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Interview With Professional Lure Designer Philip Jones of 3D Tech Innovations

Interview With Professional Lure Designer Philip Jones of 3D Tech Innovations 1

Alright everybody, we are live with Philip Jones for 3D Tech Innovations and one of the only professional lure designers I have been able to find. I have to lead this off, and I always ask this question to people that are in the industry, and that is do you actually fish?

Jones: Oh yeah, I love to fish. I’ve been fishing my whole life and that’s how I got into lure design. I was doing the tournament bass scene, trying to become a pro-fisherman and thought it was the coolest thing. The elite series was at its pinnacle with all the heavy hitters and so it was bass fishing’s heyday it seemed. Yeah, that’s a crazy story of how it got started but yes, I love to fish. I fish probably like once a week or so.

Me: So bass fishing is your deal?

Jones: Yeah, absolutely.

Me: That’s cool. I just started bass fishing, I grew up salt-water fishing my whole life so red fish, back of trout flounder, Gulf of Mexico and so those bass pull hard. I was always kind of like “oh you’re lame, compared to a red fish” and then I hooked what I thought was a monster and it was a bass that was less than two pounds. The interesting thing that I find about bass fishing industry is that it seems to be where, I assume because it’s the largest market, where the innovation comes from in lure design. Is that kind of what you see?

Jones: Yeah, it definitely is. I thought a lot about that too. It’s like bass fishing is so interesting because there’s, if you look on tackle warehouse or any retailer, hundreds of lures if not thousands of lures out there all to catch the same species of fish. That’s just so interesting to think about, all the ways you can catch the same species of dish all across the country just turned into this massive industry so it’s cool. I’m certainly waiting for that sort of innovation to happen in other species and lures as well, I think it’s coming but bass fishing is certainly unique in that way.

Me: Yeah, I mean, you look at the stuff in North America but then you go over and look at the Japanese with their BFS stuff and it’s just like, woah that’s nuts. I saw this crazy one that has a soft plastic and it was a molded soft plastic lip in it which created this crazy action which of course I then had to go off and try to design myself. But yeah, that’s really nutty stuff, man.

Jones: Yeah the Japanese are super creative and that’s just their whole culture in general, but especially the lures. It’s a dream trip for me to go to Osaka and eat some great sushi and check out the bass fishing culture there for sure.

Me: So if you had one lure to fish with, what would it be?

Jones: I really love swim baits, whether it’s a glide bait or a jointed bait, I just like fishing them. They typically lure in the largest fish you’re going after, you know, some of the largest fish in the lake at least and the way that they operate is just a fun way to fish for me.

Me: Awesome. You talked about you’re trying to make it as a professional bass angler which, I can’t think of anything harder to do personally, how did you change direction and go into lure design?

Jones: I had a boat and, you know, I was trying to make it fishing constantly and putting a lot of hours on that boat. I ended up blowing my motor and it was very expensive to fix and I had a lot of downtime during that time. I was living with my Grandfather while I was in school at Alabama and he’s a master woodworker craftsman and has built furniture, cabinets and shelves and all sorts of stuff. I ran the idea by him to build a fishing lure out of wood, I was going to carve it and he was going to help me out and we were going to work together on it. That lure is actually framed, it’s the first lure we built, but I quickly realized that I am not a very good carver. So, I ended up downloading a CAD software, I don’t think it was Fusion 360 at first, I tried something and that was not very user friendly. Then I downloaded Fusion and just played around with it for awhile and struggled to learn it while I was going to school for mechanical engineering, so I blended the engineering side and the lure design side at the same time. So yeah, I kind of got started because my motor blew up and now, I make lures.

Me: I technically own a boat but it’s had a blown motor for two years and it’s just like, no dude.

Jones: I don’t want to bust out another thousand

Me: Exactly man. It’s a 71 Mako and it’s a cool boat but it’s got a 88 EVINRUDE on it that apparently has some really bizarre carburetor that they made for only a year and they don’t make it anymore because it sucked so I’m just throwing my kayak in the truck and going fishing instead of messing with the boat. Did you end up getting a degree in mechanical engineering?

Jones: Not yet, I’m still working on that. I enrolled in online school, but when I took the job at 6th Sense, I left school full time to pursue that dream job I wanted. I’m still working on it though.

Me: That’s kind of like me, I made it through college but then I got a job and bailed out and never went back so

Jones: When you pay your own way it can be tough.

Me: Yeah, exactly man. I was paying my own way at the time too, so I was like, you know I think I’ll just go work, that sounds better. So yeah.

Me: It’s interesting because I think there’s a market for what you, from your design experience in fishing and everything. That’s what was always the tipping point for me in school, taking classes were I felt like they were already a decade behind of what I was actually doing. I was like, okay this is crazy. So what did you guys use at school? Solidworks or something like that?

Jones: Yeah, even in mechanical engineering school, there were two classes on the entire class list that you had to take as requirements for your degree that were CAD based classes. One of them was intro to CAD, it’s a Solidworks class and his rudimentary is easy and you don’t really dive into it much. I think if you really want to go the CAD route, you probably want to go to more of a technical school and learn CAD but you also don’t get some of the engineering background that you would from an engineering degree. Primarily, I taught Fusion to myself through YouTube University and a few people helped me out along the way and helped point me in the right direction.

Me: That’s cool. You know, the hardest thing for me when learning Fusion 360 was there’s a lot of the vocabulary that I didn’t know. Like doing a loft, I had no idea that was even a thing and so that was the difficult thing for me most of the time. I think just watching enough videos to understand what to do and understand, I know we don’t call them basics, but all the individual things you can do and tips and tricks, took a lot of time. I was going through some of my first Fusion 360 projects and they were right.

Jones: With all the software there’s tools that you use around 80% of the time and tools you only use 20% of the time and things you don’t even touch depending on what you’re doing. But Fusion has a lot of tools and they seem to be creating more and more but it’s a good program for sure.

Me: Absolutely. So, you mentioned you went to work for 6th Sense, what was the first lure you designed for those guys?

Jones: The first one I ever did was the Vega Frog. I jumped right into that design and that design took quite a while to make it to market and that was an interesting one. Understanding how to create something that’s not completely solid as a silicon body made for some hiccups but it ended up working pretty well I think.

Me: So do you, and if at any time I ask you a sensitive 6th Sense question feel free to pass, but I’m just fascinated by all of it. Did you work on that by yourself? Was there a team? What does that structure look like?

Jones: Well I don’t know what to say, it wasn’t completely by myself. I think the original artwork or exterior details came from the owner of 6th Sense, he had a 2D drawing that he had made quite a while prior to when I was employed. He handed it to me, and I took his 2D artwork and created most of the details in the form space in Fusion and so I definitely can’t take credit for all of it but I was the only designer there.

Me: That seems rather difficult to take what, I assume, was some sort of pencil sketch or painting and turn it into an actual functional lure. Did he give you any dimensions or anything?

Jones: As far as direction, you know, you want to be in the overall market specs when you’re aiming to fill in the gaps in the market or be in that same product line category. But I feel like that’s probably what I’ve done the most, take people’s 2D artwork or even just an idea and try to quickly create some sort of 3D concept for them. So, a lot of repetition.

Me: Cool. You mentioned meeting either a gap in the market or something slightly outside the market, is there a team that kind of feeds that data in at you? You don’t have to go into 6th Sense specifically, but in the industry is it like – okay, we need to go into the topwater frog market or something like that? The owner of 6th Sense goes through his filing cabinet like “oh yeah, I have this sketch I drew back five years ago, let’s do this one!”

