, return to the Home view to verify both sketches are positioned correctly.
Step 4 — Create the Surface Loft
Switch to the Surface workspace.
Use Surface Loft between the two open profiles.
A Surface Loft connects the two open profiles to generate the vase wall. Open sketches require a surface operation rather than a solid loft, providing greater flexibility for later thickening and organic surface editing.
Leave the loft settings at their default values.
Because the profiles are open instead of closed, a standard Solid Loft cannot be used.
Surface Loft is the correct tool here because it generates an editable surface that you'll convert into a solid later.
Step 5 — Create a Sketching Plane for the Pattern
Create another offset plane in front of the vase.
Distance used
- 150 mm
A second offset plane is placed approximately 150 mm in front of the lofted surface to provide a clean workspace for sketching decorative spline profiles. Positioning the sketch away from the model improves visibility and makes selecting geometry significantly easier during the emboss workflow.
The exact distance isn't critical. The goal is simply to provide enough working space for sketching.
Before continuing, save a new version of your project.
Saving before computationally heavier operations like patterns can save significant time if something needs to be undone.
Step 6 — Sketch the Decorative Pattern
Create a sketch on the new offset plane.
Use the Fit Point Spline tool.
A Fit Point Spline is used to sketch the decorative pattern. Finishing the spline below the model leaves room to create a clean transition at the bottom while making the curve easier to refine later. Keeping the initial spline simple with relatively few control points produces smoother, more predictable geometry.
Start the spline above the vase and end below it.
Keep the first draft simple.
Use only a small number of spline points.
Adjust the green curvature handles until you're happy with the shape.
Create a linked offset spline outside the first spline.
The spline is offset to generate a second, linked curve that defines the width of the embossed pattern. Because the offset remains associated with the original spline, adjusting the primary curve automatically updates the secondary profile and maintains consistent spacing.
Finish by connecting the splines with straight lines until the sketch becomes a closed profile (indicated by the light blue fill).
Straight lines connect the spline ends to create a fully closed sketch profile. Fusion indicates a successful closed profile with a shaded region, confirming the sketch is ready for operations such as Emboss.
Why fewer spline points are better
A spline with fewer control points is easier to edit, smoother to manufacture, and much less likely to develop unwanted bumps after later adjustments.
Step 7 — Mirror the Sketch
Mirror the entire closed profile.
Select:
- Both splines
- Both connecting lines
Use the center vertical construction plane as the mirror plane.
Once mirrored, it's much easier to evaluate the symmetry and fine-tune the overall appearance.
This sketch remains fully editable throughout the timeline.
The completed profile is mirrored across the center construction plane to create a symmetrical design. Mirroring before adding 3D features makes it easier to evaluate proportions and allows both sides of the pattern to remain editable from a single sketch.
Step 8 — Convert the Surface into a Printable Solid
Use Thicken.
Settings:
- Thickness: 2 mm
- Direction: Inward
- If necessary, use -2 mm
- Operation: New Body
Why thicken inward?
Thickening inward preserves the outside dimensions of the vase, ensuring the decorative exterior remains exactly as designed.
3D printing note
A 2 mm wall thickness provides a good balance between printability, rigidity, and material usage for decorative PLA or PETG vases. It also avoids creating extremely thin walls that may flex or fail during printing.
The Thicken command converts the surface into a printable solid with a 2 mm wall thickness directed inward. Thickening inward preserves the exterior dimensions of the vase while producing walls that are well suited for FDM 3D printing.
Step 9 — Emboss the Decorative Pattern
Launch Emboss.
Select both closed sketch profiles.
Settings:
- Effect: Emboss
- Depth: 2 mm
- Alignment: 0
The embossed features now become part of the solid body.
Using Emboss rather than cutting into the vase creates raised features that print more cleanly and maintain wall strength.
Two closed sketch profiles are embossed onto the vase using the Emboss feature with a 2 mm depth. Raised geometry creates decorative details while maintaining continuous wall thickness and avoiding unnecessary cuts through the model.
Step 10 — Add Fillets Before Patterning
Now refine only this single segment.
Fillets soften the sharp transitions around the embossed features before the pattern is duplicated around the vase. Refining a single segment first reduces repetitive editing and ensures every patterned instance receives identical geometry.
Apply fillets to the embossed geometry.
Be aware that selection order matters.
Using the Rolling Ball option on all edges simultaneously produces a different result than filleting the side edges first and the top edge afterward.
The Rolling Ball fillet method blends multiple intersecting edges smoothly. Selection order affects the final result, so applying fillets thoughtfully can produce cleaner transitions and reduce unwanted surface artifacts.
Additional fillets are applied to the upper edges of the embossed features to improve the flow between adjacent surfaces. Small finishing operations like this contribute to a more polished appearance in both renders and finished prints.
The remaining top edges receive matching fillets to complete the decorative feature. Finishing every exposed edge before creating the circular pattern minimizes later edits and helps maintain consistent geometry throughout the model.
The remaining upper embossed edges receive a 1 mm fillet to match the rest of the decorative pattern. Completing all edge refinements before creating the circular pattern ensures every repeated segment inherits identical geometry and reduces later editing.
Don't forget to fillet the bottom edge as well.
The lower embossed edges are rounded using a 1 mm fillet to remove sharp transitions where the pattern meets the base of the vase. Small finishing features like this improve the overall surface quality and produce smoother toolpaths during slicing.
Why do this before patterning?
Adding fillets now means Fusion only calculates them once. After the circular pattern, those refined features are copied automatically, reducing rebuild time and improving model stability.
Step 11 — Apply Custom Appearances
Open the Appearance workspace.
Apply a material to one face.