Jones: Something like that, I mean I think the way that works across the industry is that, you know, you have people who know the product. Whether they have worked in the industry for a long time or whether they came from a different corporate style company, and they have knowledge of fishing background and fishing. They understand that, you know, this product is selling pretty well and we want to create our own or sometimes we’ll analyze it from the view of there’s nothing in this sort of product category and try to attack it that way. They’ll come to somebody like me and say can we make something like this, is it possible? Can we get the cost to where it needs to be? That sort of thing. So it can be a long process for sure and I think every case is different.

Me: So how much did you have to take into account with the manufacturing process of your design? I assume the silicone body frog is probably injection molded silicone or something like that.

Jones: It’s roto molded. You definitely have to take it into consideration when you’re designing things like the internals of the hard baits. You have to make sure that you can pull the body out from the actual two-piece mold and make a draft angle analysis and making sure that you don’t have any overhangs or anything like that. So, it helps to have some background or at least an idea as far as manufacturing.

Me: Most, if not all, the hard baits are just glued together halves that are injection molded out of, I assume, some ABS type plastic.

Jones: Yes, correct.

Me: That’s what drew me to the 3D printing side. It was like okay, we can do things in 3D printing that you couldn’t do in mass production, you know, injector molded hard plastic. So, I haven’t really found anything too exciting there yet, but I’m holding out hope that there’s some kind of interesting thing to do there at least on soft plastics, you know, from a mold standpoint. I really don’t care about undercuts; I don’t care about machinability of a mold because I’m just going to 3D print it. You can do some interesting things there that you can’t, every time I say you can’t in front of a machinist, they yell at me, they say they can always do it with some kind of machine. So, I try to stay within the realm of most normal people’s capabilities.

Jones: What you said there though about 3D printing having more uses as far as the manufacturing end goes than a CNC machine, that’s something outside of fishing that I’m super excited about. 3D printing is growing so quickly, you know, metal 3D printing is as well, and soft rubbery material 3D printing is super exciting. Like Adidas has a pair of shoes that I’m just in love with that the soles are 3D printed on a carbon 3D printer and I just think that’s the coolest thing. Eventually, you’ll be able to get full-on end-use metal 3D prints.

Me: That cool man, I mean 3D printed fishing gear. I looked at those carbon machines because I thought maybe I can swing one of these to have something different. I was like yeah, not really and then the metal stuff with most of them you have to have a centering oven and stuff.

Jones: Yeah, a lot of space and a lot of money.

Me: Yeah, not there yet. I think that’s going to be super interesting, I don’t think that, and I could be wrong, but I don’t think that stuff’s ever really going to push down to where people are going to get their fishing lures from buying some files online and printing it at home on their home metal printer. But I think that, you know, from a manufacturing standpoint, I think that’s going to be super fascinating to watch because I think someone smarter than me is going to come along and figure out we can do things that we can’t do in traditional manufacturing that’s going to kick off a new, I don’t know, style or wave of innovation in the lure space.

Jones: Yeah, like you said you need to understand your design for its end manufacturing use. If you’re end manufacturing is 3D printing, then it opens up a whole new realm of design. It’s exciting for sure.

Me: We kind of touched on it earlier, but what software did you use at 6th Sense and then what kind of software are you using now? Did they have any corporate standards or anything that you had to stay on?

Jones: No, I just use Fusion 360. I don’t know what they do at 6th Sense, but I’ve used Fusion 360 for probably the past five years or so personally. Recently, I’ve been getting into the ZBrush, it’s more of a mesh modeling software thar you can achieve things that you just can’t even try with Fusion 360 since it just can’t handle that many polygons and faces. So, I’m really excited about that and I’m trying to continue to develop some really life-like looking lure models, fish models or whatever you want to call them. So yeah, primarily Fusion 360 probably around 80-90% of the time and the rest in ZBrush. If like you said about the design, for the end design if it’s for 3D printing then I can go to ZBrush, if the end is injection mold then it has to stay in Fusion 360.

Me: I’ve tried to go back and forth before between, you know, a b-wrap to mesh and then back in and it never turns out right. They’ve been making a lot of strides recently but it’s still not there, it just can’t handle any sort of dense mesh at all, it just turns into a big blabber loop. Like you mentioned, you know, with 3D printing you could do it all in Blender or ZBrush or whatever mesh thing you wanted to do and you don’t necessarily care other than maybe getting your measurements correct which I find hard to do in those programs.

Jones: That’s why I use Fusion 360 for the initial design so I can get my dimensions of the overall body and when you go from Fusion to ZBrush you don’t lose the overall dimension. Sometimes, it’ll output into millimeters but if you built it to be six inches it will be six millimeters in software sometimes but you can get around that.

Me: Yeah I’ve forced myself and, I don’t even want to say I’ve learned, but I vaguely understand millimeters. I actually have a ruler with millimeters and inches taped to my desk so I can get an idea of where I’m going. Since all 3D printers just talk millimeters, I thought it would be easier that way. So back to 6th Sense real quick, how are you handing that stuff off to manufacturing? You were just sending them like a step file or something?

Jones: Yeah, I don’t want to get too much into that.

Me: Yeah, I’m just somewhat fascinated that they didn’t have some sort of standard of designing and manufacturing.

Jones: Yeah. Well it’s a growing company, it’s young and things change rapidly and growing companies have to be pliable and willing to flex a little bit.

Me: Do you have any idea on how, like, the really big guys do it? Like pure and rapala and those guys. Do you ever talk to anybody that works over there or anything?

Jones: Yeah, I’ve talked to a few of them about those companies. As far as what they do from initial concept to final product, I’m not exactly sure. The crazy thing about the industry is that China has a lot of designers so they can do what you want. It might take them longer, there might be a language barrier, but they can certainly do it. There’s a lot of talented people in China so it makes it hard for people like me in the states, you know, trying to gain business or trying to grow my own business. China can do it quickly, but I think my advantage is knowing fishing very well and growing up fishing. If you mention hey, I want something along this product line, I know exactly what you’re asking for and can create a similar model pretty quickly.

Me: Yeah, I tried to have someone, I think it was through upwork or one of those sites that were in a foreign country, and they didn’t know anything about fishing. I sent them a vague idea of a crank bait and what I go back was nothing like it. It looked like a crank bait, but it wasn’t going to work.

Jones: Yeah, absolutely.

Me: I think my experience in the software world when you have a language barrier like that, and not to say they don’t know how to do the work, it’s just the translation gets lost and if they aren’t fishermen it becomes very difficult to speak with them and talk to them about wanting this kind of wobble, well wobble isn’t an engineering term.

Jones: Yeah, I’ve run into that problem before.

Me: If you can deliver on specs, they will absolutely execute on those specs but anything outside of that it gets a little tricky.

Jones: Yeah absolutely, you’re definitely right.

Me: So what is your favorite lure that you’ve designed so far?

Jones: Probably the six-inch trace, I worked on that for a while. I think as far as like the cosmetics, the exterior details, I felt like I did as close as I could in Fusion 360 to replicate a specific fish. Then the way that it functions as well, I thought it ended up being a pretty good project. I was very happy with it. The crazy thing about fishing lures is that people think you do all this intricate work for fool fish and to some degree you do, but primarily it’s to catch the eye of the fishermen. It’s just like anything else, you’re marketing that product, you’re marketing the level of detail. The fish aren’t buying it so you definitely want to make sure it stands out on the shelf.

Me: Yeah. I don’t know if you saw, Marlin Bates does a video where he catches a bass on a square block of wood.

Jones: Yeah, exactly. Sometimes fish are like the smartest creatures and then sometimes the most stupid. So, yeah, there’s none in-between and Marlon Baits is super talented, that’s the level of wood carving that I thought I could be but I should probably just stick with CAD.

Me: I cannot, I do not have that kind of patience and that’s exactly what it is. I would only be able to produce asymmetrical baits and it just wouldn’t be good which is why I naturally gravitated towards the CAD side. It’s like, okay, it’s going to handle what I consider mundane stuff like symmetry for me.

Jones: Yeah, there’s no undo button for wood either.

Me: Exactly, yeah. I tried that for a little while, I tried to make a super simple popper and I just got distracted and hit it too hard with a sander and it was toast. I was like, okay I can’t this, it’s brutal. So how did you decide to start your own design company?

Jones: Yeah, that’s a good question. I just thought there was a big need in the industry for these services, I’ve always been passionate about starting my own business, so it just felt like the right time really. I’m excited, it’s different but I’m excited to try to face some of those challenges. I can handle the design stuff, the business stuff is what was always so intimidating and seeing small businesses you know there’s a lot that goes into it. It’s difficult to run a business no matter the size, it’s initially just me and putting out product and working with businesses and understanding their needs, I think I can certainly try to deliver what they’re looking for.

Me: Yeah, I’ve started several small businesses throughout my life and it’s always the business part that’s the hard part. Like whatever you’re doing and the billing, that’s the easy part. LLC’s versus the S-Corps and that kind of stuff, that’s the really hard stuff.

Jones: Yeah, absolutely. Trying to pay people to make care of that for me so I can focus on, you know, the CAD design. That’s the easy part, I can do that.

Me: That’s the way to do it, for sure, just outsource all of that stuff. Nowadays it’s super easy, it costs money obviously, but everybody is online. Quickbooks you can hire accountants right out of Quickbooks.

Jones: I mean, you’re exactly right. That’s one of the reasons too I wanted to start my own business is because it’s the age of the internet and it’s never been easier to run a business. That doesn’t mean it’s easy, but it’s never been easier to get yourself started and to market yourself through social media and try to build your own brand and build your own company and go from there to be independent.

Me: Awesome. So I have a question from the audience, my good buddy Norris who is actually in Dallas. I think all awesome fishing designers are in Texas at this point. He wants to know when you’re sitting down to design a lure, do you start in the form editor or do you go straight sketches and parametric?

Jones: Well, is that before or after you have a 2D base drawing because I think that it’s really important to start with your model idea. You really have to put that down on paper, it gives you a good sense of direction when you go in. But to answer your question directly, it does depend on the design a little bit. I think the majority of the time it’s the form space where you can quickly create a round body and go from there. But if it’s something that I know is going to be based more on sharper edges, you need to go into some parametric editing and modeling to create it through surface modeling or just some lofts and extrusions.

Me: I guess I’m going to have to dive into the forms, that’s what all the cool kids are doing.

Jones: Yeah you definitely need to, it’s awesome for sure.

Me: I’ve done some cool stuff lately in there. I designed this crazy creature bait that I did mostly in the forms editor and so that was something I felt pretty proud that I made it out of there alive with a functional bait. I do have a wake bait that I did in there previously. I don’t know man, I guess I’m just too much of a nerd because when you mentioned 2D drawing I just started with the numbers in my head and I put then in the user parameters and the I used those user parameters everywhere because I can’t draw at all. So, when you’re cooking up a lure yourself, do you actually do a 2D drawing to start?

Jones: I’ll say it always turns out better when you do. Somebody told me about CAD and it’s true in a lot of things but, it’s garbage in garbage out, you know? Design intent is a word, or phrase, used in engineering, CAD design specifically, that mean you need to know where you’re heading or where you’re starting early on. If you know your end goal, then you can build in some parameters that you can change quickly and it won’t slow you down if you need to go back and make edits. But yeah, definitely helps to have some good base sketches for sure.


Me: Yeah, just the fact of knowing where you’re heading. I find it important because some days I'll sit down and I'm not sure what I'm even making, I just want to try some specific techniques and halfway through making a crank bait or something and it never works out at all. So yeah, having that end goal in mind I find really helps me, at least, keep it tight and from making too many mistakes along the way.

Jones: Yeah, absolutely.

Me: So you don't have to spill all the secrets but what are some of the things normal fisherman don't necessarily know about the lure making business?

Jones: I think the biggest unknown, or misconception, about the industry is (and this is the case in a lot industries) that most products are made in a handful of places. That's just the reality of business. There's a few people who have large-scale manufacturing equipment and it costs a lot to get started and so not everyone is opening up mass manufacturing businesses in their garage. The big companies just continue to get bigger as the smaller companies start and that's true here in the states and overseas, just more products are being made in a handful of places.

Me: For sure, I had designed this frog lure for a guy, he did end up going to D&J in Arkansas or something like that. They're one of the only soft plastic blue manufacturers in the states and they do everybody's that still want to manufacture, they do everybody's lures. Then you know, just the other day, there was a small bait company down here called Deadly Dudley, I don't know if you've heard of those guys before, had a video of their manufacturing facility. They have injection machines that they use to make all of their baits from but they do it all in-house and I was kind of shocked that they did that because they were just in a room with a giant plastol injection machine doing probably like 10 at a time I think. I mean, it wasn't huge but it was basically them doing a bag at a time in their shop. Then I said okay, maybe I'll go looking for one of those machines just to see and I can't even find one to buy. I guess people have them custom manufactured or something like that.

Jones: Yeah, for sure.

Me: That's interesting because then the barriers just get higher and higher. Would you guess that a majority of hard plastic baits come out of China?

Jones: I would say the overwhelming majority, yeah. It doesn't matter what company, it's just the nature of the beast when it comes to manufacturing. If there was a bait to be made in the states by a company and hand-painted by an individual you would be paying $19.99 for that bait that, in China, could be $9. It's just how it is.

Me: We clearly all need to be in that swim bait business, those guys charge like $900 for swim baits and stuff like that.

Jones: It's good when you can get it if you're one of them I guess. The OG's, a lot of those builders are super talented and have been around for a long time.

Me: Yeah, absolutely.

Jones: But it's crazy, you see those people, and I've always wanted a few myself. But when you can build them, it's hard to buy for that price.

Me: To me, that's like art, you know, I would be petrified to throw that into any body of water because I'd snag it within two seconds and it would be gone.

Jones: I think fishing lures, to me, is art it's like functioning art and that's the way I've always looked at it and enjoyed it. I found something so interesting to just make the most realistic looking design that I can, it's just fun and it's one of those things I'm passionate about. I haven't stopped trying for awhile but there's certainly an artistic aspect to it as well.

Me: For sure, and there's no shortage of creatures that eat fish to make a lure out of. So there's some guys that I know down in Tasmania that are making these crazy squid lures.

Jones: Oh, wow.

Me: Yeah they're nuts, super realistic squid lures. I don't really like to fish squid that much, but it's pretty cool. With all the bugs, nymphs and whatever in the world, you'll never run out of things to make for.

Jones: Absolutely

Me: And then some jackass will come along with the block and catch your fish. So if someone is interested in getting you to design a lure for them, how do they get in contact with you?