The Appearance workspace is used to assign materials and colors to individual faces or bodies. Applying appearances during the design stage makes it easier to evaluate contrast, visualize the finished product, and prepare presentation-quality renders without affecting the printable geometry.
Right-click the appearance and choose Edit.
Fusion allows you to specify:
- RGB values
- HEX/HTML color codes
The Color Picker allows precise customization using RGB or HTML color values. Creating custom appearances instead of relying only on preset materials makes it easier to maintain consistent branding or color palettes across multiple Fusion projects.
You can duplicate edited appearances to build custom color palettes more quickly.
Although appearances don't affect printing, they make renders, thumbnails, and client presentations much more attractive.
Step 12 — Create the Circular Pattern
Save the project once more.
A new project version is saved before performing the circular pattern operation. Saving before computationally expensive features provides a convenient recovery point if later edits or pattern calculations need to be reversed.
Create a Circular Pattern.
Settings:
- Pattern axis: Z Axis
- Quantity: 8
- Distribution: Full
Because each section represents 45°, eight copies complete the full 360° vase.
Centering the model on the origin makes selecting the Z-axis effortless.
The completed vase segment is duplicated using Circular Pattern with a quantity of 8 and Full distribution. Since each segment represents 45 degrees, eight instances produce a complete 360-degree vase with evenly spaced decorative features.
Step 13 — Close the Bottom
After patterning, you'll notice an opening in the bottom of the vase.
One simple solution is to sketch a circle and extrude it.
A new sketch creates a circular profile that closes the opening at the base of the patterned vase. Adding the bottom after the circular pattern keeps the earlier workflow simple while providing flexibility for different base designs if required.
However, there is an important limitation.
A newly created circle isn't linked to the original sketches, so if the vase diameter changes later, the bottom may no longer match perfectly.
Also be aware that extruding without a taper angle may leave a very small gap where the bottom meets the vase.
The circular profile is extruded 1 mm using the Join operation to create the vase bottom. Joining the new geometry into the existing body produces a continuous solid that is better suited for watertight prints intended to hold water or soil.
3D printing considerations
- Small gaps can reduce watertightness.
- Decorative vases for dry flowers may not be affected.
- Functional vases intended to hold water or soil should have a properly sealed bottom.
- Always inspect the finished model for manifold geometry before exporting the STL.
Step 14 — Evaluate the Workflow
This hybrid surface workflow offers several important advantages.
Pros
- Easier to visualize the design within a controlled 1/8 section
- Fully editable spline geometry
- Linked sketches reduce repetitive work
- Flexible surface modeling allows more organic forms
- Efficient circular patterning after refinement
Cons
- Projected geometry can become tedious when selecting many small sketch segments
- Additional planning is required to maintain linked geometry
- Bottom features may require separate construction depending on your design
For some projects, building the complete solid first and embossing afterward may be a simpler workflow.
The best approach depends on your design goals, manufacturing method, and preferred modeling style.
Step 15 — Export and Prepare for 3D Printing
Once you're satisfied with the model:
- Inspect the body for gaps
- Confirm the wall thickness remains consistent
- Export the vase as an STL
- Slice using your preferred settings
For most FDM printers, printing the vase upright minimizes support material because the design contains smooth, gradual curves rather than steep overhangs. The decorative embossed features also print cleanly thanks to their modest 2 mm height.
Custom appearances are assigned to the finished vase to highlight the embossed details and evaluate the final design. Separating appearance editing from modeling keeps the feature timeline focused on geometry while making it easy to experiment with different visual styles without affecting the printable model.
Key Takeaways
- Model only one repeating segment to simplify editing.
- Fully constrained sketches make future modifications easier.
- Surface Loft is the correct choice for open profiles.
- Linked projected sketches keep geometry synchronized.
- Thickening inward preserves your finished exterior dimensions.
- A 2 mm wall provides a practical balance between strength and printability.
- Add fillets before creating circular patterns to reduce rebuild time.
- Think about watertightness and print orientation while modeling—not after exporting the STL.
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You Might Also Like
Want to continue exploring hybrid modeling workflows in Autodesk Fusion? These three tutorials expand on the techniques used in this vase project, covering surface modeling, solid modeling, splines, and practical design strategies for functional 3D printed parts.
Together, these projects demonstrate practical Autodesk Fusion workflows for combining surface and solid modeling, creating editable parametric geometry, and designing parts that are ready for prototyping and 3D printing.
Chapters:
00:10 How to Create a New Component in Fusion
00:20 Draw a Center Diameter Circle in a Sketch
00:36 Convert Circle to Arc with Precise Dimension
01:07 Create Parametric Dimensions in Fusion
01:27 Trim Unnecessary Sketch Geometry
01:46 Create an Offset Plane 200mm from Base
02:07 Project Sketch to a New Offset Plane
02:28 Offset a Projected Sketch in Fusion
02:52 Use Loft with Surface Modeling to Connect Profiles
03:09 Create a New Offset Plane for Side View Sketch
03:28 Save and Version Your Fusion Project
03:48 Sketch and Refine a Fit Point Spline
04:39 Offset a Fit Point Spline Curve
05:14 Close Open Sketch Profiles for Lofting
05:35 Mirror Sketches in Fusion with Fit Point Spline
06:11 Edit Mirrored Sketches by Adjusting Originals
06:34 Thicken Surface to Create a Solid Body
06:57 Emboss Sketch Profiles onto a Solid in Fusion
07:36 Apply Fillets: Rolling Ball vs. Standard Method
08:35 Add Custom Colors Using HTML Color Codes
09:35 Create a Circular Pattern Around the Z Axis
10:16 Surface Modeling Workflow: Pros and Cons
11:57 Do you want to Support The Maker Letters?