Jones: You can certainly email me at philip@3dtechinnovations or reach out to me on Facebook as well as LinkedIn. We can go over any design needs that you have, whether it's just a CAD design, 3D printing or 3D rendering, I offer a handful of different things. Reach out that way or just email me directly.

Me: Awesome, and I'll have that information HERE. One more quick question, how long does that process usually take from, let's say, someone comes to you with a design they scribbled on a piece of paper to you have them set in the right direction. I don't know if you call it a final product from your end with your fully functioning CAD design.

Jones: Well that what you said right there is sort of the big kicker in that equation but, you know, it usually takes around three weeks to a month as far as an idea to a final CAD design that I and the client would be happy with. But, you know, it just depends on the project, there's things that are relatively simple that people are looking to have done and there's certainly things that are very complex.

Me: I saw on your website that you do have a 3D printer so do you offer prototyping along the way or how do you handle that?

Jones: Yeah, absolutely I'm trying to help companies with prototyping as well. There's all sorts of rapid 3D printed modes that you can make, I think I've seen some of yours that you make as well, so that's something that I would offer to a company or to a client who's looking for some prototyping.

Me: I know a few local bait makers that I've helped with their stuff and from what they tell me it's like they feel like they can innovate a lot quicker because of the 3D printed molds because it's less time consuming to produce and way less costly. Even their buddy machinist is going to cost them $600 and for me, it's like $10-20 in materials a mold. Even if I throw in time and stuff, I get about $100 prototyping baits versus a thousand. You can iterate a lot faster and get more designs out there

Jones: Right, if you can even find a machinist that'll cut you a single cavity mold. They don't want to waste their time they want the big jobs so I think that is the advantage of a 3D printed mold. You're not going to shoot a thousand baits through it, but you can definitely get where you want to be as far as the final product goes without investing too much money.

Me: I'm up to 250 shots in one of my molds so far.

Jones: That's good.

Me: Yeah, it's been holding up really well. So usually what the most common way they fail is you drop them and they break.

Jones: Yeah, absolutely.

Me: That's the one advantage aluminum has, but yeah, it was funny like when I first started designing lures I went to Facebook and down in Houston we have a lot of machine shops that try to get work in the oil and gas industry. So there are guys that were like, hey I'll cut your parts for you blah blah blah. So I was emailing those guys and told them I had this mold it's in Fusion ready to go and they're like nah, we don't want to do that. They want to turn out a couple thousand couplers or something

Jones: Yeah, one part they can program and just cut over and over again. Which, I understand, no one wants to program one thing, cut it, and cut it one time and be done. It takes a lot of time.

Me: Then one day I was like, I'll just get a CNC machine and do it myself and then I started to learn CAM and I was like oh my God now I understand why they don't want to do this.

Jones: Yes, exactly. That's a whole other setup of CAD design, you're spending just as much time in CAM as you are in the CAD.

Me: Yeah, exactly. It was really frustrating for me because I was like why do I have to tell it what tool I'm going to use. Like, it's a computer, I should tell it the tools I have and it should tell me the tools I should use. One day it'll get there, we'll have CAD machines at 3D print.

Jones: Yeah, absolutely.

Me: Awesome, man. Well hey, thanks a ton for talking to use today, really appreciate all your insights and again, you can find all of Philips information on his website HERE. There you can reach out to him for all your lure design needs.

Jones: Well thanks, Bill, I really appreciate it and look forward to seeing the video.

Me: Alright man, take care.




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Open Pour Fluke Mold Part 1 – Design

Interview With Professional Lure Designer Philip Jones of 3D Tech Innovations 2

All right guys, today we’re going to make an open pore fluke mold. I’ve been wanting to do an open pore mold for a while because I see a lot of people with 3D printers going the route of 3D printing a master and then making a silicone mold. To me, that’s just a lot of extra time, effort and trouble that you don’t need. So, I’m going to show you how I do it. It’s going to be a one-piece mold open pour from the top, of course, with a hook slot. It’s going to be fluked a little, about 90 millimeters. This is around 3 and a half inches which is perfect for bayou bass. Let’s go.

Define Parameters

Quick review of the parameters that I’m looking at here, the length is 90 millimeters and my max height which is as deep as the lure is going to get is 16 millimeters nose diameter. I used a diameter because I’m going to make a circle for the nose. Now I didn’t talk about this too much in my last video, but I’ve been using this technique a lot to make it easy to scale these lures later. I don’t want to say this is going to be the midpoint, but I call it the midpoint because it’s the part of the lure that’s going to be the tallest point. I set that base on the length of the lure and it’s a percentage so what this says right here is 40% (.4) of the way from the front of the lure is where my max height point is going to be the deepest part of the belly.

parameters in fusion 360

When I come in here and I make my lure, say, 110 millimeters long, all those calculations will be in proportion to the length of the lure and that saves me time. If I set this to a specific length, like you can see here the value is 36 millimeters, if I came in here and I set that to exactly 36 millimeters and then I went in and made the lure 110, my midpoint is still going to be up here at 36 and not adjust accordingly. Then I have to do some adjusting. I change one parameter lure length and it calculates out and I also do that here. We’re going to put a hook slot in this thing and then I want the tail section of my fluke to start 8 millimeters after that hook slot so I have a little bit of meat there after the hook slot and before the tail starts. I’m also doing that here on the max width of the lure which I set off my nose diameter, in this case, is 20 larger so 0.2. My nose is now as wide as it’s going to be so it’s not going to grow that much in width but, again, I drive it off the nose so if I change the nose my width changes in proportion and I do that with the tail.

Make Cross Sections of the Lure

So you’ve seen me build lures this way before, so we’re going to fast forward through this part and when we get the lure all built we’ll start talking about the mold. Sorry, we’re going to jump in a little earlier since I’m doing an open pore mold right now. So the top is going to be completely flat, I try to use this middle red line here as kind of the top of my lure. I can certainly build above that line, but just know that anything you build above that we’re going to chop off to make our open pore cavity. So we’re going to basically be building from this line down rather than from the center like we do. Okay, now we’re going to fast-forward.We divide our max width by 2 because we’re only doing half.

Interview With Professional Lure Designer Philip Jones of 3D Tech Innovations 3

So a quick note here, I probably got a little bit of an undercut here, this isn’t perfectly straight but since it’s soft plastic it’s probably not that big of a deal. If you were going to get this CNC, it would be a little bit more of a big deal because it’s hard to machine that undercut. But, we’re 3D printing so we don’t care that much.

All right, so here is the very end of the lure and I’m turning it back into a circle. We’re going to put a tail on the end of this so it’s going to be a little bug longer than the 90 millimeters I had previously talked about. Here’s another way you can use named parameters and put the percentages in the actual drawing itself instead of making other parameters that drives it, just type them in there.

Loft and Mirror to Create the Lure Body

So we’re going to loft this without rails first to see what kind of shape we get and how that looks. It doesn’t look half bad actually so I think I’m going to stick with that for now. I’m going to do a follow-up video to show you how you can add some cool details to the kind of lure but we’re going to keep this one straightforward, simple and clean. Now we just create a mirror, make sure we’re on body as you’ve seen before and then boom, we have this nice little fluke without a tail. Now let’s get to the tail. I’ve been making a lot of flukes lately and I just released 3 different flukes to my Patreon group. If you’re interested in getting molds and hard lures at least once a month, you should join my Patreon through this link HERE.

Interview With Professional Lure Designer Philip Jones of 3D Tech Innovations 4

Creating the Tail Shape Using the Form Editor

Now we’re going to do this tail and I’ve been seeing a lot of willow tail kind of things that kind of make the shape of a diamond so we’re going to go for one of those. We’re actually going to use a form editor and I’m not a huge fan of the form editor for making lure bodies because it’s not parametric which means I can’t easily go in and change the dimensions of the lure later on. But, for this tail I think I want to make it more of an organic shape so let’s give it a shot. We click on the form editor and I’m going to start with something called a quad ball and we’re just going to put it on there and back here. We’re going to see how 8 millimeters looks and we’re probably going to mess it up but that’s okay. We’re going to do symmetry mirror and we want length symmetry. Now the whole trick in the form editor is clicking on this modify and then grabbing faces. I’ll link to a couple of people that do really great things with form editor, especially for fishing lures in Fusion 360 HERE. Once you click modify, you can start grabbing and you’ll see this yellow part. Let’s make sure at the top here you’ll see the yellow which means I’m going to move that at the same time. So if I move this out, the other side moves accordingly.

making a lure tale

So once we got something we think we like, we just hit finish form and now we’re back to our lure. We have this arrow and tail and the reason I like flukes is you can have a lot of fun with the tail and we just need to combine those together. I haven’t saved so I should probably go ahead and save as well. I can combine these, or I cannot, in this case I’m probably going to come along and do a bunch of different molds so I leave it uncombined. I can just make new tails and stick them on there and readjusts a few things and it makes it easier to make the mold.

Building the Mold Body

So now we have this done and one thing that we can do with open pour molds that we don’t really have the ability to do with an injection mold is we can make it fit the lure body perfectly. With a injection mold, I think I do 16.4 millimeters for the opening of the hand injector that I use and that kind of drives the overall diameters of the thickness of the mold because I have to have at least 8.2 millimeters that are going to be eaten up by the hole. In an open pour mold, we’re just going to print a solid chunk of resin and so we can make it fairly tight to the lure body itself with not a lot of extra beef.

lure mold body in fusion 360

So let’s make our mold body, it’s pretty simple I’m just going to do it from the side here and just do a rectangle. I’m going to give myself a little bit of space in the front, you do need a little bit of extra so you can’t make it razor thin because a scope resin is a high temperature resin but it does need a little bit of thickness in order to maintain its shape under the heat. Then we just hit E for extrude and look at the top here and make this symmetrical. We’re going to come out just past that width of the body and you can see this is the stuff we’re going to chop off. Chopping this off, we’re going to lose a little bit of the top and this tail section back here. So now we can turn on the opacity control to about 70 and we can see through this thing here now. One thing you’ll notice here is we’re going to have an undercut on this tail so we’re going to have resin going over the top of that. Again, open pore mold 3D printed so this isn’t something we really care about it’s going to be easy to pop that tail out of there no problem. If you were designing this to do CNC, you wouldn’t be able to do that at least in a single block mold so we would have to split this mold in half from the top down.

Cut Out the Lure Cavity

So now we’re going to combine. We’re going to my target body which is my mold and then use my tool body and open port and cut my tail out. We’ll go ahead and keep those tools around and we’ll cut them. All right, I’m going to go ahead and cut this but you can see that we also have some parts that are not going to go away. Let’s click ok and let’s take those tails and these and you can see we didn’t really get all the way through there. Now I can hack these out if I wanted to, but let’s just fix it so it’s correct. Now what we’re going to do here is we’re going to come back to our sketch 5 and I’m going to go ahead and rename this to old sketch. Let’s edit it so we can just offset this a touch and we’re going to drag it with the dimension and make it .5. Then we should go ahead and dimension all of these bad boys here and make that 103 and this 19.2. Again, I’m going to constrain this front edge to the center, pop it up and let’s just make that 2.8 to get a fully constraint. All right, so now I just click finish sketch, it goes and now I have a nice opening.

lure cavity in fusion 360

Let’s turn the opacity back to 100 and se what’s going on in here. This is looking good considering it was looking a little weird earlier, but it looks fine now, the overhangs might get me there but it looks pretty cool. We’re going to roll with it for now, it might be completely wired but who knows. Okay, so now we’re going to add chamfers to the outside edges to save a minuscule amount of resin, but it also help to make it easier to get off the build plate. I’m going to select the edges here instead of all the faces because I don’t want to chamfer on this top edge.

Create the Hook Slot

Now let’s do the hook slot. Hook slots are straightforward, I’m going to come in at the top here and do a new sketch on the top plane. We’re going to take a line, make sure it’s centered and we get the hook slot length and there’s my hook slot. Now for the start point you just need a little bit of beef up front in the nose so we just need to add this dimension from the center line to here. It’s 4.8 now and that’s probably about where it needs to be depending on how you rig your flukes. Since we’re just using this for ourselves, we’ll go ahead and make it 5. The more meat you have on the front there, the better if you’re going to nose rig it with a wacky wig or put a screw eye in, but we’ll leave it like that for now. Let’s finish that sketch and now we’re going to use the thin extrude command and we’re going to click on this guy then extrude, click that line. Here’s a fun trick, I’m going to do 2 sides, so my wall thickness is my slot width. Then, I’m going to drag this guy down and let’s take a look at it from the side. We want to drag it down and we can drag it down as far as we need it to go but we need to go all the way through the lower body. Now, when you do 2 sides, a lot of people think that it’s going to go out but you can actually go in on 1 side or a negative number. So if I grab this top, I can come down and this is going to be how much beef I have on the top. So let’s do a negative number, 5 is fine, and it looks like a decent hook slot. We want to do, for now, a new body and we do a new body here because I’m going to come in and I’m going to add a chamfer to that edge.

adding a hook slot tp lure in fusion 360

Print Considerations

So let me point something out to you, you already need to be thinking about how you’re going to print this. This is the fastest way to print this, probably, would be to put this face here flat to the build plate but what’s going to happen if you do that is it’s not going to work right because that hook slot is going to go out into space you’re printing within layers and is going to get ripped apart unless you had a million supports in there. You don’t want to do that because that’s a mess. We could come in and split this mold in half a do a different kind of slide design, but we don’t want to do that either because we could print it from the nose first but then you end up with a similar problem. So if you want to print from the nose first because you have some other detail in the lure that prevents you from printing it from the tail first, you need to come in here and add a fillet to that edge and you need to fillet it basically all the way which, again, is not great either. If you do this, you need to leave as little hanging off here as possible, you can bring it back down here and maybe make it work but you still have about half of it hanging off.

So in this case, the way to print it is going to be relatively obvious, if we look at the back here you can see that this hook slot piece comes straight out of the tail and there’s no overhang. It’s not going to work perfectly, it’s part of the mold and if I pour that tail it’s pretty narrow and I suck at hand pouring. This is a pretty big chunk of resin here, but I think we are ready to give it a print.

Alright guys, I hope you like that design overview. I’m going to go print some of these and in the next video you’re going to see me print them, pour them, and go fish with them.


Take care- Tight lines

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3D Printed Stencils V2

Interview With Professional Lure Designer Philip Jones of 3D Tech Innovations 5

 All right guys, today I’m going to show you a technique I’m using to make stencils for when I airbrush my 3D printed lures. Your lure doesn’t have to be 3D printed to use this technique, you just need to get your dimensions of your lure into Fusion 360 or whatever CAD program you’re using. So let’s just in to Fusion 360.

Duplicating the Lure Body

This is a twitch bait that I’ve been working on and you’ve seen me work on various versions of this throughout this series. This one is all done and I already have some stencils made but I want to show you how I do it. First thing to do is go back to the beginning, so you grab your timeline and move it back. I usually like to go right after I did this loft so we have half of our body here and that makes it easier. Now if you went on after you did the loft, it made a lot of modifications to the body. You’ll want to get your timeline to the point where you have half the body with all of your modification in it and I’m talking about the modifications to the overall shape rather than adding eyes or gills or anything like that. We're talking about the overall profile here.

lure body in Fusion 360






So I what I want to do is simply go up and click on that body, right click copy and then right click paste. It’s going to ask me if I want to move it and you can move it but it’s not really relevant to what we’re doing so I typically just leave it in the same spot. Leaving it the way it is now actually helps with the sizing and makes the adjusting a lot easier. Now I have this flat tape twitch number one body and I’m going to hide my original and rename this one stencil base. Now you can actually go all the way to the end of your timeline if you want to and you can do more calculations even though you didn’t really change anything. So now we have our stencil base and I have my eyeball turned on so we’re going to turn that off that that the only thing I have turned on is my stencil base here and it’s solid lure here which is where the fun starts.

Shell to Create the Stencil Body

What you want to do is you want to shell this body to create a kind of wrap. We’re going to click the shell command and we want the back side to be hollow so we’re going to click this right here. I also want the front and back to be gone so when you’re clicking with the shell command, you’re basically telling Fusion 360 that you don’t want the face to be there. We’re going to make a shell around everything else and we may have to play around with the thickness as it depends on the resin you’re using and how well it supports when you print it. In case you want to know, I’m kind of at a 1.8. More importantly, I found if I made them too thin using the resin I’m using (which is Siraya Tech Fast) it will tend to warp when you dry and cure it. Obviously, we don’t want warping so the trade-off to making it too thick is it’s hard to get some of the finer details through with your airbrush. But for today, we’re going to go 1.8 and that works well for me and of course you can change that for yourself.

shelled lure body





You can see we have a preview here that looks pretty good so we can click ok and if you want to take a quick look, we can turn back on our body and you can see what we’re doing here. So when we added those fillets after we made this copy, you can see I have a gap there which is good. You want a little gap and, I want a little more of a gap, around the whole lure body. We’re going to turn that body off again and we’re going to push back that inside face just a bit to give us more room. We’re going to use a command that I’ve only recently discovered but I’ve been using it a lot and that’s offset face. So we click offset face and click this interface and if you pull it one way, you make it a positive number. We want to make it a negative number so we’re going to shrink it to a negative 0.2 (millimeters, by the way) just to peel it back and click ok. So now if we take a look at it, again, you see we have just a slight gap around and you can make it airtight if you want to, but when you clamp it it’s airtight anyways and you may even scrape some of the paint off and scratch it which we don’t want. Again, depending on the resin you’re using, you might need to make this gap bigger so you just want to experiment with this. Turn off that body and we’ll move to the next step.

Make Stencil Handles

Now what we want to do is to come back on the back side here and make our handles or wherever you’re going to clip it together. This is pretty straightforward, we’re just going to create a sketch and I’m going to choose this edge right here. I could choose the plane but choosing the edge makes it a little bit easier because you already will have the outline of the lower body as part of your sketch and you won’t have to do a project. I keep these really simple, I just do a two-point rectangle and I come to the lowest point here, draw it up (the size is completely up to you). You want to start your rectangle on the lowest point because we’re going to go straight across. I’m making two rectangles the same size.

When I’m done, I hit the escape key and I don’t want these guys in here so I’ll use the trim command which is super useful to get to know. When you click trim, you can come in here and you can see by default it knows that this intersection is here and this end of the line is here. It will warn you about constraints, but for these I don’t worry about fully defined sketches for what we’re doing here. If you want to get really technical about it, you can fully define them but these are not really impacted by any changes we’re going to make. By the time you’re doing this, you want to have a absolutely nailed-in lure body design and shouldn’t be making anymore changes to this particular version of this lure by the time we’re making a stencil.

making handles on lure in Fusion 360







Now I can bring this in here and I have no idea what I just did to mess this up and cause chaos. I deleted the projection because I didn’t like it and I’m leaving these things in because if it can happen to me, it can happen to anyone, and you might need to adjust as you go. The better idea is to just grab that so it will constrain that stuff properly. So now we have the rectangles done and what I like to do is put in some circles just to give us some relief cuts. This is probably not necessary, but it saves a tiny bit of resin.

If you wanted to pin these things together with some wire though it or something like that, you can do that as well by hitting CTRL+C and CTRL+V. I’m just moving this around, not really worried about where this is going which is probably going to come back and bite me in the butt later. I’m going to make this just a touch longer and move this over. When I’m done we finish sketch and hit E for extrude and make sure you’re clicking this bottom one here, don’t click in the circle because we don’t want that to go away since we drew on this plane. We’re going to get a negative number here and, again, I’m just doing 2 millimeters and we’ll go ahead and join this together and then you have your tabs.

Add Fillets

Last thing we’re going to do is I’m going to come in here and add a fillet. I have the F key for fillet and let’s see what one looks like. I think it looks pretty good, it gives me a little bit of relief on the edge here for when I clamp it against the lure. Let me show you a trick on fillet here. We’re going to go back and edit that feature, one thing I always forget with fillet is once you have the fillet open, you can fillet multiple edges in one command. It’s usually better to do it this way than to do an affiliate command for each fillet, but it’s your choice. So we hit that plus button and we can come and let’s also do this outside edge as well.

adding fillets to lure







This may work or may not, just depending on your numbers. It ended up working for me once I got a nice little 0.5 in place and then we click the add button. A handy rule of thumb as well is if you know how thick something is, so I know that these are 2 millimeters thick, you should (in theory) you should be able to make this a 1 and it should crunch it all the way down. I’m going to go fillet crazy on these edges here. With the fillet command, you don’t have to hold down the shift key, whatever you click on will get added to your selection set. If you want to remove one, you just click on it again. I got all those selected and did a .8 fillet and it didn’t like that. Let’s do this edge here and just guess. Also, I didn’t do a .1 there because it’s got that curve in it, probably doesn’t like that. All of our edges are now filleted so we really just need to fill up those edges to make sure it’s nice and separated on the edges there which saves a bit of resin. You’ll see when we go to print this, we’re going to print these edges flat to the build plate and it’ll give us a nice kind of lip underneath there as well.

Duplicate and Save the Base Stencil

So now we are pretty much done with the base stencil. What I like to do at this point is make a copy so again I’ll come over here, copy right click and paste. The reason I do that is we now have a stencil that is set up correctly, but obviously it’s not essential because we haven’t put any holes in it. So each time I want to do a different version of this stencil with different patters in it, I can come in and I can make a copy of that stencil base and draw whatever patterns I want on there and go from there. This way, I don’t have to continuously back up what I change on one since I’ll go to the other and I can build up a library of stencils for an individual lure. So now we have our stencil base one, we turn off our original stencil base and we’re going to make a simple circle. Before we do that, one thing I want to show you here is with this twitch bait.

Create Cutouts for Large Features

If you have a lure that does not have any sticking-out bits and is completely flat, then you probably don’t need to do this next step. But, to make sure our stencil is going to fit correctly, we want to do this one last step. So I’m going to turn back on the base and you can see my eyeball is sticking out here, so when it’s sticking out I could get some overspray on that. I’m not a good air-brusher, but I think I can avoid that area and worst case scenario I can throw some blue tape on it. If you want, you can always make this body thicker. We made it 2 millimeters but you can always make it 3 or you can just blow it out until it goes over. I’m just going to leave it like that, but what we want to make sure is that we have a relief cut in here. We’re going to use the combine tool and I’m going to make sure my stencil base is the target and my tool bodies are the flat tape twitch, more importantly, the twitch eyeball. I probably don’t need the actual twitch body, in fact, let’s take that off of there because it’s not touching and we just need the eyeball we’re going to cut. We’re going to keep tools because we want to keep our eyeball around and click ok. So since I moved my timeline, if I move my timeline forward it makes a copy of this.

Add Details to the Stencil

Now we’re going to add our details to our stencil. So make sure we turn off our stencil base, we don’t want to impact that at all so make sure to turn it off. The only thing we should have selected is this stencil base copy I’ve already renamed big circle. We’re going to make a sketch on this plane back here and I want to do a project so we’re going to select this geometry and click ok, that way we can turn off the body and have an outline of what’s going on. I can even see my little eyeball. Now I want to make an arc of circles. To do this, I’m going to start low and I’m just going to pick this point at random then click on that end, check the box and hit the escape key. I’m just going to bend this where I think I want it to go, nothing precise, and at any time you can turn this back on and see where we’re going.

adding details to lure in Fusion 360






I’m not going to put anything in the front, I’m going to start them here and just follow down this line. You can do any shapes you want and get as crazy as you want, but this technique is the same. Basically, you just want to draw out what shapes you want to cut out of your stencil. I’m making these slightly smaller as I go along, not really getting too crazy and I’m also not worried about spacing yet either. Now we can do distance and to do that I hit the D key and we’re going to a dimension of let’s say 11. Again, I’m just making this up as I go along, decrementing the space by 1 and probably putting this into a parameter. If you knew what you were doing ahead of time, that would be a good idea because then it would make this a whole lot easier. I also notice I got a few that are not on lines here, so make sure we snap these down to know that I have my arc in place. That way, if I wanted to change this, I can come in here and move this whole point spline and my whole pattern moves. That’s why you want to make sure they’re locked on there.

Let’s see my stencil back on, big circles is looking good. Now, it’s pretty simple, we want to hit E for extrude and I want to make sure we select all of our circles here. Since we have that fit point spline, they’re going to be cut in half so make sure you’re selecting both halves. Then, turn on your stencil, big circle. For extend type, we just do all and it’ll pop out all the way to the end there and click ok. Boom, you got a stencil.  Now we come through here and we add some fillets if we want. Also, let me show you one cool trick I learned about fillets. So if you hit filler and change the type to rule fillets, it’s going to ask you to select faces or features. If we select our extrude and make these .5 millimeters, then it just adds fillets to all of these circles. This is because we just made them, I found that pretty cool. Here’s also a link to the guy that taught me a lot about the fillet command, you can check him out HERE.

All right, just click ok and boom, we have a fillet for all of our circles and I’m just going to name this one done. Again, you can come in and make whatever circles, lines, or anything else you want in here. I would say that you probably need to pay attention to how small you make those and you’ll see when we print them out. If you want it too small, it ends up being pretty difficult to get some pain through there. Again, you can play around with it, but I’m keeping them big today so I didn’t mirror this in Fusion 360. I’m just going to go ahead and mirror it when I put it in Chitubox which has a mirror command that works just as well, just save as mesh and make sure it’s on SDL and on millimeter an click ok. We’re just going to save this flat twitch and be sure to name them really well as to not get them confused with, I’m sure, the hundreds of other STL files you have. The better you name it, the easier it’ll be to save and find them.

lure in chitubox

Set Up the Print in Chitubox

Right now we’re going to quit Fusion 360 and go into Chitubox. I’m on my abs green resin and let’s bring in my STL file I just made and drop it in there. We’re going to rotate, flatten by face and choose this face, putting it flat on the build plate. From here we’re going to click mirror and we want a X mirror and I want to keep the original model. Then, we’re just going to move this one again and, as I said in my previous videos, I try to stay out of the center since that’s where your fap is the loosest on your 3D resin printer. This should print just fine with no supports, I generally don’t have a problem as long as it is relatively thick and 2 millimeters seems to be the magic number for me and my resin. The bonus is it’s really fast to print, so this should be an hour, and 43 minutes in the estimate.

I’m going to show you this real quick in case you have problems printing it flat to the build plate, you can print it relatively vertical and I’ll walk you through that. The important thing, on a stencil, to remember is that this outside surface here can be absolute garbage but it really doesn’t matter. If you have the holes through there, the inside surface is what you want to make sure is clean. You can take this and rotate it and probably bring it up all the way over. You want to flip it to where this side is facing the build plate and we can put all of our supports there. Then you can go in and support all you want, all day long, but again you’ll notice this is going to be a bit tricky. Really, you want to print it as flat as possible. Slap this back on the build plate and click slice and 43 minutes is roughly 53 cents if you think about cost. Now we’re going to print this then do a little painting.

Using the Stencil

All right guys, we’re on the bench and I’m going to keep this one super simple because you don’t need to see me airbrushing to know what airbrushing is about. We’re going to keep it simple, I’ve got some clear coat on this bad boy and it’s the Enamel-Clear like I showed you in the last video. I also have some detail black magenta and we’re just going to throw on our stencil on the front and the back since it fits on there nice and easy. To keep you from making the same mistake I did, note where the screw eye is here and this guy is preventing me from getting a solid closure. So I’m going to leave the lure the same color of the resin, which is bright green and since it’s UV resin it’s actually kind of fluorescent in the sun. I’m just going to put black spots on it and then hit it with some final clear coat. Like the thick clear coat, that’s going to be it and we’re going to fish it tomorrow.

airbrushing lure


All right I think we’re ready to go and if you see that mess, you know that’s me not doing a very good job. I should have cleaned my lure first, you can see down here this guy is okay but it gets kind of hard to put it in there. I’m just blowing it with some air right now to try and get this guy a little dry again. All right, let’s see if I screwed up on this side too. This is why I’m not great at airbrushing because I don’t pay great attention to my prep. I’m going to to let that sit for awhile and make sure it’s dry then I’ll pop it off and show you the results.


So I figured out what my problem is, well what I think my problem is and comment below if you think I’m correct, I used an enamel based clear coat and I’m spraying water-based acrylic paint which I don’t think was the best move. That’s why I’m not getting good adhesion from my clear coat to my airbrush paint, so I probably need to find some acrylic clear coat. Comment below if you think that’s it because I need all the help I can get when it comes to airbrushing. Let’s see what my constant blasting of detail magenta black did through this stencil, I think it looks pretty good. There’s a little bit of a halo on there but that could easily be from me just blasting it because it just wasn’t sticking which gave me some overflow there. I’m pretty sure that’s going to be chalked up to my poor execution there and my enamel clear coat and my acrylic top coat probably not going well together.

If I knew it was stuck on there right away, I wouldn’t have felt the need to keep pounding it on there but hey, it’ll fish for sure. I’m off to find a better clear coat, maybe an acrylic that I can put on to seal the lure before I put on paint. Lesson learned on mixing clear coats and top coats of different types of paint. Not good, but I think overall the stencil turned out pretty well given my complete lack of ability and the problems I had and I hope it gives you some great ideas for really cool stencils for your 3D prints. Again, you can do this on any lure, just get those dimensions, build the body in Fusion 360 and follow the steps. Next up we’re going to make it even easier with stickers.


Take care- Tight lines

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Complete Lure Design Course – The Finish!!

Interview With Professional Lure Designer Philip Jones of 3D Tech Innovations 6

All right we got the lures printed, we removed them from the build plate, we washed them and we cured them. Pretty freaking sweet. Now what? Let’s go!

Clean Out Cavities

You now have an eyeball and a lure body, so one thing you’ll notice when we design these is we have this hollow cavity inside and you really need to clean that out extremely well. I like to use these pipettes but you can use anything to suck up your cleaning fluid. Make sure you squirt it in there really well and wash it out. Even after doing all that, I would still run into problem with beads, or anything I put on the inside, getting a little bit of residue on there and clumping up. I know what you’re thinking, secure the inside with a UV light. Well, I did that and I still get the same problem. I just think you can’t get a good solid clean in one go so my solution was simple. I grabbed some water-based Polycrylic but you can use whatever one you want, it doesn’t really matter. You can use any clear coat, I’ve even sprayed the clear coat in there before just to get it in there. What you want to do is get enough in there to coat the hole inside so I put a bunch in there and just rolled it around. Try not to make a giant mess, remember I still got an eye hole here so you don’t want to dump it out just yet but you want to get a nice coating over as much as possible. You want to dump all the excess, wipe it off, and let it dry overnight. Then you’re ready for phase two.

sanding fishing lure

Sand Off Any Nubs

The first thing we’re going to do is sand off all of the little numbs that came from the supports we put on our lures. If you watched that video like I know you did, you know this particular lure is kind of screwed up because I was trying to go along this edge here to put my supports instead of along the back. You’ll see that by doing that, it makes it a lot more difficult. If I show you this little lure here, you can see the supports are right along the back I used sanding mesh because it doesn’t get clogged up. If you look at this 400 grit wet dry, it’s just a mess. It works great, but it gets clogged up really easily so I’ve been using the sanding mesh (which I have linked HERE) to sand these and it works a lot better. You can see here on the back edge here, it’s a little trickier to sand since I’m so close to my cool details. It doesn’t take much to sand this stuff, if you have something that’s particularly difficult to sand you can sand it after you wash it. But really overall, it’s pretty straightforward.

You’ll see the nose here is not perfectly flat, we got this ridge here, so you just want to make sure that you sand it down all the way. That’s really it, you can do a light sanding on the other parts if you’d like. I find that sometimes light sanding helps with adhesion but make sure you get all of the last little bits of uncured resin or anything like that. It’s probably not totally necessary, but I do think it’s pretty good practice.

cleaning lure with isopropyl alcohol

Clean with Isopropyl

All right, now we just need to get all of this dust off. Let’s get a rag and a little isopropyl alcohol and I probably should have put gloves on for this. I just rub everything down and I use ice probe alcohol because it evaporates quickly. You can use water but 3D printer resin in particular absorbs water and that’s why we’re going to coat it with a clear coat and paint and everything because over time, it’s hydrostatic will absorb water and it’ll completely close up. After I clean this off, I’m going to let it sit here and make sure that all of this has evaporated off

inserting eye piece into lure

Insert Rattles and the Eye Piece

Now what we’re going to do is insert any rattles that we want and then we’re going to put the eye into place which will be 3D printed. So, one thing I like to do is make sure that it’s going to be a relatively smooth fit in there, nothing too crazy. It’s a little tight, but I’m not going too far in there so it’s going to slide in just fine. Then we want to figure out what we’re going to put in there and I’m going to use these BBs that I have sitting here. This is a variation of the twitch bait I’ve been working on, and it has this underside front eyelet so I’m hoping this one floats. We have our BBs in here and you’ll notice if it tips this way, those BBs are going to come to the front, and they can pop up there. We’re about to put a bunch of super glue in there and so when we put the super glue around and put this into place, we want to make sure that this lure is nose up, so those BB’s stay back. If they come forward, they get super glue on them, and your rattles are ruined. This is the trickiest part of this whole situation. If you don’t have super glue you can use two-part epoxy and you want it to be relatively thick because you want to seal up this area as much as possible from a water standpoint.

sanding lure Sand off Excess Glue

So I put a lot more super glue on this side than the other because this side is going up top and we’re just going to press in there. I don’t want all this on the outside so I’m going to use my rag with isopropyl alcohol on it to get as much of that super glue off as possible. After that, I do a little more sanding there but I want to make sure that super glue sets up completely before I start tipping this bait forward. Again, you want to make sure all of that super glue is off of the outside of the lure so I hit it with some sandpaper really quick. Now, I’m not a perfectionist when it comes to lure finishes at all, I personally don’t think the fish care and I’m only making these for me. But if that super glue does get onto the outside of the lure it does impact the ability for the paint to adhere a lot of time. I just do my best to get all of that gunk off and as soon as the isopropyl alcohol evaporates, we’ll be ready for the next step.

inserting screw eyes into lure

Insert the Screw Eyes

So whatever method you’re going to use to attach hooks and line to your lure, this is the time to put a couple of those on so when we go to paint it we have something to hold on to. If you have a crankbait lip, now is the time t put it on as well. Having a little pair of pliers is super helpful at this point but I don’t have any near me so I’m going to use this bigger pair but be super careful. I found that these screw eyes I got from Barlow’s break off if you put too much pressure on them and that isn’t good. I got this relatively straight and I didn’t wait long enough so I got the ball kind of stuck in there. Hopefully, that’s a temporary thing but probably not which is why putting these in right is really important. I should have left this here for an hour or two and come back but we have this now so I’m going to leave it for an hour and let it dry. Now that it’s been about 30 minutes and I have sticky eyes, I don’t know if it’s super glue or something but it’s not good in there. Either way, the next thing we’re going to do is we’re going to put on a base clear coat. It’s important when you get this base on that it is nice and clean so make sure you don’t touch it too much afterwards. What I’m going to do to keep from touching it is put the lure on this clip and wire and we’re just going to hook this onto one of the screw eyes. It doesn’t really matter at this point whether it’s up or down, I like to keep everything tail down. I’m going to put on some gloves, give it one last clean and away we go.

adding a clear coat to lure

Apply the Clear Coat

So this is the clear coat I’m using, this is the Krylon color max enamel gloss. I’ve used the rust-oleum gloss clear enamel as well and both of them seem to work just fine. I think you’ll be amazed at the change of this lure, it’s going to go from all scratched up to sparkly clear. I spray outside so that I have proper ventilation. So now we have a nice clear coat on there and again, you can use whatever clear coat you want, it’s up to you. I like to use something that’s pretty quick and easy at this pint because I have a lot of lures to do. So here’s what they look like when they are finally clear coated. I usually do 2 or 3 clear coats on them just to make sure it has a nice even layer and they’re ready to paint.

finished lure


So, at this point you are ready to test to see how your lure swims. One thing I will say is you want to make sure that you have this eye area where we inserted the eye tight, we don’t want water in there. You want to make sure you go over that part with maybe some thin epoxy to make sure it’s water-tight so when you go to throw it in your pool or pond or whatever, it’s not going to leak. If you get water in there, it’s a real pain in the butt.


In the next video, we’re going to get into painting and I suck at painting but I’m going to show you how to make it a little easier with some 3D printed stencils for both paint as well as stickers.


Take care- Tight lines